VINDVA MEI – ON FIRE (CD by Fire Inc.)
LUX MAMMOTH – HERTZ CIRCUS (CD-R by Bergerk!)
PLURAMON – BIT SAND RIDERS (CD by Mille Plateaux)
TED MILTON & LOOPSPOOL – SUBLIME (CD by Charhizma)
CEEPHAX ACID CREW (LP + 60 min. cassette by Firstcask)
ACID KIRK / CHILDHOOD MEMORIES (10″ by Firstcask)
JAMES PLOTKIN VS. PIMMON – SPLIT (12″ by Fat Cat Records)
MATMOS VS. MOTION – SPLIT (12″ by Fat Cat Records)
IGNAZ SCHICK – TABIT (CD by Zarek)
PERLON – PERLON (CD by Zarek)
DELPHIUM – NOBODY SEES THE MONSTER IN THE LIGHT OF DAY (CD by Moloko+)
GEEEZ ‘N’ GOSH – MY LIFE WITH JESUS (CD by Mille Plateaux)
LUOMO – VOCALCITY (CD by Force Tracks)
VINDVA MEI – ON FIRE (CD by Fire Inc.)
This islandic band is new to me, which doesn’t mean a thing, of course.
Their CD features 8 tracks in a style that hovers between microwave and
techno/ambient. Actually the first and the last track are the weakest of
the CD, in my opinion. These two sound most ‘regular’, with beats and
synths. The other tracks are more atmospheric and stylish, with some
samples and other ‘irregular’ sounds. These tracks are of a more ambient
nature and I think that’s where the strength of Vindva Mei lies. Layers of
dark/dreamy drones and synths are interrupted by pulses of different
frequencies and sometimes samples or short bleeps. In contrast with the
more rythmical tracks, here they manage to keep a tension, albeit not a
heavy one. The general atmosphere is quite light and dreamy. (MR)
Adress: www.fire-inc.demon.nl
LUX MAMMOTH – HERTZ CIRCUS (CD-R by Bergerk!)
The australian duo Lux Mammoth uses two basses, samplers and FX on this
release. Six lengthy tracks of rather undefined noisy ambient fill the disc
space. As far as composition goes, it is clear that these pieces were
recorded directly while playing. It is quite impossible to tell if there
has been any post editing. The pieces are dense and drenched in reverb most
of the time, which takes away some of the heaviness. Lacking structure, the
tracks tend to lose themselves in freaky impro sessions, which can be fun
to watch. Without this visual support, however, it is difficult to keep
attention focused on the music. (MR)
Address: bergerkrecording@hotmail.com
PLURAMON – BIT SAND RIDERS (CD by Mille Plateaux)
Some people think remixing is flocking dead horses, but I’m not one of
them. I think the whole aesthetic with remixing is embedded in our culture
of recycling and quatation. No sound, no image is sacred and can be put in
a new context. Pluramon is one of those musical outings that can easily be
reworked. Pluramon, aka Markus Schmickler, is an open project of drum
sounds in combination with driving guitars and a bass, plus the odd sample.
A sort of digital krautrock from a clear head. Many of these can be easily
reworked. The eleven tracks presented here proof this. Musicians featured
here mainly do what they are good at: Merzbow loops and filters the whole
thing in his usual noise blend, SND makes it into minimal techno (although
by their standard, a full track), ATOM transforms it into a delightful
electro piece and Mogwai stays close with a guitar laden piece. FX Randomiz
and Hecker represent the more experimental sides with total morphed pieces.
Surprising name here is Lee Ranaldo, who enters the world of remixers, with
a rather traditional piece with guitar and samples; pity enough one of the
lesser interesting tracks. But in general, this is rated with thumbs up.
