KOJI ASANO – THE LAST SHADE OF EVENING FALLS 1 – 4 (CDs by Solstice)
JOHN HUDAK – MY EYE MY SON’S EYE (CD-R)
CAMP – FEMINISTE (online by Notype.com)
DICK RICHARDS – INCONGRUENCE SIGNAL (online by Notype)
TORE HONORÉ BØE – SERUM (10″ by Komkol Autoprod)
MIKEAL STAVOSTRAND – REDUCE (CD by Mille Plateaux)
ANDREAS TILLANDER – LJUD (CD by Mille Plateaux)
MORPHOGENESIS – IN STREAMS VOLUME 1 (CD by Paradigm)
CHAS SMITH – NIKKO WOLVELVERINE
MICHEAL BYRON – MUSIC OF IGHTS WITHOUT MOON OR PEARL
JIM FOX – LAST THINGS
(CDs by Cold Blue Music)
WALDCHENGARTEN – WAS KOMMUNIKATION (10″)
ELLEN BAND – 90% POST CONSUMER SOUND (CD by XI Records)
KALLABRIS – CONSIDERATION SUR/SOUS LE CAFE (7″ by Genesungswerk)
KOJI ASANO – THE LAST SHADE OF EVENING FALLS 1 – 4 (CDs by Solstice)
This is a four-CD long transition phase. The music has no sense of
beginning or end, or development. It just moves. It moves through an
ever-shifting tangle of microtonal chords. Most probably drawn from
electronic sources, though the sounds may come just as well from processed
guitars or warped keyboards – they’re vibrant, strident. Yet, however
poignant those colors are, moving about these microtonal grids they seem to
keep reaching out for answers, without ever attaining a state of
resolution. Their strength is their weakness. Koji Asano is relentless in
endlessly stretching this musical dusk. Even after the final CD has run its
course, you’re left with the feeling that he could easily have gone on
extending it to eternal limits. These four disks have apparently not been
set up as one continuous piece. They rather seem like autonomous chapters
in a moody continuum. The visuals tell tales of rain soaked twilight. Time
is off duty blowing bubbles in the puddles. (RvP)
Address: http://personal4.iddeo.es/koji/
JOHN HUDAK – MY EYE MY SON’S EYE (CD-R)
This CD by John Hudak consists of two cuts. The first cut consists of two
layers – one is an ongoing broadband hissy ribbon, the other a hesitant
doodle played on a keyboard set to sound like an oversize glockenspiel in a
reverberant space. The second calls to mind a lullaby that somehow has
gotten lost in a mind dazed by drink, and is now straying about in a sodden
stupor. No mention of how cut one and two, being quite dissimilar, are
related other than that they are live and studio versions of the same
piece. Perhaps if cut two was speeded up and played in an echo-rich room,
it would sound like layer two of cut one. Whatever Hudak may think of eyes
that run in the family, this album suggests he does not regard it as a
thrilling concept. (RvP)
Address: http://www.generatorsoundart.org
CAMP – FEMINISTE (online by Notype.com)
I am usually on my guard when No Type describes its release as a recorded
improvisations. They tended to be wild and chaotic. Well, I stand corrected
this time. Although there still is chaos at work here, it has been
structured into rhythmic frame and there is plenty time for quietude. The
whole set of songs (album?) is coherent and pleasant to listen to. The
sounds range from voices, radios, bass samples, grey (i.e. not white)
noises structured by oldfashioned drumcomputers (Rebirth at work?). I am
not sure where the Camp part is or where the Feministe, but hey! this 2001;
ideologies are for the dogs. I guess. (IS)
http://www.notype.com
DICK RICHARDS – INCONGRUENCE SIGNAL (online by Notype)
Who the BEEP is Dick Richards? Who cares? Notype presents another artist
working at the cutting edge of experimental electronics and ongoing thuds
(as opposed to click stuff). Some of the material leans more towards
electronics whereas other compositions are downright minimal techno dance
material that would fit perfectly on one of those Kompakt samplers. Reader
of Vital Weekly are encouraged to explore this release. (IS)
http://www.notype.com
TORE HONORÉ BØE – SERUM (10″ by Komkol Autoprod)
Last week when I opened my mailbox there was something hard and shiny in
there. When I finally had the nerve to take it out it appeared to be this
grey 10″ record without a sleeve. On one side there is a label with
Norwegian stamps and my name and adress and a green ‘B economique’ sticker,
covering the hole. On the other side it indicates the name and title. Now
this is a very nice surprise of course. At the same time the means of
transportation indicate the subtitle of the record: postal system scratch
dj version. It seems that Mr. Bøe has taken the meaning of the word scratch
very literally. Indeed the record is severly scratched by its unprotected
journey here. Obviously this is part of the concept, so I put it on without
hesitation. After playing it twice I decided on the 33rpm version. It is
difficult to hear through the crackling vinyl at first, also because the
music starts fairly late. And when it starts its volume is very low. This
play between composed sound and random damaging is certainly interesting,
although I feel that the music is actually too subtle at times. The same
can be said for the other side. I wouldn’t mind hearing the music without
the scratches, because it is defenitely good enough. Then again, I wouldn’t
have had such a nice surprise in my mailbox. Last but not least I have to
make a note here: the resemblance with Christian Marclay’s Record Without A
Cover of 1985 is of course very obvious. But somehow I don’t really mind.
