STEEV HISE – ORIGINAL (CD by Illegal Art)
NEINA – SUBCONSCIOUSNESS (CD by Mille Plateaux)
SQUAREMETER – SINCECORE (CD by Mille Plateaux)
CURD DUCA – ELEVATOR 3 (CD by Mille Plateaux)
VARIOUS – DECONSTRUCTING BECK (CD by Illegal Art)
METAMATICS – MIDNIGHT SUN PIG (CD by Dot)
METAMATICS AND CLATTERBOX – PROJECT UNISON (CD by Neo Ouija)
ETOY.COM – TOYWAR (CD by Etoy.com)
PIERRE TANGUAY – LA MUSIQUE DE MON DISQUE
MIRKO SABATINI – MK.ORCHESTRIN:28+ALIENI (both CDs on Ambiances Magnetiques)
COIL – QUEENS OF THE CIRCULATING LIBRARY (CD by Eskaton)
COMPILATION – LITTLE BRUTAL RAVE BASTARDS VOL.1 (LP by Dhyana Records)
DEEP – DIVEDEEPUNDERWATER (10″ by Dhyana Records)
STEEV HISE – ORIGINAL (CD by Illegal Art)
Actually this is an old release. It was originally released in 1998 on
CD-r. This is a ‘real’ CD. Whatever. Hise is your typical nerdy composer
with a mind of his own. He runs the renowned Detritus website, which
harbours a lot of music that according to the RIAA should never be
published again. Example: the Plunderphonic stuff and the U2 release of
Negativland. Hise certainly is ‘into’ the sampling culture. To learn more
about it I suggest you visit his site, which is certainly worth the
trouble. Hise also composes music. His work makes extensive use of samples,
or re used sonic waste material. This becomes most clear in the shorter
works on this CD. Most of the other compositions consist of sound samples
(in the vein of Tape-beatles), that quote a certain social connotation. I
suspect that in the USA these connotations are better picked up than in the
rest of the world. This is one of the dangers that lie in the explicit use
of sound samples.
‘Return of the King’ is a composition that quotes a few lines of an Elvis
Presley movie (I think). Presley blurts a few hesitating sentences and then
some kind of looping quotes of Elvis music sounds. As a pure sound
spectacle it is too weak, as a comment on the King it is not clear enough
to me. The next work, ‘The Liquidators’ portrays a close harmony choir
singing some country ballad with a female voice over telling us something
about the sufferings of a group of people.
Hise’s compositional skills are better exhibited in works, like Softly
Ultra, the second one this CD. Softly Ultra is the only composition that is
not based on recycled material and shows that Hise has a good feeling for
timing. ‘Remain calm’ is another highlight of this CD. These works are much
more abstract and work much better. Could it be that blatant sample music
has become passé? Or is it just me? I think Hise is trying to make a point
toward pop culture or Western consumption culture in general and I wholly
agree with his message but for me to listen to this CD once more requires a
bit more. Thank god (or whoever) for the programming function on my Cd
player. Web address:
http://www.detritus.net/illegalart/ (IS)
NEINA – SUBCONSCIOUSNESS (CD by Mille Plateaux)
SQUAREMETER – SINCECORE (CD by Mille Plateaux)
CURD DUCA – ELEVATOR 3 (CD by Mille Plateaux)
More experiences from the microworld that breath their way on such fine
labels as Mille Plateaux or their sister Ritornell – it must be an
identical twin, since it’s hard to tell the difference sometimes. For
instance Neina, a trio of Japs, could have been on Ritornell as easily as
on Mille Plateaux. In their varied, twelve track CD, they arrive at what
can be best described as the identical twin – again – of Oval. They use the
same method of skippng sounds, digital processing and add nothing new.
Should I therefore say that this CD is shite? Hum not really, as the twelve
tracks are entertaining to listen to and the fact that Neina is maybe just
a copycat is best ignored.
Similar yet different is Squaremeter, who made this CD with Panacea.
Lurking in similar territories of cracked soundsthey add a firm those of
organised beats to the sauce, so it’s more rhythmical, even when it’s
firmly remotely far away from the dance floor. Simple beats, intercepted by
cracks, buzz and hiss and eerie tones form the main ingredients of the
fourteen tracks here. This can easily sit next to Noto’s work or other
microwavers (and this is maybe more microwave then Neina, I’d say…).
Crafted with skill, with no particular standout track and no particular bad
track. And that’s a bit of the problem with this CD: it remains a bit too
grey and is faceless and rather just another one. Good and solid.
