DIS INFERNO (CDR by KrKrKrK)
TETSU INOUE & STEPHEN VITIELLO WITH ANDREW DEUTSCH – HUMMING BIRD FEEDER
VER.O.2 (CD by Lucky Kitchen)
WILLIAM KLEINSASSER – AVAILABLE INSTRUMENTS (CD by C74)
MURMER – .MURMER (CD-R by Bake Records)
BRUME & TBC – HOUSE UNWILLITLY (LP by Wachsender Prozess)
MASSIMO – MORT AUX VACHES (CD by Staalplaat)
GREG HEADLEY – SIMILIS (CDR by 28 Angles)
THE EVOLUTION GARDEN – THE REHEARSAL SERIES 200302 (CDR)
PABLO RECHE/AUDIODELICA – MUSICA DE TORMENTAS (CDR)
ZANSTONES – STASIS UNDERMIND (Cassette/CDR)
JONAS LINDGREN – THE TENDER BOUGHS OF INNOCENCE BURN FIRST (EP MP3 + PDF)
MAGALI BABIN – CHEMIN DE FER (CD by No Type)
CHARLES ATLAS – FELT COVER (CD by Static Caravan)
ALPHONSE DE MONTFROYD/NIHIL EST EXCELLENCE – DEFECT ANALYSTS (3″CDR by
Nexsound)
ORIGAMI ARKTIKA – FANTOMLUST (CD by Ignis Projekt)
EVSC 1:01 (CD compilation by Expanding Records)
LIONEL MARCHETTI – SIRRUS (CD by Auscultare)
O/R – VARIED (CD by 12K)
JANEK SCHAEFER – PULLED UNDER (CD by AudiOh)
HIGH TONES FOR THE WINTER FASHION (CD by Textile)
JAN JELINEK – ICE COMPOSITIONS (12″ by En/Of)
ALEJANDRA AND AERON – SCOTCH MONSTERS (LP by En/Of)
TV POW – AMERICA SAYS FAREWELL (LP by En/Of)
INFANTRY (CD by Sub Rosa0
WIPEOUT – ATHEMS FOR THE UNDERACHIEVERS (CD by Angelika Koehlermann)
WILT – WHITE CHRYSALIS IN BLUE (CDR by Mystery Sea)
DIS INFERNO (CDR by KrKrKrK)
Dis Inferno features labelboss David Khan, Justine Sharp and Peter Wright.
Together they play a wide variety of instruments and offer you four soundtracks
to Gustave Dore’s drawings to Dante’s Inferno. Lenghty pieces – hell is endless
of course – of the more droney character. However the differences between these
four are big. The opening piece ‘The Gates Of Hell’ is a shimmering ambience
piece of sounds carefully colliding and which is a total opposite of the piece
‘Burning Graves’, which seem to take it’s title literal: a wall of sound with
tons of reverbed metal. Water like sounds open ‘Cocytus’ and the ambient is
again a dark cloud and comes in it’s horror close to some Legion. The last
piece has a female voice, and is almost a dark age of new age. Very nice stuff
here, that harks back to the aforementioned Legion and some of the old Maeror
Tri. (FdW)
Address: 227 Worchester Street – Christchurch – New Zealand
TETSU INOUE & STEPHEN VITIELLO WITH ANDREW DEUTSCH – HUMMING BIRD FEEDER
VER.O.2 (CD by Lucky Kitchen)
As far as I understand, the basic piece of this CD is at the end of the CD.
It’s a stereo mix of an installation by Stephen Vitiello at Diapason Gallery in
NYC, which is presented in various remixes here by Andrew Deutsch and Tetsu
Inoue, plus (if I got it right) a new piece by the latter. All of these people
use extensively computers to work on music. Incorporating environmental sounds
in an otherwise very digital sounding domain is what they do best. The CD opens
with Tetsu remix and solo piece and these are very much in the digital domain
and also they have a nervous, hectic rhythm over them. In Tetsu’s work with
Stephen, it’s all getting a bit more laidback in a rather short piece. The
Andrew Deutsch remix is also a more ambient affair, but only in Stephen’s
piece, I think, there is balance between concrete sound, environment sound and
computer processing. Intelligent glitch music, if the term existed. (FdW)
Address: www.luckykitchen.com
WILLIAM KLEINSASSER – AVAILABLE INSTRUMENTS (CD by C74)
William Kleinsasser is a composer who scores for orchestras etc and also works
inside computer music. The two pieces on this CD make use of both at the same
time. The title piece is for solo piano, which start out as piano music but
over the next 14 minutes slowly transforms into a computer treated piece. The
piano as such is recognizable throughout however. A nice piece, that, despite
the computer treatments, has a very classical feel to it.