(MR)
Adress: www.kunst.no/origami/tore or thboe@online.no
MIKEAL STAVOSTRAND – REDUCE (CD by Mille Plateaux)
ANDREAS TILLANDER – LJUD (CD by Mille Plateaux)
There are many similarities between these two CD’s. Both composers are from
Sweden, both work under their own name, but both had previous band guises
(Tillander primarily as Mokira, see his CD on Rastermusic and Stavostrand
as Archon Satani and Inanna) and also musically there are links. Both work
in a very strict minimal techno vein. A pulsating beat, mainly on the bass
kick, with a rhythm crack and some nifty plug-in to add the melodic lines.
So what about the differences? I found Stavostrand’s album a bit too
static, too empty. He exploits the idea of minimal techno but doesn’t
necessarily adds his own taste to it. Each track is one static flow, which
tend to go on for too long. Tillander adds in most of his tracks dubby
elements, more strange cracks and at least it’s more danceable. Towards the
end of Tillander’s CD my attention tended to drift away, but maybe I was
getting tired of 2 hours of minimal techno stuff. It was almost a relief to
grab for the Greatest Hits of Deep Purple (should I have it of course).
Minimal techno where too now? (FdW)
Address: www.mille-plateaux.com
MORPHOGENESIS – IN STREAMS VOLUME 1 (CD by Paradigm)
Since long Morphogenesis belong to my favourite groups of improvising
electro-acousticians, with a line up of 4 to 6 people, playing a wide
variety of amplified objects (I saw their member Adam Bohman last year in
concert playing strings, objects and what have you, and if this is just one
Morpho… phew!), piano, biofeedback (by that other active member, Micheal
Prime). Seeing those pictures on the cover it must a be crowd, yet over the
years and many concerts, Morphogenesis have entered a thoughtfull play of
their own. A playing in which there is much space and freedom for every
single player. Careful improvising their way, they proof to be good
listeners too… And speaking of good listeners, I strongely recommend
headphones while playing this CD. There are some beautiful stereo moments
captured and also some subtile parts which may be lost while playing it
over a set of speakers. One track is a studio piece, but sounds exactely as
the live pieces. Great stuff throughout. (FdW)
Address: www.stalk.net/paradigm
CHAS SMITH – NIKKO WOLVELVERINE
MICHEAL BYRON – MUSIC OF IGHTS WITHOUT MOON OR PEARL
JIM FOX – LAST THINGS
(CDs by Cold Blue Music)
In the early 80s there was already a label called Cold Blue. It primarily
released music by US west coast minimalists, such as Ingran Marshall,
Daniel Lentz, Harold Budd, James Tenney. For reasons unknown to me, the
label stopped after a few years, but is brought back alive by Jim Fox with
the release of three CD’s.
A while ago I picked up a 10″ and a LP by Chas Smith. I can’t remember
exactely why, but I recall it was the catalogue description that made me
curious. An American composer playing minimal music on pedal steel guitar,
normal guitars and self-built instruments, playing with overtones. Just my
cup of tea and I wasn’t disapointed. Much to my surprise I got this CD with
more works by this man. The first four are for self-built instruments,
which look very exotic. The first three a beautiful plays of overtones and
sound like Bertoia soundsculptures and Rutman’s steel cello’s. The fourth
one is a dense piece using bowed metal and sounded very complex. For me
this was the least piece on the CD. The last two pieces were for pedal
steel guitar, of which particulary the last is strongely influenced by
country and western, and is close to the edge of kitch. For those who love
minimal music that play with overtones this, and other work by Chas Smith
which pops up every now and then, is a must have.
