MAD EP – EATING MOVIES (CD by Ad Noiseam)
CURTIS CHIP – EATING PASTE (CD by Ad Noiseam)
BEEQUEEN – THE BODY SHOP (CD by Important Records)
AGF/DELAY – EXPLODE (CD by AGF Proucktion)
BIRCHVILLE CAT MOTEL – CHI VAMPIRES (CD by Celebrate Psi Phenomenon)
LU – B-INTERRAIL (CD by Small Voices)
KINETIX – SELECTED E_MISSIONS (CD by Small Voices)
ERIK LEVANDER – TONAD (CD by Neon Records)
T.A.C. – SPLINTERED (CD by Small Voices)
A.M. SALAD – LO-FI FOR HI-FI (CD by Sunship Records)
E.W. HAGSTROM – EMIL & FRIENDS (CDR by Sunship Records)
JUDAH – COOL CRAP (CD by Small Voices)
STYLUS – EISTEDDFOD (CD by Irrational Arts)
Y CREATE – MADADAYO (CD by EE Tapes)
DEEP – SLEEP606 (BPN-MIX) (8″ by Dhyana Records)
DRONAEMENT – PHONORECORD (8″ by Dhyana Records)
DOGHOUSE – 8″EP (8″ by Dhyana Records)
LDS RELATIONSHIPS (CDR compilation by Entr’acte)
SUDDEN INFANT – <- LOOK LEFT (3″CDR by Entr’acte)
FOR THE ATTENTION OF – LIVE RECORDINGS 2003 (CDR by Entr’acte)
FILTER FEEDER – FEEDING GRENZY (CDR by Entr’acte)
MUZICK OUT OF OPEN WINDOWS (CDR by Field Muzick)
DRONAEMENT – FIELDS 1 (CDR by Field Muzick)
MAD EP – EATING MOVIES (CD by Ad Noiseam)
CURTIS CHIP – EATING PASTE (CD by Ad Noiseam)
Ad Noiseam from Berlin always takes me by surprise. Many of the
artists they deal with are new names for me, and the music they
release are usually far from my daily intake. I have no idea about
the history of Mad E.P., aka Matthew Peters, but the release ‘Eating
Movies’ is a fairly interesting release. Down tempo, chopped up hip
hop rhythms prevail here, with usual interceptions of scratched vinyl
and (unfortunally) some raps, which are never well spend on me. But
as the album progresses, the things gets instrumental and bass and
drum sounds more heavy weight. Deep stuff. As said this is not music
I play a lot, but every once in a while such a thing is actually more
than nice.
Likewise Curtis Chip is somebody new to me too. His ‘Eating Paste’
12″ was released in 2003 on Zod Records and now comes on this CD
re-issue including a whole bunch of remixes. His music is a totally
fucked up, 8 bit electro breakcore style. It was hard to hear any
difference between the Curtis Chip material and the remixes by such
like as BinRay, Eight Frozen Modules, Enduser, Xanopticon, Larvae,
Ove Naxx and Tarmvred. Everything comes by in great speed, and in a
totally broken up style. This is certainly no music to relax by as it
left me breathless once it was over. A bit too wild me for me, but
hey I’m just getting old, I guess. Of the two, Mad EP worked just
better I guess. (FdW)
Address: http://www.adnoiseam.net
BEEQUEEN – THE BODY SHOP (CD by Important Records)
Beequeen needs no introduction to those who read these virtual pages
regularly. In the course of time Freek Kinkelaar and Frans de Waard
have evolved from a noisy drone band to something that could almost
be called a popgroup. With this CD they emphasize their wish to
create music that makes a connection to their early work an
mainstream pop music. With eleven tracks and a duration of almost 37
minutes, it’s pretty clear that endless drone stuff is out of the
question. Instead we find concise songs, well crafted and quite to
the point. Don’t think there’s no drone stuff however: it’s there,
but just as long as needed to mark other aspects that are important
to the music. And that is exactly the great strength of this album:
it combines a lot of different flavours or genres into a seamless
whole, with plenty of attention to details, without which this would
not have worked at all. Although this disc contains eleven songs I
have no favorites: the whole album counts and is basically one work
in eleven parts. From beginning to end there is a continuous flow
that works very well; just the right amount of dreamy melodies and
surprising weird sounds. Beequeen seems to be developing in exactly
the right direction. A note for the fans: the guitars are there and
the synths as well and also the voices (mainly female, mind you) and
even a bicycle (Kraftwerk still rules…). A beautiful record, to put
it simply. (MR)
Address: http://www.importantrecords.com
AGF/DELAY – EXPLODE (CD by AGF Proucktion)
This is debut album of two artists of contemporary experimental music
scene that means something on it today. Vladislav Delay is known by
his solo albums as well as his duby house alias Luomo. He also works
under name Uusitalo. AGF is Antye Greie-Fuchs, artist, musician,
poet. or shortly, poem producer, working with Laub as well as solo.