Now Curd Duca is our man. He explores ‘mood music’ and this is part three
of his ongoing investigations. Curd samples easy listening tunes and plays
them around in an even more moody atmosphere. No less then 48 short tracks
in less then 40 minutes, some lasting just a few seconds, such track one,
in which a car passes. Whereas some people would expand one of these tracks
into a whole full length CD, Duca just presents them as an idea, a
possibility that lasts 30 seconds, and off he is, moving to the next idea.
You’ll have to stick your CD to ‘repeat’ play if you want to listen a bit a
longer. For the first time he uses a female voice in five pieces and it’s a
natural evolution. I can’t imagine this been played in elevators as muzak,
but it would well work in a designer living room environment at a party
with good food and cocktails – well or just in my home. Very relaxed
atmosphere in most instances, and some distractions that work as an
excellent counterpoint. (FdW)
Address: www.mille-plateaux.com
VARIOUS – DECONSTRUCTING BECK (CD by Illegal Art)
Seems to be some kind of a phenomenon, this Beck person. I don’t really
understand why but somehow he seems to inspire people. Yes, he does have an
interesting beckground (sorry for trying to be funny), family, history and
such. And yes, some of his ditties are quite addictive. But should that be
reason enough to deconstruct his music? Oh well, let’s forget about all
that and accept a ‘yes’ to that question. What’s on this CD anyway? A lot
is on this CD and most of it certainly is worth listening to, too. Artists
featured are (AO) Mr. Meridies, Steev Hise, Huk Don Phun, Jane Dowe,
Evolution Control Committee, The International Bankers (RTMark?). Some of
the works only refer to the original in a far and away fashion but all of
them are damn good! Some of the compositions are quite literal quotations
(cutting and pasting distant sentences together) others use rhythms and
construct new compositions with these, others only hint at the original. I
would really like to hear more from the artists featured on this CD. I hope
that they don’t need an artist like Beck to reach these heights. Web
address: http://www.detritus.net/illegalart/ (IS)
METAMATICS – MIDNIGHT SUN PIG (CD by Dot)
METAMATICS AND CLATTERBOX – PROJECT UNISON (CD by Neo Ouija)
Former Manucian Lee Norris is a busy father. When not working his own Neo
Ouija label, he records music as Tone Language, Nacht Plank, Consumer
Durable (with Kamal of Hem) and Metamatics. Formerly on Clear Records, now
free to go whereever. Why not two CD’s? One is strictly Metamatics, and one
is a split CD with Clatterbox. The sound of the Metamatics is dance music
of the more lighter and sunnier side of life.
Nine lenghty tracks preceded by a lenghty intro track is what you get on
the ‘Midnight Summer Pig’. Each track clocks in at some 7 to 9 minutes and
is nicely based around lush keyboard melodies, deep bass synth and samples
that sauce things up. I am no dancer, but even if I was, I don’t think this
is particular dance floor oriented. It’s just a taste too sweet or too
small to be big on the floor. However in a summer party garden, zipping
cocktails near the pool (I don’t have a garden or pool), this would be the
perfect soundtrack. Very sunny, very relaxed stuff.
Clatterbox is one of those names I see somewhere but clueless where to
place – but upon hearing this: in the areas of Metamatics. The eight
cleverly paired tracks are a bit more – or should that be: even more –
laidback then the tracks on ‘Midnight Summer Pig’. More relaxed, more dub
induced with a sleep walking bass and childlike melodies that form the
sweetneess on the cake. There is no real difference between tracks by
Metamatics or Clatterbox, thus forming a coherent couple.
Address: no address on CD for Dot, but try the website below
Address: www.neoouija.co.uk
ETOY.COM – TOYWAR (CD by Etoy.com)
The Etoy affaire has drawn quite a lot of attention during the past year.
The small David from Switzerland fought the huge Goliath from the USA and
won (of course, with such biblical references they couldn’t go wrong). You
can read about that battle on their website.
A supportive CD has now been released with contributions (TOYWAR themes).
These contributions to the TOYWAR.battlefield came from all over the world
and can also be downloaded from the toywar.com website. The quality of
contributions is remarkably good. All are inspired by the topic at hand: a
small innocent creative group of people that is threatened by the evil
representant of Capitalism. People like Us transform this situation into
that of a little girl that keeps getting dirty proposals from creepy men.
But the girl is constantly warned: “If someone touches you…”. Others,
like the Evolution Control Committee and Phantomschmertz construct rough
and rude noise to express their feelings about the situation. But in
general the contributions are much more subtle, maybe even intellectual.
The cd will probably be deleted by now, but i suggest you visit the website
and download the real audio files: http://www.toywar.com/soundtrack
PIERRE TANGUAY – LA MUSIQUE DE MON DISQUE
MIRKO SABATINI – MK.ORCHESTRIN:28+ALIENI (both CDs on Ambiances Magnetiques)
Pierre Tanguay is ready for his first solo album. It is striking that
several other musici ans of the Ambiances Magn,tiques-collective also
produce solo-albums in the last few years: Andre Duchesne, Joanne Hetu a.o.