Micheal Byron is a composer of new music. His CD has three lenghty pieces,
two of them are ensemble pieces and one is a piano piece. The title piece
is for string quartet, contrabass, two pianos and electric keyboard. The
strings are played pizzicato which always give that delicate open feel to
music. It floats by gentle and nice. “Invisible “Seeds” For James Tenney”
is kinda like a sister piece, but is more apperent. A repeating bang on the
piano plays a dominant role. “Entrances” is a piece for four piano’s, all
played by David Roosenboom and after an initial burst, the piece kinda like
explodes. This one, for me, was the lesser piece of the three. I either
preferered another ensemble piece or nothing…
Jim Fox’s CD is an entirely different thing. The first piece ‘The Copy Of
The Drawing’ is an electronic piece with voice. The voice whispers texts
that is built of fragments from twenty three letters addresses to the
scientists at Mt Wilson Observatory between 1915 and 1935 and are personal
thoughts, theories and revelations. The sounds Fox put behind the text
doesn’t seem to go anywhere, like if they were randomly placed. But they
seem to fit the texts very well. Even without close listening you grasp the
idea. Beautiful ambient like music. The title piece is a dark affair of a
bass clarinet and a pedal steel guitar, the latter producing the droning
backdrop over which the bass clarinet plays seven songs, which flow into
eachother and each new one being longer then the previous one. Haunting
stuff and the opposite of the other piece.
All three CD’s are worth getting if you dig that special brand of
Californian minimalism. (FdW)
Address: www.coldbluemusic.com
WALDCHENGARTEN – WAS KOMMUNIKATION (10″)
This is one of those strange things which are hard to describe.
Waldchengarten are one Dennis and Lars from Danmark who produce a two sides
of heavily distorted music but then again remain on the edge of drone music
with their distortions with a far away cry of a piano (or maybe the
original source?) in the nearby distance. Very dark music and hardly
ambient or industrial, this operates on it’s own terrain. Rock music
without drums, ambient without environment, industrial without fuzz. You
catch my drift? Strange, but sort of alright. (FdW)
Address: <waldchengarten@trashcan.dk>
ELLEN BAND – 90% POST CONSUMER SOUND (CD by XI Records)
Ellen Band is a US composer who studied music with Pauline Oliveros and
David Roosenboom and has worked with a.o. David Dunn. She is ‘deeply
inspired by the infinitely complex textures, rhythms and colours within the
so-called ordinary sounds of everyday life’ and this CD with five of those
compositions shows us what she is been doing in this field. What I like
about these works is that the title of each composition tells you what it’s
about. ‘Railroad Gamelan’ leaves nothing to imagine or wonder about:
railroad signs that are looped or spliced together in a rhythmic vein so
that they sound like a gamelan. Without having to worry about possible
meanings, you can sit back and enjoy it. ‘Radiatore’ is another one. I
imagine a dozen or so contactmicrophones attached to a central heating
radiator, each picking up a different sound, which are cleverly mixed into
a minimal soundscape. ‘Swinging Sings’ is less clear but is duelling
violins: an irritating high pitched sound from the violin. Noticing that
this piece was recorded at the Persepolis Studio in Toronto, I was
immediately drawn to link Band’s piece to Xenakis’ piece ‘Persepolis’
bearing that same intense character. The last piece is the strangest: very
soft, paper being ripped apart at great pace. Very nice stuff here. (FdW)
Address: www.xirecords.org
KALLABRIS – CONSIDERATION SUR/SOUS LE CAFE (7″ by Genesungswerk)
Kallabris belongs to those mythical groups emerging from the mid 80s
‘industrial’ music. Over a time span of 14 years, they have released 2
LP’s, 1 10″, 1 cassette and 2 7″s. Kallabris come from the Cranioclast
areas (who, even when a little bit more active, are likewise obscure), but
operate within more acoustic music. Piano, accordion and voice play a role.
These two tracks, linked by their title, are chamber music pieces to be
playedin a cafe. One side is like a slightly electronic treated version of
the other. Introspective music, thoughful played. Kallabris are a myth to
be cherished. (FdW)
Address: www.genesungswerk.de