MONOS – NIGHTFALL SUNSHINE (CD by Die Stadt)
LUV ROKAMBO – DO THE GLIMPSE (CDR by Public Eyeshore)
MS. JOHN SODA – NO P. OR D. (CD by Morr Music)
MS. JOHN SODA – DROP=SCENE (CDEP by Morr Music)
MASON JONES – THE CRYSTALLINE WORLD OF MEMORY (CDR by Public Eyeshore)
BRAIN – BRAIN (CDR by Alluvial Recordings)
CHRISTOPH GALLIO – MOSIOBLO: A ROBERT FILLIOU (CD by Percaso)
BRIAN AGRO – Poems and Preludes (CD on Percaso)
ASMUS TIETCHENS – LEUCHTIDIOTEN (10″ by Die Stadt)
EARTHTRUMPET – ROMAN (2xCDR by Beta Lactam)
HOLLYDRIFT – THIS WAY TO ESCAPE (CDR by Public Eyeshore)
WALDO RIEDL & JENS BRAND – ON (CDR by Generator)
ANDREW LILES – AN UN WORLD (CD by Infraction)
PHILL NIBLOCK – A YOUNG PERSONS GUIDE TO PHILL NIBLOCK (2CD by
Experimental Intermedia)
A/H – KASVU (Cd by Some Place Else)
REPTILJAN – REPTILJAN (Cd by Some Place Else)
NIKO SKORPIO – STAINWAY TO HEAVEN (Cd by Some Place Else)
DIETER MUH – EPONYMOUS (CDR by Naninani Recordings)
DAVID DUNN – FOUR ELECTROACOUSTIC COMPOSITIONS (CD by Pogus)
JOHN HUDAK – FROM WHERE I AM (CD-R by Bake Records)
ANDREW DUKE – MORE DESTRUCTIVE THAN ORGANIZED (CD-R by Bake Records)
KRIIPIS TULO – UJUJA (CDR by Kolka Music)
OLO OLO – NORMA (CDR by Kolka Music)
DAVID JACKMAN – TERRAIN/ADRIFT (10″ by Die Stadt)
MONOS – NIGHTFALL SUNSHINE (CD by Die Stadt)
Monos is the work of Darren Tate and Colin Potter. Both have a long
standing reputation in the British underground music scene, either
their own work, collaborations (with Andrew Chalk or Jonathan
Colclough) or groups as Ora. Despite the fact that their work has
many disguises, the love of drone music prevails. So with Monos.
However Monos is a little bit different from say Ora, because many of
the sounds they use seem to originate from field recordings, which
are either processed or saucered with electronics. Needles to say
that these tracks are not really the standard popsongs length.
‘Intro’ is the eight minute opening piece… with eerie electronics
against a throbbing pulsating synth. All pieces have these kind of
lengths. Things evolve slowly within each track, everything gets
their own place in the soundpicture. Field recordings to be
recognized are water washes, cars passing and wind blowing in the
microphone, such as ‘In The Wood’. The musical element is the
electronics which transform the sounds. Only in ‘Sunrise’ one clearly
recognizes a tinkling piano and I must say I found that track a bit
too much of a cliche, really. It’s where this kind of music sparks
off into new age territory, and that doesn’t seem to a right thing.