After playing many years in all kinds of groups there seems to come a
moment you want to do your own thing all on your own. Pierre Tanguay played
with some twenty established groups, such as Dangereux Zhoms, Castor et
compagnie and Karen Young and is founder of Strada, Midi Tapant and Derome
Tanguay Danse. Tanguay has produced five albums and collaborated closely on
some fifty others, and has more than twenty compositions for dance and a
number for theatre and film (Allan Booth, Imago and Roberto Ariganello) to
his credit. His music shows the wide range of his experience in ancient and
contemporary music, jazz, and music for dance, theatre and cinema. Born in
Quebec City in 1957, he has devoted himself to music full-time since 1978.
On ‘la musique de mon disque’ he makes here his solo statement, using
percussion, selfmade and recylced objects and voice. The music on his new
cd is best described as ambient-like and minimalist music. Music for
imaginary rituals. Not at all the thing you expect from a drummer and
percussionist who uses to play modern jazz and new music. So maybe it is
no coincidence that Tanguay plays together with Jean Derome in a church
somewhere in Groningen (Holland) on 2 september 2000.
With the album by Mirko Sabatini we stay more close to what you might
expect from a drummer who plays improvised music. Sabatini, born in
Winterthur (Switzerland) in 1967, is a self-taught drummer who has been
playing since 1984. In 1991 he also started to be interested in visual
arts. He moved to Bologna (Italy) to work with professional musicians
active on the scene of free improvisation music and he is a founder member
of the association BASSESFERE. BASSESFERE promotes improvised music by
organizing concerts, special events and radio programs. He plays the drums
in several Italian groups.
His hometown Bologna is also the city of the famous ANGELICA-festival, a
yearly happening of improvised music. Sabatini played several times here
and the festival was a good starting point for operating on a international
level as well. In 1998 he moved to Montreal (Canada) to work for a year. It
is here that Sabatini recorded his (first) solo album.
18 pieces for drums, motors, plates, springs and rubber bands recorded in 5
days at the beginning of 1999. The album is completely different from that
of Tanguay. This is definitely more of improvised music: “Quite often
things are born by chance, by a series of accidents that, although casual
in their essence, are driven by an unconscious will and determiniation
towards a more or less precise direction. That is how this solo project was
born, and how it moves and behaves.” Sabatini investigates the subtle
interplay between improvisation and chance. Off interest for those who are
into drums (DM).
Address: www.actuellecd.com
COIL – QUEENS OF THE CIRCULATING LIBRARY (CD by Eskaton)
Packaged in a vivid neon pink C-shell case similar to those used in the
Raster/Noton 20′ to 2000 series, this is one of Coil’s latest outpourings
during what must be their busiest two years yet; an album tied in with a
recent Julian Cope-curated live extravaganza in London. Happily, the
frequency of the group’s recent musics has not dulled their creative edge
in the slightest. The contents of this disc fall somewhere within the same
dense, stretched-electronic-toffee landscape as the Time Machines outing,
although there is here the addition of barely audible DSPed voices and the
scholarly resonance of Thighpaulsandra’s mother intoning of her role as the
eponymous keeper of the books, all this over a continuously evolving 50
minute drone-a-thon. In common with all of Coil’s projects, hearing this
disc makes it difficult to get away from perceiving a genuinely gripping
magic at work in the folds of these sheets of sound. This is a stunning
recording: simple yet enchanting and magisterial, eating away at you from
the inside. One not to be missed.
Address: www.worldserpent.com (BL)
COMPILATION – LITTLE BRUTAL RAVE BASTARDS VOL.1 (LP by Dhyana Records)
DEEP – DIVEDEEPUNDERWATER (10″ by Dhyana Records)
Maybe you remember the 7″ by Bustmonster, doing an acid techno version of
Whitehouse’s ‘You Don’t Have To Say Please’? This 12″ falls in similar
categories. It makes fun of gabber, hardore industrial tech house, but is
at the same time a serious blast. Especially the first track on the a-side
reminded me of the very first, and very raw Unit Moebius records. Essential
disco stuff here if you’re out to ruin a good party.
Whatever happened to Deep? Their previous split with Hygenica showed an
interest in ambient-dub a la The Orb, but they are far away removed here. A
rhythmbox brings up the beat, and guitars do the rest. Much more pop ‘n
noiserock – I even thought I was listening to raw Nirvana demo’s. It moves
away from the music I normally reviewed here. It’s therefore hard for me to
say anything at all about it. I don’t think it’s bad for what it is, but I
think I preferred the old Deep better. (FdW)
Address: <zuma61@hotmail.com>