The second piece is ‘Double Concerto’ and here an ensemble plays a piece of
music, alongside with prerecorded and processed sounds. This is an even more
classical piece, as I had a hard time finding out where the processings would
be in this recording, because whatever it is that Kleinsasser did to them, I
couldn’t hear them very well. It sounded like a very traditional classical
ensemble piece that in itself was nice to hear. I am still unclear wether it’s
a good thing that we didn’t get to hear the processings or the computer part or
that it is something to regret. But a nice CD anyway. (FdW)
Address: www.cycling74.com/c74
MURMER – .MURMER (CD-R by Bake Records)
With a minimum of sound sources, such as fans, modems, heaters and air flows,
Murmer creates long, flowing ambient tracks. The atmosphere is pretty desolate,
but not in an uncomfortable way: the sounds are warm and sort of close, with
only a few exceptions. There is no hurry getting through the tracks, they take
their time and that’s okay. It reinforces the dreamy nature of the work.
However, this is not background music. All tracks are built up with subtlety
and use the minimal material to its fullest extent. A very nice album indeed.
(MR)
Adress: www.staalplaat.com
BRUME & TBC – HOUSE UNWILLITLY (LP by Wachsender Prozess)
With sound recordings, provided by label boss Thomas Beck, Brume toyed around
in his studio, the result of which is this LP with five tracks. It might be
unnecessary to say that this is typical Brume music: an abundance of
environmental sounds, combined with all those weird sounds that only Brume
seems to be able to create. On this LP there seems to be more emphasis on
self-made sounds (with instruments) than other recent releases.
The first track starts off quite abstract, with cuts of field recordings and
other unidentifiable sounds, but then features a synth and a drum machine and
ends with dark voice sounds. The second track is almost like a bad dream, with
dark drones, glass shattering and several voices coming in and out. And the
piece gets even denser towards the end. The third track begins with a synth
sequence, that is a little disappointing, but then turns into an almost
completely acoustic piece. The next track is mostly based on wind instruments
it seems, with some percussion added. The last track is done mostly with a
piano and voice and therefore my least favourite one. (MR)
Adress: thomas@fsk-hh.org
MASSIMO – MORT AUX VACHES (CD by Staalplaat)
The Mort Aux Vaches CD series are recordings that are specially commissioned
for Dutch radio. These recordings are being released by Staalplaat. The history
of the Mort Aux Vaches series starts in 1995 with the split Mort Aux Vaches
release of Deutsch Nepal and In Slaughter Natives. Absolute high-lights of the
series are the ones from Ryoji Ikeda (in a beautiful designed plastic cover),
Zoviet France, and the second one of Illusion Of Safety that was housed in red
silk-screened sandpaper. The packaging of this series has become a long line of
exceptional covers. This Mort Aux Vaches by Massimo is no exception to that
rule; the title is cut out with a laser and you can still see the burned sides
of the paper.