The whole album reads like a nocturnal forest journey, until at
morning the sun comes up. So apart from the kitschy ‘Sunrise’, a very
well done CD. (FdW)
Address: www.diestadtmusik.de
LUV ROKAMBO – DO THE GLIMPSE (CDR by Public Eyeshore)
Luv Rokambo are two Japanese blokes: Toru Yoneyama on electric
guitar, keyboard, toys and vocals and Osam Kato on electric and
acoustic guitar, keyboard and vocal. It seems to me that the seven
tracks on this release were recorded in an one day studio jam. The
improvisations are built around the use of guitars and feedback and
the vocals. Incredible free rock music in the same vein as Mr. Haino
(err to mention one, really). Sometimes esoteric singing and the
guitars playing chordless strumming sounds, sometimes upfront violent
and noisy. It’s well thought out music, played with care and
precision, made with love. Even when this sort of thing is not
entirely my tea. (FdW)
Address: www.sinkhole.net/pehome
MS. JOHN SODA – NO P. OR D. (CD by Morr Music)
MS. JOHN SODA – DROP=SCENE (CDEP by Morr Music)
More popmusic on Morr Music. Ms John Soda is a duo, I pressume from
Germany and guessing further Stefanie Bohm doing the vocals and Micha
Acher doing the instruments. It seems to me that Morr Music is
expecting a lot from this band as they release a full length (37
minutes, that is full length according to old popmusic standards) and
a four track EP. Ms. John Soda are about popmusic, and even more the
real thing, played in Morr Music style. Melancholica play an
important role in this music. Simple tunes, usually pretty down
tempo, and the good to follow vocals. Prize winning track is ‘Go
Check’ which is really and odd ball but with a distorted guitar
lines, uptempo beats and Ms Bohm delivering the vocals in a great new
wave style. An alternative hit all over. The four track CDEP is a
pretaster for their album. The CDEP opens with the piece ‘Go Check’
(so I’m not the only one who sees this to be a hit). The next two
tracks are much more melancholic and dramatic, slower. One is even a
piano solo piece. The fourth piece is a remix by Jersey (aka Max
Punktezahl and Florian Zimmer) and is also more dramatic and
melancholic, despite the sunny rhythm part. Upon hearing ‘Go Check’ I
think they could do well as a indie new wave group with modern day
electronics, the other three pieces are nice but do not set them
apart from what else happens in those directions (Lali Puna). (FdW)
Address: www.morrmusic.com
MASON JONES – THE CRYSTALLINE WORLD OF MEMORY (CDR by Public Eyeshore)
Mason Jones is of course the big man behind Charnel House, the label,
Subarachnoid Space, the space rock band, earlier of Trance, his solo
guitar band and god knows what else I don’t know. A busy guy so to
say. On this CDR he offers us nine improvisations for solo guitar,
recorded direct to DAT. Mason has of course a whole bunch of those
nice little effect boxes to feed his guitar sound through, before it
reaches the heads of the recording machines. It means that at times,
you don’t recognize them as just a solo guitar, but at times it seems
a whole bunch of guitars. In these improvisations, things work best
when Mason plays a simple tune, which is then put in repetition mood
by using delay, chorus and what have you. Here one is reminded of his
guitar work for Subarachnoid Space, but then with the guitar lifted
from the band sound and the music sounds like sketches for new band
pieces, such as in ‘Snow In The Morning’ and ‘The Last Remembered
Moment’. The music don’t work very well, when he plays prepared
guitar, such as in ‘The Difficult Life of The Interstellar Loner’, in
which places objects on the strings and adds delay to the sound. That
piece doesn’t seem to go anywhere. Overall, however, the other
pieces prevail and thus a nice release. (FdW)
Address: www.sinkhole.net/pehome
BRAIN – BRAIN (CDR by Alluvial Recordings)
The information you get when you buy this release is kinda really
nothing. You are learned that the band is called ‘Brain’ and the
catalogue number is a13 and it’s a release by Alluvial (there is a
small catalogue inside) and that’s it. I can report that Brain is one
Brian Hanson out of Salt Lake City, who has been working as Brain
since 1991, releasing three ultra limited CDRs, ‘brain’, ‘errata’ and
‘livebrain’. This release on Alluvial is a re-issue of the first one.
I really have no idea why his output is so small over the course of
eleven years, but what is presented on this release is quite
interesting. Brain’s music is kinda like an electronic Hafler Trio,
spiced with Zoviet*France electronics and a whole string of other
ambient industrialists (Illusion Of Safety is another name that
springs to mind). Although this work is indexed with 34 marks, it
hears like one long work. Shimmering tones, abstract layers of sound,
mostly dense, but very refined in playing. It easily meets the best
work of the three names I mentioned to compare it with. A much
ignored release that gets better everytime I play it. (FdW)
Address: <alluvial@hotmail.com>
CHRISTOPH GALLIO – MOSIOBLO: A ROBERT FILLIOU (CD by Percaso)
BRIAN AGRO – Poems and Preludes (CD on Percaso)
Gallio is a self-taught saxplayer and composer from Switzerland.
Since 1977 he played with
Irene Schweizer, Urs Voerkel, Stephan Wittwer, Peter Kowald, Charles,
Bern Nix, Michael Lytle, Kalle Laar, Robert Dick, Werner L¸di, Urs
Blchlinger, Fred Frith, Phil Minton, John Russel, Chie Mukai,
Takashi Kazamaki, Samm Bennett, a.o.
In 1986 he started the Percaso-label. On many of these releases
Gallio himself is present as a solo artist, in a duo or as a member
of an ensemble like Day & Taxi. With this group Gallio makes his own
mixture of modern new music and impro.