(FdW)
Address: www.mille-plateaux.com
TED MILTON & LOOPSPOOL – SUBLIME (CD by Charhizma)
A not so remarkable collaboration if one thinks about it. Loopspool is one
of the guys from Tied And Tickled Trio, a south German band with
jazz/improv/pop interest and Ted Milton you may know as the
singer/saxophone player of Blurt (which I never got into, but that’s an
entirely different story) – that’s twice jazz/improv/pop – me think. The
nine tracks on this CD were made by using postal systems; sending tapes
back and forth. Much more electronic with synths, beats and an electric
piano, but all in a very smooth, melancholical atmosphere. Imagine a smoky
nightclub, red lights dimmed, but with worn-out furniture, dirty glasses
and elderly women still posing their beauty. On the stage Mr. Milton
croons, playing saxophone and hidden in the dark sits the piano player and
the bass player. I never listen to texts (my mistake, don’t worry), but
grasping the overal atmosphere presented here it must be all about lost
love, saying goodbye and more of those sad things that happen in life. It’s
a bit too sad, to be called popmusic (you might expect a funny uptempo
piece, I’d say), but it’ well crafted stuff and maybe after all, a
remarkable collaboration. (FdW)
Address: www.charhizma.com
CEEPHAX ACID CREW (LP + 60 min. cassette by Firstcask)
Ceephax Acid Crew is Andy Jenkinson. I have no idea who Andy Jenkinson is
and what his relationship to Tom Jenkinson aka Squarepusher is, but I do
know that he remixed a Squarpusher track on his latest LP called Selection
Sixteen, and I do know that his music sounds very very much like the music
of Tom, and I love his stuff!! Is this an alterego of Tom? Or did he never
tell anyone he has a brilliant brother? What I want to know if he’s got any
sisters or what style is the music his mother’s making?
Anyway; “a 303 with an 808 programmed in a fast breakbeat and synths on
top” would be the oneliner, but things are never as simple as oneliners
want to make you believe and listening to this record gives me ultimate
pleasure! Only available through mailorder at <http://firstcask.free.fr>.
Check it out!! contact; fsk@altavista.net (RM)
ACID KIRK / CHILDHOOD MEMORIES (10″ by Firstcask)
Acid Kirk is C. Stevens (and C. Lefebvre). One side is indeed fast acid,
done very well by C. Stevens, but the other side is totally different.
Music that reminds of a fancy fair or lunarpark kind of situation being
completly molested with electronics and/or plug-ins. Interesting. Also only
available through mailorder at http://firstcask.free.fr. E-mail contact;
fsk@altavista.net (RM)
JAMES PLOTKIN VS. PIMMON – SPLIT (12″ by Fat Cat Records)
MATMOS VS. MOTION – SPLIT (12″ by Fat Cat Records)
The superb split series of Fat Cat Records continues with these two new
releases.The split with James Plotkin and Pole was scheduled for some time
already and some testpressing copies got made, but the Pole side turned out
to be not Pole’s music
<http://www.fat-cat.co.uk/splitart/polestatement.html>, and that is why
James Plotkin’s tracks have now been released on this split record with the
fast upcoming Pimmon from Australia.
James Plotkin turns in a extremly beautifull side with 3 tracks that are
all relaxing and energetic at the same time. Strange rhythmic sounds that
loop have been mixed in with an ongoing tone that could be a guitar based
sound. Highpitched tones (that sound like spinning a record as fast as you
can, which they are not but sound like!!) and drones.
Pimmon’s side also has three tracks and in a way they sound similar to what
James Plotkin is doing, a little more clicky and digital, but the longer
and relaxing tones are also there. Beautiful record and it is very obvious
why he is getting somuch stuff out lately; he’s a genius.
Matmos <http://www.brainwashed.com/matmos/> are known for their remix work
for Otomo Yoshihide, and their 2 excellent cd’s “Quasi-Objects” and “The
West”. The first track on their side on this split with Motion is brilliant
fast “drum’n’bass” of electronics and samples, and I’m using the word
“drum’n’bass” in the broadest sence of the word here.
Second track is even more experimental, sounds like strings and/or a
musicbox being processed.
The band are currently collaborating with Bjork on new material and
planning a full length project based upon the sounds of medical technology.