They had couple collaborations by now on music and art, but this is
their first album produced together. It is released on her new label,
AGF Producktion, platform for releasing AGF’s solo releases as well
as collaborations with other artists. This record is dedicated to
nature. Clean lakes, wide land of simplicity and reduced consuming
terror. In one moment they decided to isolate their selves in north
Finland, place where everything is clean, place of solitude and
silence, where one can hear, see and feel more. Far away from
civilization, contemporary struggles of urban environments,
communications and even electricity they made this record during
summer 2004. And whole album breathes with cleanliness. It is pure,
simple and calm. Completely natural. Free of all stressing moments
and things that stress us in modern society. Lyrics are short and
endlessly simple characteristic for previous AGF poetic work with a
place leaved for errors and improvisation. But they are telling
exactly what they need to. They are expressions of ordinary every day
things, inspired by books, movies, traveling, daily news. occupied
with world, nature, global politics. telling that there is something
above dirty consumer society. Music is simple too. Broken beats and
strong deep bass are interweaving with totally minimalistic melody.
Deepness and hard bass comes from Delays production and minimal
broken rhythm programming comes from AGF’ s discreet approach. So at
the end it seems that this whole collaboration release is pure
combination of AGF’s and Delay’s previous music tendencies of course
combined into new sound and with new direction inspired with their
present conditions. With all this above everything is explained about
the facts of the release. But you will need to listen to it so you
can feel the calming effect of pure unspoiled nature. Its good that
there are still such pure parts in the world, despite unfortunately
everything is going down with uncontrolled development. (TD)
Address: http://www.agfproducktion.com
BIRCHVILLE CAT MOTEL – CHI VAMPIRES (CD by Celebrate Psi Phenomenon)
Chi Vampires is a new album from the fertile mind of Campbell Kneale
(who is Birchville Cat Motel). This release also co-incides with his
upcoming tour of the US. 4 very lengthy tracks make up the album, the
first of which is called “Blonde Moth Burial”. It starts out with a
swirling organ before some distant drums enter and then an epileptic
saxophone emerges beneath the drones. As the title suggests this does
have a bit of a funeral feel to it, but its more like a celebration
of life than a funeral dirge. There is a light peeking out of the
sadness. “Buckling Metal Snowflakes” is of a similar nature at first,
but throughout its 28 minutes there are subtle changes. Again some
swirling organs and odd noises moving in and out, then the song
builds and builds and finally dissolves into some gorgeous violins,
both dissonant and musical. Sounds at times like My Bloody
Valentine’s song “Glider” filtered through some burning Irish
landscape. Some slithering hisses pan left and right, as the violins
give way to delicate feedback and low end growl. This song is
majestic, and spooky. It also makes up roughly half of the entire
album. Kneale could have easily released this one song as a
mini-album and left me wanting more, more and more. So with songs 3
and 4 he does exactly that. “Cold Herds Travel” is radio static and
quiet pulses, and more of the same organ. A large and beautiful
chord is played by adding one note at a time and a weeping violin
saws out an anti-melody. Maybe its a little like Alan Licht circa
Rabbi Sky. Kneale’s song titles conjure up stirring images for me,
and I envision sad nomads traipsing across a frozen tundra. Last on
the album is the title track “Chi Vampire”. A small drone begins
pulsing while a melody is plucked out on a piano. Things are
procceeding in the usual fashion for a BCM song and then a full band
enters! Heavy guitars, and pounding drums. Things just ascend from
there with the guitars growing and growling louder and the drums
pounding harder. Think Sunn 0))) circa “White 2” meets Flying Saucer
Attack but 1000 times more psychedelic! I’m not sure of the
“official” release date but this is my pick for 2004’s album of the
year. (CJ)
Address: http://www.cpsip.co.nz
LU – B-INTERRAIL (CD by Small Voices)
LU is one Gianluca Porcu from Italy and I have absolutely no idea
about his background. But on his CD he samples the shit out of a
small ensemble (flute, clarinet, saxophone, piano, guitar) which he
recorded himself. These samples are mixed with electronica, female
voices, Marcel Duchamp cut up and a soft tone touch of glitchy
sounds. The label tries to sell this as ‘the missing link between
Fennesz and The Penguin Cafe Orchestra, but it’s much closer to the
latter than to the first. There is for sure a very sunny
Mediterranean feel about this music and that makes the listener
happy. The ‘Inter Rail 5’ track with the Duchamp cut-ups is a bit
darker, but sometimes it rains in Italy too. Rather than the former
missing link, Lu links pop music to modern classical music, more
Micheal Nyman or Gavin Bryars if you catch my drift. If it wasn’t
almost 2005 and if it wasn’t so cheery, this could have easily been
released on Obscure Records in the seventies. (FdW)
Address: http://www.smallvoices.it
KINETIX – SELECTED E_MISSIONS (CD by Small Voices)
The music of Gianluca Becuzzi, aka Kinetix was reviewed before, even
when that was sometime ago (Vital Weekly 339 and 353). Back then
things weren’t that clear, but it turns out now that Becuzzi was the
responsible man for all four CDRs reviewed back then. ‘Selected
E_missions’ is not a new work, but rather a best of of the previous
releases from 2002 (and reviewed back then) but then on a real CD.
