ASMUS TIETCHENS – FT+ (CD by Crouton)
JOSEPH SUCHY – CALABI.YAU (CD by Staubgold)
ANDREW CHALK & DAISUKE SUZUKI – THE DAYS AFTER (CDR by Three Poplars)
AMIR BAGHIRI – YALDA (CD by Vivo)
ANTONY & CURRENT 93 – LIVE (CD EP by Durtro)
ALEPH – TASMY Z DZWIEKIEM (CDR by Simple Logic Records)
SOUND OFF 2002 (CD Compilation by Heyermears Discorbie)
SATURO WONO – SONATA FOR SINE WAVE AND WHITE NOISE (CD by Sonore)
ARCANE DEVICE – ENGINES OF MYTH (CD by ReR Megacorp)
ROEL MEELKOP – GHOST TRACKS (mp3 by Earlabs.org)
VIBRACATHEDRAL ORCHESTRA – THE QUEEN OF GUESS (CD by VHF)
FIBLA – LENT (CD by Spa.RK)
FULL SWING/SI-CUT.DB – RECIPROCESS +/VS. VOLUME TWO (CD by Bip Hop/Fallt)
ANAKRID – REALITY IS ELITIST (CD)
PHILOSOPHY MAJOR – HYPNEROTOMACHIA (CD by Wordsound)
CORNUCOPIA – MEZCLA CUERPO MISTERIOS Y RUMORES (3″CDR by Zeromoon)
ELLENDE – THE PROOF IS IN THE PUDDING (3″CDR by Zeromoon)
OTOMO YOSHIHIDE/DJ MAO/SACHIKO M/LENGOW & HEYERMEARS – WARHOLES (CD by Heyermears Discorbie)
ETERNAL ICE – SKYA (CDR)
PRINCIPLE OF SILENCE – LIVE (Self Produced CD)
ASMUS TIETCHENS – FT+ (CD by Crouton)
Asmus Tietchens has taken the already obtuse compositional structures laid out in Crouton’s ‘Folktales’ series and recycled their spare parts. On C. Rosenau’s ‘Two Ice Fields of the Exact Same Size’ an almost literal interpretation of that visual is segregated by the sound of surgical separation. The noise begets a search, a scraping away at the surface that appears at once to be an electronic dental pick or a free-improv digital search. ‘Three Days from Anywhere’ is a muffled, smothered memory. Its as though Tietchens has taken Hal Rammel’s piece and submitted it through a rugged set of tests, it’s the very physical process that we hear. John Kannenberg’s ‘Lave’ is treated with ancient electronic sensors and static devices. The ebb of pitch bathes the ear in mysterious patterns. Fading momentarily and suddenly there appears to be the containment of a gasping power entity. The orchestral overture to Jon Mueller’s ‘How I Learned To Breathe’ seems wider, spacial and more enigmatic than its original form. Boston-based Bhob Rainey’s ‘Sweet Sonk’ is just inches from fingernails on a chalkboard. This fleeting and eerie piece uses high pitched tones in a Hitchcockian manner. Tietchens takes on Achim Wollscheid’s ‘X-excerpt’ as a creeping storm breaks. The hum blends in and out of the sheer caustic fidget of peculiar noises. Lending to its scale the image of frequency, distance and space intentionally appear to fool the listener. In ‘20012002’ the original Dan Warburton track is opened like a can. This is mostly ambient but Tietchens seems to meander around the laid out percussive squeaks and momentary outbursts. This is in orbit for sure. Adam Sonderberg’s ‘I Just Want to Make Sure’ deconstructs the notion that remixing the original will make for a complete inverse of itself. This is Tietchen’s passion play, like a field of electricity set free, but with a unruffled conductor at the helm. Closing ceremonies with a strung out version of Kevin Shea’s ‘Among the Ash-Heaps and Millionaires’ the toys are out of the box. This is a purely playful manipulation of rounded noise and discovery. Tietchens continues to amaze his audience by collaborating with the latest generation of sound contortionists, and by showing them that sound has no punctuation. (TJN)
Address: http://www.croutonmusic.com/
JOSEPH SUCHY – CALABI.YAU (CD by Staubgold)
This is the true successor to Entskidoo (see Vital Weekly 316). Joseph Suchy, co-founder of the label Grob, collaborator with David Grubbs, Ekkehard Ehlers, FX Randomiz aswell as others, might still not be a household name, and that is something to regret. Like ‘Entskidoo’, Suchy displays his various talents on the guitar, going in all sorts of directions. Almost towards ambient in ‘Moo-Ay’ and ‘By-Baa’ towards improvised playing in ‘Soan-Ne’. But all of these pieces are recorded in a multi-track studio, so all of them have been post produced, so the noisy edges are removed from the noisy pieces and an improvised piece like ‘Soan-Ne’ is more then just an improvised piece, it’s an entire recycling of a recording of improvised playing. The addition of percussive elements make some pieces almost into buddhist meditation music – small bells, rattles which seem to be started by the wind. This album is in all its diversity a very strong, homogeneous work. (FdW)
Address: http://www.staubgold.com
ANDREW CHALK & DAISUKE SUZUKI – THE DAYS AFTER (CDR by Three Poplars)