This also defines the music of his new cd ‘Msibl’. On many pieces
the esthetic comes close to the music of Lindsay Cooper, Dagmar
Krause, or Art Bears and the like. In other words it expresses a
post-Eisler and Weil kind of style. In other pieces this is
definitely not the case. They are more abstract, free and improvised.
All 36 pieces have in common that they are very short: going from
0:18 seconds to about 3 minutes. Together these miniatures form a
suite. Gallio was inspired by texts of Fluxus artist Robert Filliou
and composed this suite as a hommage to this french-born artist who
died in 1987.
A quote from the liner notes: ‘But at the moment Gallio uses
Filliou’s texts, that is, concrete material, Gallio produces concrete
references. Where references are produced, so is distance, which
allows him, on the one had, to compose around the texts and even
more, to compose with the texts. On the other hand, he can integrate
the resulting art songs in a larger frame, e.g. in a suite”. It’s
performed by Sarah Maurer (mezzo_soprano) Marino Pliakas (guitar)
Thomas Eckert (Bb & bass clarinet), Christoph Gallio (soprano & alto
sax) and Peter Scharti (trumpet, flugelhorn)
Brain Agro’s has in common with the ‘Msibl’-cd that it is a
collection of small pieces. They do not form one whole however, every
piece speaks for itself here. This time the compositions do not refer
to Weil or Eisler. They are more close to work of Satie and Mompou,
with echos of Stravinsky, Ravel, Busoni a.o. Maybe Agro has a special
interest in European music from early 20th century….? But be sure,
not for Schnberg and what followed.
So no heavy avant garde here, but absolutely no cheap neoclassical
romantic stuff either. But neoclassical music it is! Each piece is
like a painting that clearly and effectively expresses an idea, mood,
etc. The music is very lyric and poetic. Not superficial.
Brian Agro is the composer. He is a Canadian-born composer and
pianist who lives in Berlin.
The compositions are beautifully played by Tomas Bchli (piano). In
1989 Percaso released Agro’s debut: ‘A Hole in the Ice’. It’s not the
music you expect nowadays from a ‘serious’ composer. Also it is not
the music that Vital-readers attracts I suppose. But I hope that Agro
continues to follow his path (DM).
Address: http://www.elephantchateau.ch/percaso
ASMUS TIETCHENS – LEUCHTIDIOTEN (10″ by Die Stadt)
>From the various sessions Asmus Tietchens for his new series of CDs
for Ritornell (aparentely a third one was just released), he arrived
with two pieces that really didn’t fit the CD ‘Alphamenge’ or
‘Betamenge’ (I can’t discuss wether they would have fit the new
‘Gammamenge’). If one was in doubt about Tietchens recent change to
the world of microsound, they should tap into this record. ‘Tot 5’
(‘tot’ meaning ‘death’) is a very uptempo piece of very rhythmic
synthesizer sounds, along the analogue lines of Pan Sonic or Goem.
Interrupted by what seems feedback sounds, which act as a break, this
is nerving and unsettling piece, that is indeed an odd ball in
Tietchens’ work. The b-side has ‘Tot 3’ and is much slower, built
around a stripped down rhythmtrack that acts in a minimal way. The
built up is like a long fade out really, stripping the rhythm track
down and further down. Here too, we can’t speak of a typical
Tietchens piece of the recent years, but it’s more something he did
in the late eighties on for instance ‘Stupor Mundi’ (and Die Stadt
announces that this LP and 16 other LPs by Asmus will be released on
CD, including bonus material; that is great news!). (FdW)
Address: www.diestadtmusik.de
EARTHTRUMPET – ROMAN (2xCDR by Beta Lactam)
A strange and fascinating release here by Earthtrumpet, aka L.
Coleman. I have no idea who he is or what else he did, but the four
pieces on this CDR are one long blend of acoustic instruments playing
with and/or against eachother, almost like a small orchestra playing.