The CD contains one track of 37’48” minutes called “Free shower at Esther” but
it is divided into 11 parts with each there own id-code. Every part is
repetitive trance inducing digital noise music, structured electronic
“techno-noise”. The recordings are put very loud to CD, but they never sound
distorted. He is using excellent sounds to create a dynamic whole that is
leaving the listener somewhat astonished at times. The good thing is that you
can hear he is enjoying making music. (RM)
Addresses: www.staalplaat.com and http://mysite.ciaoweb.it/massimo.org/
GREG HEADLEY – SIMILIS (CDR by 28 Angles)
Greg Headley’s third release (after one on Bake Records and one on 28 Angles)
sees him moving away from the guitar and getting more into electronic
composition. This adds an austere element to his music. He works extensively
with drone like sounds, which are either based on deep test tones or high
pitched frequencies. This brings his work more in the direction of Sachiko M,
which has similar austere sounds, even when Headley is more open with it, and
adds alienated sounds into the mix. Everything slowly evolves around a few
sounds, mostly a few more then the Sachiko M really, and is cleverly put
together. Besides M, think of Bernard Gunther or Roel Meelkop. Deep, organic
music, rumbling out of the cones. (FdW)
Address: www.gregheadley.com
THE EVOLUTION GARDEN – THE REHEARSAL SERIES 200302 (CDR)
>From the southern parts of The Netherlands hail The Evolution Garden, whom we
reviewed before. They decided to release a bunch of CDRs which display their
working process. It’s work from the stages of rehearsals and working on new
compositions. Usually The Evolution Garden explore the depths of ambience, but
here the opt for a more experimental sound. The six untitled pieces are
ambient, but played on a variety of instruments, such as guitars, bass, flutes
and percussion. All drowned in a bath of reverb and echo. Primitive prototype
ambience with a sketchy nature. Nice stuff from the working process. (FdW)
Address: <sounddesigner@zonnet.nl>
PABLO RECHE/AUDIODELICA – MUSICA DE TORMENTAS (CDR)
Pablo Reche and Audiodelica from Argentina collaborate on this release of over
30 minutes of dark organic electronics. The main sound sources are synths and
other electronic devices but the music has a warm feel-you can sense the blood
pulsing through its vessels. Subdued rhythm loops spin underneath a layer of
heavy drones, like a creature of some form slowly being reanimated after
several light years of cosmic travel, or sitting on an asteroid as it gets
sucked into a black hole. No, its not ambient space music, since the tone is
much darker. But the music never succumbs to a sense of total bleekness, it is
always active and bubbling, and things move rather quickly, going through 8
pieces on this mini album. Which is a good thing since it holds your attention
for the entire time allowing you to fully explore the sonic textures presented.
Think of a condensed MB using today’s technology but without the pessimistic
packaging as a starting point. Recommended. (JS)
Address: pabreche@hotmail.com
ZANSTONES – STASIS UNDERMIND (Cassette/CDR)
Zanstones is one of many projects of Zan Hoffman, an audio legend in his own
right. Working undeterred since 1983, the man has over 750 releases under his
belt. With that many releases and many different projects Zan has given himself
ample room to explore all sorts of audio territories and at his own pace,
ignoring current musical fashions. “Stasis Undermined” is the 104 Zanstones
album and a pleasant one. Zan reads selections from letters from the Dutch
author Rinus Van Alebeek. The instrumentation is string instruments of an
undefinable nature, mainly bowed and plucked, with an asian folk music feel,
augmented by percussion and some tape manipulations. The material is arranged
without a logical flow-things start suddenly, end suddenly, as if the piece was
recorded then spliced together at random. But never do you get a sense of
haphazardness-this is an audio collage assembled with great skill. What comes
across is more of a sense of time standing still or being ignored. The texts
never interfere with the music nor are they the focus, often they blend in with
the music. The snippets of text that we do hear are descriptions of Rinus’
travels throughout Europe and Africa and the people he encounters. Zan’s
delivery and mixing of the text fully conveys the impressionistic nature of
their meaning-word becomes sound becomes image. This 30-minute composition
falls somewhere between Harry Partch’s “The Letter” and Cage’s “Indeterminancy”
without being derivatitive. An enjoyable sonic journey that never ends. (JS)
Address: www.zids.net
JONAS LINDGREN – THE TENDER BOUGHS OF INNOCENCE BURN FIRST (EP MP3 + PDF)
This is latest composition from Swedish electronic musician Jonas Lingren. This
16-minute work is available for free download from the site listed below along
with a pdf of the artwork so you can make your own cd copy, complete with
cover. This is recommended as the music is very quiet for most of its duration,
and it would be best appreciated played on a stereo rather than headphones or
computer speakers. The sound sources used are recordings made in ventilation
shafts, contact mic recordings made around his apartment and a nord modular.