I’m not sure if I have good or bad news regarding this release. The bad news is that this CDR is limited to 150 copies and that it’s almost sold out (if not sold out already). The good news is that Three Poplars will release a LP version of this later this year. Andrew Chalk you know of course, from his solo work, from Mirror, from involvement with Ora and Monos. Suzuki may be lesser known, but he is a regular contributor of sound to Ora. It’s hardly a surprise that this new work is in similar territory as Mirror, Ora and Monos: deep organic drone based music. But there is also a difference to be noted. Especially the first piece, ‘Kasuri’, is much more abstract then the more regular and closed drone music of Mirror et al. Piano notes are played, seemingely random and as the piece progresses, the plucking of strings come in. In the background we hear strange field recordings and the bowing of more strings. A meditative piece. ‘Flaxen’, the other piece here, is more Mirror like, with more bowed sounds, insect sounds and more remote sounding field recordings (maybe walking sounds, whistling, agricultural machines? who knows?). ‘Flaxen’ is the more distant of the two pieces. Both pieces are simply beautiful, but maybe I’m not the most objective person to write about this music – I’m a diehard sucker for this! (FdW)
Address: http://www.diestadtmusik.de
AMIR BAGHIRI – YALDA (CD by Vivo)
Barking beasts are the beats along with some fine tribal drumming on ‘Daygan’, the opening track of ‘Yalda’. Once again Amir Baghiri has chronicled a lush wilderness, a place where fear and warmth coexist. Field recordings from Asia and North Africa include lively howls, morning rain and sounds of industry. The title track makes eerie references to lost tribes, the ghosts of forgone civilizations. The sound is cinemascope-wide following curvaceous dunes with an open air atmosphere. The recording has a pristine production that focuses on the elements, especially water in many forms. ‘Illanout’ is the morning after a sobbing storm, that picks up with lively African rhythms and ample beats. There is a natural sound here, it is less an electronic record – more of an emergence for Baghiri where field recordings and nodes/wires meet and meld. This makes a fine case for what ‘world music’ should be. ‘Cross-Dressing’ starts silently and builds furiously into a snake-charmed whirl of dust and rattle. The percussion is truly evocative of some supreme tonal language that is a complete body hypnotism, and then it suddenly falls silent and changes the pace. Over and over Baghiri plays this mystical dance with our ears, tracks with beginnings, climaxes and sudden or slow endings as heard again on ‘Azar’. None of the tracks here copycat each other though his formula is repetitive, albeit an alluring one, in a way that keeps you wanting more. (TJN)
Address: http://www.vivo.pl/
ANTONY & CURRENT 93 – LIVE (CD EP by Durtro)
Antony’s free-range voice trills back in time, to a place before Brian Ferry and Tom Waits animated our landscape with quirky vocalese. In these six tracks, recorded live in London’s Olave Church in ’02, Current 93 create a gazebo-shaped pillar atop which the lovely ‘infant spirited’ voice of Antony reigns supreme. ‘You Stand Above Me’ is a quick and lovely piano vignette – telling the tale of time running its path. Death becomes this impassioned singer. In what literally brings shivers to the spine, ‘The Lake’ reflects its nature in a surrounding narrative about infant spirits and terrors of the tallest trees. It’s almost a tearjerker – but more so in the Edward Goreyesque milieu than in our modern day of efficiency – with a full on excerpt from the Poe poem of the same name. Running at just over seventeen minutes this recording is just a momentary excerpt of the effortless power in the heartache-impaired collaboration that brings these two intriguing artists together on a single disc. However this is not a collaboration – this is just a glimpse into the full concert which had these artists playing separate shows. The pain is esoteric on ‘Cripple and The Starfish’ where flowing charades are digested and brutally revealing in lyrics like ‘Cut off my finger and it will grow back like a starfish’. When Antony sings ‘I’m very happy’ it sounds like he’s on the verge of a nervous breakdown rather than a blushing bride. The metaphors are deeply dark and twisted. Maxim Moston’s violin is a melancholy weep wagon, swallowed in its height of pitiful loneliness and eerie beauty. Then comes the voice of David Tibet, a spoken word, storyteller, speaking of ‘what monsters we’ve become’. Current 93 takes the helm on the ship called ‘Judas As Black Moth’ – a disembodied requiem. And, just when you may have had a break from the swelling melodrama Tibet builds his wicked wisp into a fully masted wale on ‘Sleep Has His Home’ where he chants ‘overwhelm me, overwhelm me’. This is pure extacy and one of the strongest vocal efforts I have heard from this man whose voice normally rides between irritation and swelling disgust. Here he breaks through with a much deeper furor that is long on passionate illumination. The closer ‘Walking Like Shadow’ is a bit more on the folkier side and is more reflective of traditional sounds heard from their former sides. This must have been quite a night. (TJN)