I am not sure if Coleman played all these instruments himself, or if
he sampled them, had others play them. Stylewise he’s in the field of
serious composing, a bit like Xenakis. Everything is upfront in the
mix, making this is a loud piece with some quieter moments. Played in
a free mood, but I wouldn’t be too surprised to find out that the
compositions were scored from beginning to end. The organs provide a
droning backdrop, over which string instruments and percussion add
their play. Strange and fascinating indeed. With some 24 minutes of
playing time really too short. On the second CDR one finds a short
quicktime movie of cut up sound (maybe from the music CD that is part
of it? I don’t know) and tribalistic images. (FdW)
Address: www.blrrecords.com
HOLLYDRIFT – THIS WAY TO ESCAPE (CDR by Public Eyeshore)
Hollydrift are apperentely from Wisconsin and is one Mathias
Anderson. I have listened a couple of times to his release, because
it’s hard kinda hard to figure what he wants. He plays around with
keyboards, drones, samples, all in a loop mode, sauced and spiced
with treated vocal samples. So far so good, nothing new really. But
the resultant pieces jump up around, into every corner of the musical
spectrum (well, almost), but nowhere Hollydrift gets something of his
own. Some of his plunderphonic pieces are interesting, but in general
it stays too far away to do make it an full, enjoyable experience.
Sorry. (FdW)
Address: www.sinkhole.net/pehome
WALDO RIEDL & JENS BRAND – ON (CDR by Generator)
These two names may mean nothing to you, at least not very much to
me. A computer voice explains what we are about to hear. Thirteen
mini fans play six guitars, one soprano banjo, three mandolines and
one violin. The piece usually last three to four hours, depending on
the batteries used. This CD has two mono versions, one in the right
channel and one in the left channel.
Then comes the piece itself. It’s a good 40 minute of droning sounds.
The mini fans operate full on the strings and slowly they built the
piece, adding more and more overtones. Rich, spacious sounds, layer
upon layer, these tones evolve slowly. Kinda like a mechanical Glenn
Branca, or, but hey who remembers him?, Remko Scha and his guitar
machines. Although this is really a nice piece, there is absolutely
nothing new under the sun. The idea to seperate both channels is not
really new either. Music like this dates back to the sixties, right
from the start of minimalism. Even, when as said, this is a nice
piece, I’d prefer that Niblock re-issue that Pogus just released.
(FdW)
Address: www.generatorsoundart.org
ANDREW LILES – AN UN WORLD (CD by Infraction)
Recording since the mid 80s, having released many CDrs, paid finally
off in releasing a real CD in 2002. Andrew Liles works with
environmental sounds, processed through sampling and computers. He
does this in a very subtle way. Short samples of instruments are set
against long environmental recordings, but it’s hard to define what
these recordings are. It’s not really important. Liles plays his
stuff at a most modest level, but it’s filled with rich textures,
played with great detail. In general his music is more ambient then
musique concrete, certainly towards the end of the CD when ringing
tones take over. The electronics used are mostly sine waves, but they
too act on a low level. Liles plays unearthly music, using very down
to earth sounds. He takes his inspiration as much from The Hafler
Trio then of any electronic minimalist, like Oliverios or Radigue.
Maybe too ambient to be in the same group of people as Gunther or
Meelkop, but certainly too experimental for any downright ambient
heads. (FdW)
Address: www.riouxs.com
PHILL NIBLOCK – A YOUNG PERSONS GUIDE TO PHILL NIBLOCK (2CD by
Experimental Intermedia)
This is a much welcomes re-issue of a CD that has been out of print
for a while. And that CD was already a re-issue of stuff that was
also hard to get. Back when this CD was originally released,
minimalism and isolationism topped the charts (well, hardly, but
there was interest at least) and an introduction to the work of PhiLl
Niblock seemed necessary. PhiLl Niblock belongs to the old wave of
minimal composers and has been one of the few that stayed close to
the original ideas. PhiLl records instruments, say a flute, and then
builts a piece by layering the flute (less the breathing) in various
pitches on the multitrack. On this CD you’ll find two pieces that
Niblock did with trombones (and which were released in the late
seventies as a LP), didjeridoos, flutes, saxophone and a sousaphone.