This could be described as a microsound composition. The volume is very low
throughout the piece. It starts out with faint scratching sounds and a very low
drone. Sort of like laying in the sand at the beach with sandcrabs crawling
around your ears. The work moves slowly and the drone starts to reveal an
almost melodic nature. Played at a normal volume this melody would go
unnoticed. Perhaps it is something meant to be felt and not heard? Either way
playing the piece at a loud volume or low volume results in almost two
different compositions. Two for the price of one and free for the downloading
makes a winner in my book. (JS)
Address: http://www.nullvoid.net/fukkgod
MAGALI BABIN – CHEMIN DE FER (CD by No Type)
Nipping at the heels of the gripping and fugue-state-inducing eclecticism of
the first No Type compilation, The Freest of Radicals, comes this incredible
debut CD release from Montreal sound artist Magali Babin. Born in 1967, Babin
combines linear yet sculptural metal-based sound pieces with a true flair for
dynamism, abstraction and otherworldliness. Although Chemin de fer is the
first appearance of material of this nature by her, she has apparently worked
with soundscapes featuring the recording of metals for more than a decade now
and, possibly as a result of this time-served honing of her skills, her utter
control of the proceedings here is totally compelling. The constructions on
this album were originally recorded for a radio show in Canada but shelved
prematurely and, it would seem perhaps, unfairly. I have to admit I expected
some element of coldness and isolation from this disc;
but warmth, confusion, playfulness and apprehension all combine in Chemin de
fer’s 50 minute journey and prove me wrong. At times, as on the opening
‘triturations’ and on ‘E’, the musical palette is of some vast, partly
steam-driven and partly clockwork organism, respiring and shuffling at the
limits of exhaustion; elsewhere, the album title is interpreted near-literally,
as with the seemingly endless electrified rolling stock effect of
‘l’entonnoir’. These are impressive, intimate soundworks that cross the
boundaries of acousmatic music, free improvisation, the pure sound of the
gamelan, and early electronic composition methods, and yet retain a
recognisable fingerprint that appears to be Babin’s alone. Let’s hope another
decade is not allowed to elapse without more from this unique talent. (BL)
Address: www.notype.com
CHARLES ATLAS – FELT COVER (CD by Static Caravan)
Charles Atlas is not one person, but a trio: Charles Wyatt (formerly of Piano
Magic), Matt Greenberg and Alexander Kort (a former student of Tony Conrad,
playing cello); they hail from San Francisco. This is their debut CD (also the
debut CD for Static Caravan). Charles Atlas are a strange crossover of many
styles: from popmusic to drone and noise, but always with a clear love of a
desperate poppy tune. Most of the ten instrumental pieces are melancholical in
tone, with keyboards, guitars and cello playing sad tunes. They know how to
create a somewhat desolate atmosphere and some of this stuff has cinema like
qualities. What else is there to say? Simplicity rules. Great CD. (FdW)
Address: www.staticcaravan.com
ALPHONSE DE MONTFROYD/NIHIL EST EXCELLENCE – DEFECT ANALYSTS (3″CDR by
Nexsound)
Another split 3″ featuring Nihil Est Excellence (see also Vital Weekly 310),
this time featuring also works by Alphonse De Montfroyd. This is the nom de
plume of Alexy Pilipenko from the Ukraine, who was before in a band with the
same name, whom I never heard but who sound gothic from the descriptions. He
offers three tracks. The first is a violin loop that is hummed away in drones.
The sound sources for the “Le Dialogue Digital’ is not be defined, but is a
dark howl, fed through or by some sound effects. Lighter tone and shorter in
length, but with the same source unknown is the third piece. Nihil est
Excellence is Andrey Kiritchencko (also from the Ukraine), and he has one piece
of laptop crackles and feedback. Apperentely he takes his sources from concrete
sounds, recorded with a microphone, but he knows well how to hide his sources.
A sturdy piece that fits with the best from the west. (FdW)
Address: <admin@nexsound.org>
ORIGAMI ARKTIKA – FANTOMLUST (CD by Ignis Projekt)
A live recording from september 2000, featuring of course Origami’s main man
Tore H. Boe, aswell as four members. The music consists of drums, voices,
flutes, zithers, bells, violins and has an overall mystic atmosphere. The
vocals chant like a folk song, but the added reverb makes them more into a
gothic affair. Despite the addition of environmental sounds and an occassional
outburst of noise here and there, I found this too much in etheral areas then
is good for me. It was recorded at St. John’s church in Gdansk, so maybe that
helped setting the atmosphere. Nice for the black and bleak, albeit not really
for me. (FdW)
Address: www.ignisprojekt.com
EVSC 1:01 (CD compilation by Expanding Records)
Missing out on a series of eleven 7″, which were released in an edition of 400
copies each, is of course a bad thing. But luckily for those who were lucky,
this CD is not a compilation of said 7″s. They have the same artists, but each
does a new piece. In general the artists featured on this CD (and thus in the
series) are makers of technoid popmusic, and probably therefore great people to
put on a 7″. Soft synths, melancholic strings and a nice rhythm that hammers
its way. Much a like the Morr Music label, with quirky melodies and sadness.