Address: http://www.durtro.com/
ALEPH – TASMY Z DZWIEKIEM (CDR by Simple Logic Records)
Poland’s Aleph has released a spiritually enlightened limited edition CDR (only 100) that is a dark ambient masterpiece. There are flashbacks to ‘Logan’s Run’ – remember ‘carousel’? Its an original long player with some real quirky potential applications. The garbled electronics are filtered, thrashed, but never just plain old white noise, think more something along the lines of an alien invasion and eventual domination. Tape loops are smoothly cut-up and re-assembled into a persuasive soundtrack. This is subliminal mind control, or artificial intelligence. There are no immediate references, aside from obtuse motors and engines, that would refer the listener to known, found sound. Aleph have developed an atonal body of complex noise that will chill and keep your bloodshot eyes wide open. (TJN)
Address: http://www.simlog.republika.pl/
SOUND OFF 2002 (CD Compilation by Heyermears Discorbie)
Do young people know what a typewriter is? I fear not. I fear it starts to disappear from the memory. But to me a typewriter was a most cherible thing, partly because my handwriting sucks and partly because I liked the sound. As a fifteen year old, I recorded the sound of me typing on my father’s typewriter on a reel-to-reel recorder (another piece of ancient technology) and slowed down the sounds. So, I am quite surprised to get this compilation filled with all sorts of typewriter sounds and music made with typewriters, plus visual only contributions (kinda like mail-art). There are really ancient typewriters to be heard here, such as in the piece by Gen Ken Montgomery (with that bell sound when one reaches the end of the line), but also electrical typewriters (Paul Panhuysen and The Lazy Anarchists) and the addition of other sounds, and in those examples reaching for sound poetry such as Jozef Cseres or even with no typewriter sounds at all – Brandon Labelle playing the piano, notes A to F, corresponding to some written text. It’s good to have such a piece, admist this sometimes rather noisy work. With other musical contributions by people like Al Margolis, Carl Stone, én, Peter Strickland (of Sonic Catering Band fame) and others, this is quite a nice conceptual and thematic compilation. (FdW)
Address: http://www.k2ic.sk/Hermes/hermes.html
SATURO WONO – SONATA FOR SINE WAVE AND WHITE NOISE (CD by Sonore)
The former French, now Japanese based label Sonore keeps coming up with interesting Japanese artists that at least I never heard of. Satoru Wono for instance is a composer, producer, DJ and writer. As far as I know his albums are quite conceptual. Previously he did a CD on vinyl scratching or a conceptual string quartet one. The title of this new work is quite self-explanatory: he uses just sine waves and white noise. Unlike Elio Martusciello’s CD in similar territory (see last week), Wono actually composes songs (or maybe I should say, pieces or compositions) with these two simple things. Sine waves have no harmonics and white noise eats all the frequencies, yet Wono actually knows how to built a nice composition out of it. Although it’s not easy not to compare Wono with somebody like Ryoji Ikeda, Wono’s output is not as conceptual as Ikeda’s. Only in the final piece, ‘Variation In A’, some of Ikeda’s austere use of sine waves can be traced back. But I believe it’s Wono act to actually compose a nice piece of music. in ‘Divertimento’ (all pieces are named after classical terms of music) he tries to do a drum & bass piece, in ‘Adagio’ things are rather contemplative and so on. Wono tries out various styles of music, mostly techno related, in his various sine wave/white noise excursions. The endresult is a varied CD that finds its origins in a simple starting point, but that is executed with great care, humor and is ultimately just a damm good CD. (FdW)
Address: http://www.sonore.com
ARCANE DEVICE – ENGINES OF MYTH (CD by ReR Megacorp)