Maybe you’ll find these some of these instruments as boring as I do,
but treated in the hands of Niblock, they become a rich pattern of
sound, with tons and tons of overtones. If you are unfamiliar with
his work, then this CD might serve as a good introduction. Glad it’s
out again. (FdW)
Address: www.xirecords.org
A/H – KASVU (Cd by Some Place Else)
REPTILJAN – REPTILJAN (Cd by Some Place Else)
NIKO SKORPIO – STAINWAY TO HEAVEN (Cd by Some Place Else)
Some Place Else is a Finnish label concentrating on a strange and
quite mind-altering type of electronic music. Three CD’s with
approximately 20 minutes running time on each represent a nice
introduction to three different artists of the label. First album is
titled Kasvu and comes from Finnish artist A/H who is an interesting
newcomer of the microwave-scene. A/H works in a musical sphere not
far away from Pan Sonic and Vladislav Delay. Minimal compositions
often built on discreet beat pulses suppressed by electronic sound
sheets moving from abrasive noise outbursts to more gentle low
frequent soundscapes reminiscent of earliest Autechre. Reptiljan
transforms waveforms of digital noise into compelling swarms of
grizzling clicks on his self-titled CD. Pushing noise drones are
infiltrated into some bizarre melody lines sounding more alienated
than catchy. An interesting cocktail of melody and abstraction that
could well be the Free Jazz soundtrack for some futuristic sci-fi
flick. Associations first of all point towards Pan Sonic and Ryoji
Ikeda. Niko Skorpio’s “Stainway to heaven” is another strange beast.
Slow-motioned voices moving backwards create a feeling of drowsiness
further strengthened by slow backward moving music samples and
subdued buzz drones. Almost ritual in its expression, “Stainway to
heaven” is a fascinating listening experience though the strange
musical style probably won’t fall into everyone’s taste. Three albums
understating that Some Place Else certainly is a label worth
watching. (NMP)
Address: www.someplaceelse.net
DIETER MUH – EPONYMOUS (CDR by Naninani Recordings)
One would think that Dieter Muh is just a guy with a funny name, but
it’s not. I believe they are a duo or trio from the UK. Also, they
have been around for sometime now, with a couple of small scale
releases some years back. After that things became quiet and they
seem to have vanished. But Dieter Muh is back. The pieces on this
release are not very recent ones, they were all recorded in 1998. The
easiest way to describe Dieter Muh is by labelling them as ‘ambient
industrialists’, but that wouldn’t entirely justify them. They
operate in a lofi sampling way, lifting samples from probably other
people’s work, and creating their own dense and dark tapestries of
sound. Because of their humble recording methods, the sounds remain
kinda obscured, but that is something, I believe, that will appeal to
the lovers of such ambient industrial ethics. The final piece is a
remix of Dieter Muh soundmaterial by one Cedric Lerouley, who uses
probably more updated sound techniques, but if you wouldn’t know
would sound like another Dieter Muh piece, but then recorded better.
All in all in a nice release, without anything dramatic new. (FdW)
Address: <naninanicorp@free.fr>
DAVID DUNN – FOUR ELECTROACOUSTIC COMPOSITIONS (CD by Pogus)
Most people will associate the name David Dunn with his soundscape
work, having released some excellent CDs of field recordings, such as
‘The Lion In Which The Spirits Of The Royal Ancestors’, which he
self-released a couple of years back. Dunn was assistant to Harry
Partch in the early seventies and performed his work later on, after
which he started to compose himself. Despite being known as a
soundscape composer, he offers four electro-acoustic pieces, the
oldest from 1986 up until one from 1999 on this CD. The opening piece
‘…with zitterings of flight released (in memoriam Kenneth Gaburo)”
was composed with a large analogue synthesizer called the Vidium MK
II. Hectic, nervous sounds jump around for the entire duration of the
piece. The oldest piece is ‘Simulation 1: (Sonic Mirror)’, which was
‘conceived as a stationary cybernetic sound scuplture capable of
processing acoustic data within an outdoor environment’. Here the
scuplture is fed sounds from Cuyamaca Mountains of California and
traces them into sound events. Here too we hear a nervous rendering
going along with what seems analogue and random bleeps. The source
material is hard to be recognized, if at all. ‘Wildflowers’ is kinda
like a classic 20th century electro-acoustic piece, based on the
sound of air escaping the balloon. Dunn examines the nostalgia and
cliche’s of the classical pieces, with all those up and down going
sounds. In the final piece he uses a programm called Wigout by Arun
Chandra. This programm explores the time-domain synthesis algorithms,
which continuosly change. Stretched out sounds, which work nicely
along eachother, but still capture the idea of minimal music. I must
admit that not all of the CD’s music is well spent on me, especially
the first two pieces didn’t do much for me, and I believe I am more a