Includes at least for me a bunch of new names, like Abfahrt Hinwil, Stendec,
Vessel, Antoni Frankowski, Zorn, David Mooney and Volume, next to Benge (aka
Ben D Edwards, founder of Expanding Records) and Tennis (who get a very nice
psychedelic Jan Jelinek remix). Very nice, laidback music.
The only thing that put me off is the cover, which looked too much like a Bip
Hop rip off. But that’s a minor problem of course.
Address: www.expandingrecords.com
LIONEL MARCHETTI – SIRRUS (CD by Auscultare)
Lionel Marchetti marches on. Either in his improvisational work with Jerome
Noetinger and others or by his solo works. Sirrus is his latest release, but it
was recorded in 1989 at the age of 22. His more recent works deal with
environmental sounds, which are put together in an audio collage, but the three
pieces here are much more electronic in nature. No doubt the sound input is
from natural sounds, because of the strong interest Lionel has (had) in
recording outdoors sounds and the texts that go along here with references to
the world surrounding. As said a much more electronic sound, of oscillators and
synths being triggered by sounds, and only occassionally they arise out of the
mix. Sometimes chillingly cold sounds, but sometimes warm, Marchetti’s work are
process pieces. Sounds swirl in and out and move elegantly to the next.
Although this work is that of a young man, with some sense of naivity, this is
a fine work of gliding notes and tones. (FdW)
Address: <auscultare@aol.com>
O/R – VARIED (CD by 12K)
This is the second installment of their collaboration: america’s Richard
Chartier and *0, aka Nosei Sakata. They are both, each in their own way,
radical composers. Chartier’s work is usually very low in volume and long in
duration, Nosei is usually loud and rhythmic. Together they offer eight tracks,
which is the best of both their worlds. From low end drones, to high pitched
beeps and the looped samples of concrete sounds (like the musicbox in
‘Varied_06:48’), it’s not easy to access music. The dynamics are great, from
the soft to loud, and the ideas per track minimal, but with enough action to
keep you alert. A release that works best, I think, when played so loud that
the softest volume is heard. The smallest details are revealed in there, and
the tiny movements become apperent. The more rhythmic pieces, like the first
and the fifth, hark back to the best of Pan Sonic or Goem, with a continous
rhythm being played and the processing that takes place on top. One could
easily conclude that this is indeed a varied CD of various approaches of
microsound. (FdW)
Address: www.12k.com
JANEK SCHAEFER – PULLED UNDER (CD by AudiOh)
Janek Schaefer may not be an unknown name. As a turntablist he is responsible
for the record player with three arms, but he is also active in sound
composition, either solo or with Robert Hampson of Main fame in Comea. This new
CD is the follow up to his debut studio CD ‘Above Buildings’ (see Vital Weekly
244) and consists of work recorded live, vinyl manipulations and field
recordings. The overall atmosphere of all eight sound pieces is dark, mainly
due to the heavy use of sound effects (reverb, delay and filtering). Things
mostly rumble here, with the occassional crackle. Occassionally sounds pop up,
in the form of alienated orchestra or a drenched loop of source unknown. An
unlikely reference of Janek’s work is that Asmus Tietchens. The denseness of
the material, the sound treatments and the overall dark atmosphere make this
up. And to be compared with Asmus is not a bad thing at all. This is an
excellent work. (FdW)
Address: www.audiOh.com
HIGH TONES FOR THE WINTER FASHION (CD by Textile)
A CD that is loaded with cross workings between various improvisers from France
and Japan, Otomo Yoshihide and Otani Yasuhiro represent the land of the rising
noise and Xavier Charles and Alma Fury (being Claude Besnard and Vonick
Moccoli) France. The main piece here is formed by a live improvisation by Alma
Fury and the two Japanese gentleman, which takes up half the CD and probably
also inspired the title of the CD. A colliding cascade of sine waves tumbling
over each other. All the other, six, tracks are centered around this and are
much shorter, but they all seem to deal with, one way or the other with static,
organic hiss like sounds, and high pitched tones. I must say that I like the
shorter tracks, because of their conciseness and working towards a quick idea.
But in general, as a work of improvisation with electronics, this is a well
enjoyable CD. (FdW)
Address: textilerecords@mixmail.com
JAN JELINEK – ICE COMPOSITIONS (12″ by En/Of)
ALEJANDRA AND AERON – SCOTCH MONSTERS (LP by En/Of)
TV POW – AMERICA SAYS FAREWELL (LP by En/Of)
Three new releases in the En/Of series, packed in a gatefold sleeve, with on
one side the vinyl and on the other a piece of real art (as opposed to some
drips of paint by the musician who thinks he’s a visual artist to). For real
art prices mind you. En/Of manages to get some might nice names for his series
(I am talking music again, since the visual artists don’t mean much for me),
like for instance Jan Jelinek, whose ‘Loop Finding Jazz Records’ on ~Scape came
down nicely last year. Jan’s sound is minimalist techno, with dubby elements.