The no input mixer has gone off with big flight (think 87 Central, Marco Cicilliani or Toshimaru Nakamura), but using feedback (as that is what no input mixers deliver, no matter who you hook the mixer up) is of course something that dates back to an earlier date. Whitehouse’s pain music dwelled solely on feedback but was mainly derived, certainly in the old days of microphones and microphones. ‘Engines Of Myth’ by Arcane Device was released in 1988 as a LP. Strangely enough on a label that wasn’t really known for electronic music, namely ReR Megacorp. Arcane Device, aka David Myers, used mixers and some effect machines to do his improvisations, which were cut directly to tape. That LP (released as Arcane Device 1) and a double 7″ that was released as Arcane Device 3 (if I remember correctly Arcane Device 2 was a split CD with PGR) are now available on one CD. On the eleven cuts of the LP we hear Arcane Device when it started out: raw and fresh feedback improvisations. Tracks are never too long and shift all over the place, from more aggressive outings to a more contemplative sound. This album is dedicated to Tod Dockstader and that is a logical thing: like Tod, David Myers has a fresh approach towards both electronic music aswell as improvised music and maybe regards his style as not entirely to the rules set out by either electronic music or improvised music, but certainly captured his own style right from the start. In ‘Studio-Front’, the a-side of the double 7″, the feedback sounds even leans towards popmusic via an ongoing use of rhythm pulses. In many respects times ahead. Maybe less refined that his later releases, such as ‘Also Sprach Zarathustra’ or ‘Envoi In Cumin’, but truely fresh in spirit, even after fifteen years. (FdW)
Address: http://www.rermegacorp.com
ROEL MEELKOP – GHOST TRACKS (mp3 by Earlabs.org)
The name Roel Meelkop should be a familiar one to readers of this newsletter. Meelkop has amassed a large body of work since the early 80s, working with the legendary Thu20, with his solo work under the moniker of Mailcop (his tapes “Music for Loud Parties” being a personal favorite of mine) and up to this day with Kapotte Muziek and Goem. On this new release on earlabs.org Meelkop presents a series of short pieces that were composed for International Film Festival Rotterdam, to be played unannounced before and after screenings of films. This is very effective music for such an environment and I can imagine how it would work with the audience chatter and comings & goings. Drones, rumbles, shifting spikes of noise are all joined together with quieter passages, precisely arranged in a convincing manner. The sudden changes of timbre and volume levels would startle some, and those alert members in the audience would focus intently and dig out the quieter moments, separating them from the clatter around them. Ghost 6 & 7 are the standouts with their rapid shifts in mood and almost tape splice jump cuts. So make some popcorn, download these mp3s and enjoy the show. (JS) Address: http://www.earlabs.org
VIBRACATHEDRAL ORCHESTRA – THE QUEEN OF GUESS (CD by VHF)
The strange thing is that I never seemed to have written a review on the Vibracathedral Orchestra – maybe it doesn’t strike you as odd, but for me it’s kinda odd, as I like their releases very much and have quite an amount of them. The Orchestra, with members such as Julian Bradley and Neil Campbell (their solo works should be heard too!), is a free floating music thing, kinda a long the lines of Jackie O Motherfucker. In a very very lo-fi setting they play music that evolves around drones played on cheap organs and e-bows on guitars. Drums and percussion fill up the music and occassionally there are violins or saxophones. All of this music is generated via improvisation and tracks are simply the best jams they did around a theme. Sometimes the Orchestra hoovers closely to feedback like sounds, but they refuse to turn on the noise button and that’s a good thing. Maybe the Vibracathedral Orchestra plays lo-fi psychedelic music, or maybe it’s just new folk music – hey, I am never up with any of these new terms they keep inventing. I am quite a sucker for such lo-fi produced music aswell as a lover of anything drone related. This release may sound like many of their other works, and not be a giant leap forward, but it’s still excellent trip music. (FdW)
Address: http://www.vhfrecords.com
FIBLA – LENT (CD by Spa.RK)
Sometimes things are easy: Fibla is Vincent Fibla and he is the labelboss of the Spa.RK label. His full length release is also the first full length by the label. His previous releases were released by Sub Rosa/Quartermass and Cosmos. The music by Fibla fits a tradition (by now) of likewise electronic artists. Simple rhythms ticking time away, warm and melancholical chords played on keyboards. Music that is found on labels such as Morr Music, City Center Offices and Intr_Version and people like Mitchell Akiyama, Phluidbox or Autechre, but Vincent Fibla has a more laidback dubby feel to his music. Ten pleasant tracks of laidback sounds, with a fresh summer breeze to it. Nothing spectacular, nothing changing points of few on the subject matter, but nicely crafted together tunes. (FdW)
Address: http://www.sparkreleases.com