fan of the David Dunn – Soundscape composer. (FdW)
Address: www.pogus.com
JOHN HUDAK – FROM WHERE I AM (CD-R by Bake Records)
A very apt title for this production: the source material for this CD
was braodcast live on radio from Hudak’s house, using contact and
open-air microphones to capture the sounds from the Brooklyn-Queens
Expressway, the Brooklyn Heights Promenade, the bottom of the East
River, Lower Manhattan and the Brooklyn piers. All these sounds were
fed through a max/msp patch and then directly broadcast. It’s fairly
difficult to tell what the patch does, but the resulting sounds are
similar to soft scrapings, slightly filtered to the middle
frequencies during the first part that lasts for almost eighteen
minutes (all four parts have more or less the same length). The
second part sounds like some sort of electronic whistling, even
softer than the first part. Part three is a rhythmic part, with
subtle dynamics and an irregular emphasis. The last part consist of
high electronic shards of sound, almost like a combination of tracks
two and three. These are sounds for their own sake, uncomposed
structures, derived from a random input (the outside sounds) and a
conversion into other sounds (the patch). It makes me wonder what
would happen if Hudak were to start combining these sounds into a new
structure…….(MR)
Adress: www.staalplaat.com
ANDREW DUKE – MORE DESTRUCTIVE THAN ORGANIZED (CD-R by Bake Records)
Another title that seems apt: Duke’s three tracks on this disc are
slowly deteriorating, starting with track one called ‘Fivefour’ and
going on in track two (called ‘Threetwo’), which is basically the
same track, but desintegrating every second. Strange thing happening
in track two is the addition of a faraway piano melody on top of the
dark, hissy and pretty gloomy basis. But this is not all: voices,
churchbells and other sounds are also added in the course of this
piece. These two tracks last six minutes each. Then there is track
three, called ‘One’, with a duration of twentyfour minutes. Which
makes one wonder of course: is this a stretch of one or both of the
former pieces, or is it another piece altogether? There are
defenitely stretched voice sounds in this one, soaked in FX and the
atmosphere is much the same as in the other two tracks. And yes, the
sound is deteriorating again. To be honest, this track pretty much
escapes me: it’s long and uncomprehensible. But I might be missing
something. (MR)
Adress: www.staalplaat.com
KRIIPIS TULO – UJUJA (CDR by Kolka Music)
OLO OLO – NORMA (CDR by Kolka Music)
Behind Kriipis Tulo is guy called Teknisk and J. Pitch – hey what’s
in so many names anyway but who knows, these are regular names in
Riga? It seems to me that these boys listened closely to the work of
those who released their work on Chain Reaction. Sizzling and
crackling beats that don’t seem to match very well, but which after a
while get groovy and funky. Kinda like good ol’ Vladislav Delay
music. Although it may not be their intention, I don’t think Kriipis
Tulo would win a recording deal with Chain Reaction however. Their
music doesn’t shed a new light on what has already been said in this
music. But, as said, that might not be their intention anyway. If
not, then they have quite a nice, yet not radical new, release out
there, with some nice laidback, dubby ambient inspired techno.
On the same label there is also a solo by Teknisk whose interest lies
in using all sorts of shortwave sounds, analogue synths and bad
telephone lines. This is definetly a more industrial music inspired
then a techno induced thing. Minimal, repeating with sounds that hurt
either your stomach or your tinnitus (but never going over any top),
sound better then much of industrials better moments from a decade or
so back. Having said that, it has the same problem as the Kriipis
Tulo: it’s nice for sure, but nothing new under sun. (FdW)
Address: www.kolka-music.lv
DAVID JACKMAN – TERRAIN/ADRIFT (10″ by Die Stadt)
Works from the vaults of David Jackman, at times also known as
Organum. David released a bunch of now hard to get cassettes. Lucikly
we have the persistent skills of labels to unfold these archives (and
no doubt, we’ll be reviewing this again in Vital Weekly 873 when the
CD version comes out). In the early eighties David was involved in
releasing cassettes and Terrain is a six minute piece he recorded
with one Philip Sanderson, whose name sound familiar, but I don’t
seem to remember where I heard it. This piece, from 1980, forecasts
the later Organum sounds with rattling noises against a vague
backdrop drone. The b-side, which is just under four minutes, is
David Jackman solo and shows an early interest in using tape-loops of
stolen sound fragments (outdating plunderphonics a little bit) of
various lengths, thus creating a little melody on top of the sounds
of falling and breaking objects. A nice record if one wants to tap
into the ancient history of David Jackman – and why shouldn’t you
want to? (FdW)
Address: www.diestadtmusik.de
correction: in last weeks review of Ollin Olan’s “REC01”, the
composer is not Bruce Naumann but Max Neuhaus (thanks, Eric)