Sometimes a bit like Pole, but maybe a bit more melodic in approach or less
unidirectional. Together with this record you get one of the five different
prints by Sarah Morris, which are production stills from her film.
More interesting is the art that comes with the Alejandra and Aeron record. A
small plastic bag with a leaf and bird droppings by Henrik Hakansson. This fits
the environmental character of the Alejandra and Aeron music. Apperentely this
album deals with the polution in Scotland. Fine slices of bird sounds,
walkabouts and other pick ups from the fields are pasted together in the mighty
computer. No narratives this time, but that’s not necessary. This makes up a
nice record, again.
With TV Pow you get one of the ten different computer prints with holes by
Angela Bulloch. TV Pow are, besides a laptop trio, also three people actively
involved in Chicago’s underground improvising scene and it seems that this side
of them prevails here. Using a whole array of sound devices, from the electric
koto to the coins and laptops, they offer a record that has a wide dynamic
range: sometimes things move only at a barelly audible level for minutes, but
things may move quickly to a noise level. Luckily it never gets obnixious loud
and never stays long in that part of the dynamic range. At times, certainly on
side one, I was reminded of a digital Nurse With Wound, like Steve had acquired
a laptop. Maybe some of the older fans, who just know their CD’s so far, will
be put off by this more improvisational record, I sure like it. (FdW)
Address: www.bottrop-boy.com
INFANTRY (CD by Sub Rosa0
If one looks at the Infantry CD, studies the booklet and read the texts, one
might think this is a super heavy gothic affair. Child abuse in war time is the
central theme. I was ready for some militairy drumming, Wagner samples and
shouting vocals. Nothing so. Guy Harries and Meira Asher, for they are
Infantry, use a wide array on electronics, digital manipulation and recited
texts on this subject, using accounts from children who have absued during
wartime and child soldiers. Some the texts are recorded from the voice of
children and sometimes they recite it themselves. The result comes much closer
to a radioplay then to a slab of industrial music. Some of the electronic parts
are clearly inspired by clicks n cuts (less the 4/4 beats), but with a drifting
synthetic sound. But still not really a pleasent release to hear, because the
subject is too heavy, executed with much more depth then any industrialist
could do. Apperentely there is also a performance of this, which must be a
must-see. Not entertaining, but essential. A political human statement. (FdW)
Address: www.subrosa.net
WIPEOUT – ATHEMS FOR THE UNDERACHIEVERS (CD by Angelika Koehlermann)
Wipeout are an Austrian quartet, including members of Fuckhead and Monochrome
Bleu. They are all about electronic popmusic. Electro-rhythms, cheesy synth
sounds and likewise cheesy vocals. Most of the times with half catchy melodies
that not stick in the mind in the right away, but after a repeated listen sound
familiar. Although the music is loaded with the hisory of 80 synthi pop, it’s
especially the vocals that reminded me of the Pet Shop Boys (that is most of
the tracks, not in ‘Thrift’ and ‘Soul On Kerosine’ for instance). There is a no
direct sing a long classic in this collection of eleven, but I don’t think I
will surprised if Wipeout hit the charts one day. (FdW)
Address: www.mdos.at
WILT – WHITE CHRYSALIS IN BLUE (CDR by Mystery Sea)
According to the label, Wilt (aka James P. Keeler) is a name who is on
everybody’s lips these days, at least everybody in the field of
experimental/dark ambient noise. Probably I am lurking in the wrong fields
then, because I never heard of Wilt, nor of other projects by Keeler (well, I
know another Keeler, but that was somebody different). Dark it is indeed. It
sounds most of the times as a slowed down tunes from guitars, synths or maybe
just the eerie hum of a loudspeaker. In general very nice stuff, but in the end
a bit long for the limited amount of ideas, Wilt has out in it. Around track
eight, I began to wonder if I put the CD on repeat and had started again. When
it would be just 40 minutes, I think this would have been a very nice release;
now it’s a bit over long. (FdW)
Address: http://home.planetinternet.be/~chalkdc