FULL SWING/SI-CUT.DB – RECIPROCESS +/VS. VOLUME TWO (CD by Bip Hop/Fallt)
The second volume in the not easy to follow collaborations by Bip Hop (following Komet and Bovine Life, see Vital Weekly 332). Full Swing (aka Stephan Mathieu) and Si.cut.Db (aka Douglas Benford). Both blokes have a couple of solo tracks (two and four respectively) and work together on no less then seven tracks. Since the outside doesn’t indicate this very clearly, I started playing the CD without glancing at the booklet (which provide nice text and discography on both artists), and what happened was that I was thinking at one point: wow this is a really nice and homogenous CD. It seems like all tracks fit together. A track like ‘Chlorine.gen’ is a solo piece by Douglas, but could have easily be a piece by the two, for instance. It has Douglas’ beats but Stephan’s grainy sound. Right after that we have ‘Adorable.capitolism’, a solo piece by Stephan, but which is quite rhythmical. And so on and so on. Unlike the first Reciprocess volume, which wasn’t a very easy marriage, this is one that is really well done. Both artists have similar interests in producing partly rhythmical (even dubby) music, but also care about the ambient sides of things and the warmness of sound. Of course for both the laptop plays a central role. Collaborations in general may not always work, but if you search one that really does, then I’d say this is the place to be. (FdW)
Address: http://www.bip-hop.com
ANAKRID – REALITY IS ELITIST (CD)
Behind the monikker Anakrid is one Chris Bickel, who has been working as Anakrid for thirteen years now. His releases so far were mainly demo tapes and CDRs in small editions and he gained more success with his various punk bands, such as In/Humanity, Guyana, Punch Line and Confederate Fagg. But recentely he was given some money via an Arts Commission and he released this ‘real’ CD with that money. For his solo work he finds his inspiration, he says, in John Cage, Nurse With Wound, Ron Geesin and Throbbing Gristle, ‘though it doesn’t necessarily sound like the work of those artists’. Chris uses metallic percussion, cheap microphones and cracky vinyl to generate his sound, but surprisingely enough it doesn’t sound like a bunch of thrown together noise sounds. He has compiled all of these recordings on a computer and has treated them rather nicely. It is a highly varied work of collage music, maybe indeed along the lines of Nurse With Wound, the older work. Chris’ music has both surreal and psychedelic elements that all work nicely along the steady stream of cut and paste sounds. One can hear it’s someone who has been experimenting with sound for a while. A nice work throughout. Hopefully someone will pick up on this… (FdW)
Address: <anakrid@aol.com>
PHILOSOPHY MAJOR – HYPNEROTOMACHIA (CD by Wordsound)
It was in another time and in another place that I picked up CDs by the Wordsound label. Dub, or rather techno dub was the thing of the day, Wordsound and Incoming! the labels. But interest waned, although I dig out one or two of those old releases every once in a while. So I am surprised to see that in 2003 Wordsound is still an active label and find myself with a Philosophy Major – whoever he is. This album was co-produced with Prince Charming – whoever he is – you can see I am out of touch with that scene. I use the word dub a lot I realized but of course I should have used with more care once I heard this. The first five piece are high energy dub, reggea and breakbeat excursions which make my foots tap. The sixth track is however different: a rocking piece with flamenco guitar playing, sampled together from very disjoint records. After that there are two more similar pieces (all of them are untitled) before going back to more dubby roots. Like said, it’s music that I once was very fond of, and occassionally still am. Maybe it’s a bit of a time machine this one by Philosophy Major, going a few years back, but actually it’s something I still like a lot. (FdW)
Address: http://www.wordsound.com
CORNUCOPIA – MEZCLA CUERPO MISTERIOS Y RUMORES (3″CDR by Zeromoon)
ELLENDE – THE PROOF IS IN THE PUDDING (3″CDR by Zeromoon)
Last year four albums by Mystery Hearsay were released on Zeromoon. Mystery Hearsay is an 80s band/project that delt with multi-layered electronica in an almost psychedelic way. Here all four Zeromoon albums get a remix treatment by Cornucopia, the duo of Jorge Castro and Claudio Chea from Puerto Rico. They follow the dense lines set out by Mystery Hearsay, but apperentely squeeze in all four albums into this sixteen minute sensory overload. Highly psychedelic trip, but I’m sure with the wrong acid, a nightmare to come alive. It’s the perfect soundtrack to a sci-fi movie where the bad guy wins.