Motion is one Chris Coode, of which nothing is known, other then being
selected from a demo Fat Cat got send. His three pieces are all centered
around sampling, sampling and re-sampling of home-made instruments, toys,
found sounds. This sounds exactely what it is: regular, normal music. Based
on loops in addition with a fade in and a fade out of sounds – nothing
special. Not that this bad stuff, but it’s something you hear. (RM)
contact <http://www.fat-cat.co.uk/contact.html>
IGNAZ SCHICK – TABIT (CD by Zarek)
PERLON – PERLON (CD by Zarek)
Ignaz Schick is a new star on the front of noise and electronics. The
starting point is a concrete sound recording, say people running down the
street, which are transformed by the usual blend of electronics of all
kind. The four pieces reminded me of Gert-Jan Prins or Radboud Mens (when
he plays as Hyware). Loopy deep bass end sound, highly distorted sound.
Merzbow with a more looped character. Not bad but maybe it stays too much
on the monochrome side; the four tracks come of too similar and the
development is not enough to make tracks of 10-20 minutes.
Schick is also a member of Perlon. This trio plays electronics (Schick of
course), guitar by Jorg Maria Zeger and percussion by Burkhard Beins. Less
in the fields of noise then the solo wok of Schick, this trio plays a nice
mixture of improvised music with many electronic elements. The two lenghty
live pieces go from extremely soft parts to large, dense clouds of bursts
in scraping noise and fierce electronica. The second ‘Argon’ is my
favourite with its nice crescendo. (FdW)
www.zangimusic.de
DELPHIUM – NOBODY SEES THE MONSTER IN THE LIGHT OF DAY (CD by Moloko+)
Delphium is a band that has a strange appeal to me – and it’s hard to say
why. There are those elements that I don’t like in music: dark bombastic
tunes, sampled orchestras; yet Delphium uses them and I like Delphium.
Maybe it’s because Delphium plays his samples with a naive touch, like he’s
not trying to hide away his tricks. This CD follows his previous CD on
Outsider, which is damm long time ago. The tracks here are from the entire
seven year career of Delphium, and, as far as I can judge, all unreleased.
A typical Delphium runs a sampled rhythm – dark, trip/hip hop like – to
which a firm dose of samples are added. Special care is given to the bass
Delphium plays. This gives the already dark edged music an even darker
edge. My favourites include ‘Emperor’ with it’s drum & bass rhythm, the
just orchestral sampling of ‘Fluffy Alien’ and ‘Big Kat’, with it’s wahes
and breakbeat. Also some true miss-outs as the too long ‘Bark At Ants’ and
‘Where The Drifts Get Deeper’ where the rhythm misses a few notes every now
and then. All the others not mentioned go in the category of very much
alright. Let’s hope the next one is not three years away. (FdW)
Address: <ralf_friel@ferrostaal.com>
GEEEZ ‘N’ GOSH – MY LIFE WITH JESUS (CD by Mille Plateaux)
LUOMO – VOCALCITY (CD by Force Tracks)
I hoped that by now the life-time hobby of record companies to invent new
genres was either gone or inspired by satire, but Mille Plateaux just
invented Click House; oh boy. Taking the clicks and glitches of microwave
(which is more funpoking a name giving) coupling that with house or techno
beats and you have Geeez ‘N Gosh. Which is yet, and if I counted right,
pseudonym number 55 by Atom Heart’s Uwe Schmidt (hey, is that is real name,
or also a pseudonym?). Everything here is produced on the almighty
harddisc, but the vibe doesn’t come across – some of the rhythms are too
bumpy, broken up and breaks are weird. It has it’s moments but I don’t see
a raving crowd going mad over this.
Not classified as such are Luomo, another pseudonym for Vladislav Delay.
Whereas as Vladislav he inhabits the fine territory of Chain Reaction and
Basic Channel’s ambient techno – though Delay is more ambient then techno –
as Luomo he goes to very smooth house music. Likewise minimal, likewise
long tracks, but laidback funky rhythms and smooth vocals. If you are
familiar with Sahko’s side kick Puu, then you know which way this goes.
Very summer, very smooth. Well entertaining. (FdW)
Address: www.mille-plateaux.com