The Dutch resident in Tokyo who calls himself Ellende (Misery) had previous releases reviewed in Vital Weekly (see 346, 367 and 380) and returns here with a twenty minute CDR with just one track, with the same title, ‘The Proof Is In The Pudding’. Like on some of his previous releases, Ellende explores the inner depths of drone music. Here he switches on a bunch of old analogue synths and plays chords. Not by holding a few tones, but rather in a bubbling mode and vocals through a vocoder – not that the words are there to follow, they act as an instrument. The whole thing has a rather 70s feel of cosmic music over it, but is quite nice in all its modesty. (FdW)
Address: http://www.zeromoon.com
OTOMO YOSHIHIDE/DJ MAO/SACHIKO M/LENGOW & HEYERMEARS – WARHOLES (CD by Heyermears Discorbie)
Recentely there has been a renewed (?) interest in Andy Warhol with Scanner making a CD with the voice of the master and now there is this. A most curious item. I believe the CDRom part is by Lengow and Heyermears and the music part is by Otomo Yoshihide, Sachiko M and DJ Mao. It was part of an installation which ‘recycles/resamples the bizarre ideas and feelings of Andy Warhol, a heretic “programmer” of mass culture and media madness, including his obsession to create aesthetic principles from the articulation of redundancy and banality”. Good that this mentioned, as from just listening to the sound part of the CD, this wouldn’t have been very clear. We hear many small voice samples, occassional peeps from the no sound sampler of Sachiko M and musical samples of popular origins. It’s almighty strange affair this music. I didn’t really grab me that much really, to be honest. Just the overall weirdness was appealling. The CD rom components are nice to watch and offer more disinformation about the project, then real information. Andy would have loved probably. (FdW)
Address: http://www.k2ic.sk/Hermes/hermes.html
ETERNAL ICE – SKYA (CDR)
More a demo of sorts, this one by the for me unknown German Eternal Ice. Five shorts pieces displaying their love for more darker ambient music. They have on their website some MP3s with music they (he?) made with Tarkatak, so the true lover of ambient industrial knows where to be. The tracks are too short to follow their own course which is a pity. Music like this needs space (for the sake of a better word) to breath. But I can imagine some darker label would pick up on them. For now, this short thing has to do it. (FdW)
Address: http://www.eternalice.de
PRINCIPLE OF SILENCE – LIVE (Self Produced CD)
Belgian instrumentalists vidnaObmana and Joris De Backer have collaborated on a brand new work that transcends their former work. Bringing together both classical and electronic sensibilities, the strings and wind instruments wade in sultry harmonics and brilliant light. The disc includes five long-playing tracks, with an enhanced video section filmed live in concert at the Old Theobaldus Chapel in Brecht, Belgium on the Winter Solstice by Patrick Ceuppens. The imagery is quite beautiful with only candlelight and atmosphere. On ‘The underneath’ a subtle reference to Disney themes surfaces briefly and is creatively woven into the slow, fine mix. The mood is subdued, with hints of Grant Green’s bluer moments throughout ‘Netherworld’. The 12 minute closing track ‘The Fall’ is the cross-section between séance and lullaby. (TJN)
Address: http://www.principleofsilence.be/