His previous releases had two main things: the microsound like sound
and more uptempo minimal techno. For his selection of best tracks it
seemed him best, and rightly so, to choose for one of the two styles
and take the best pieces. He choose the microsound like pieces,
meaning processed sine waves, rhythmical crackles and such like.
Kinetix plays all of this on a considerable low volume, still higher
in volume of course than say the average Francisco Lopez, but making
the thing into a more ambient sort of release. Kinetix does a fine
job at that, but it’s nothing spectacular. Like this there are many
others in this already crowded field. (FdW)
Address: http://www.smallvoices.it
ERIK LEVANDER – TONAD (CD by Neon Records)
The Neon Gallery in Brösarp, Sweden, is one that has quite a lot of
attention for experimental music, such as installations, concerts and
workshops. They have released a 12″ by Jim O’Rourke and now picked
up, through one of their workshops, the work of Erik Levander. He is
23 and now lives in Copenhagen to study architecture. His musical
background is quite diverse, such as playing in a hot latino band
aswell as gloomy postrock. It’s kinda hard not to think of Oval when
hearing the seven pieces on this disc. The rhythmical and melodical
glitches which form the raw material out of which this CD, remind
strongely of the work of Oval and to lesser extent of Fennesz. But
there are some differences, such as the pretty straight forward
rhythms in ‘Drömmen Om Köpmaskinernas Gemenskap’ or the fuzzy
shoegazing sound of ‘Strimlar Alla Spår’. This makes the work of Erik
Levander not an exact copy of the masters, but he succesfully finds
his own way around, incorporating his own musical preferences to the
known matter. So, while not an entirely new and fresh work, it
provides an unexpected angle. (FdW)
Address: http://www.neongallery.nu
T.A.C. – SPLINTERED (CD by Small Voices)
Just like last week’s Klimperei, TAC is a band that has been around
for ages, with their first release from 1982, but whose work I never
really encountered, maybe except for some compilation appearance here
and there. Somewhere in the back of my head it said that TAC was a
bit more experimental than something such as Ain Soph or Sigillum S,
but I am not right. The band consists of Monica Serra (vocals,
treatments), Simon Balestrazzi (electronics, guitar, psaltery) and
Corrado Loi (bass, guitar, electronics). I would have to do a bit of
guessing, but at least half the tracks on their new CD, the fourteen
release since 1982, are made by improvising in the studio and making
a mix out of that. These pieces are a bit of mishmash, spielerei and
unfortunally not very interesting. The other tracks are more worked
out, showing influences of techno on one hand and more psychedelic
music on the other. ‘Blue Mutation’ could have been easily a
Legendary Pink Dots on a less creative day. The use of violin on this
piece was quite nice though. For someone like me who doesn’t know
their backcatalogue very well it is hard to say wether this is a
stunning new direction or more of the same. The tracks that sound
like they have been worked on sound pretty much ok, but some of the
others could have been left out. It would have made a stronger album
for sure. (FdW)
Address: http://www.smallvoices.it
A.M. SALAD – LO-FI FOR HI-FI (CD by Sunship Records)
E.W. HAGSTROM – EMIL & FRIENDS (CDR by Sunship Records)
Behind A.M. Salad is one Keith Childress of Algebraissiere.
Apperentely he has released four cassettes on EF Tapes before in the
early to mid nineties and this CD is a kind of compilation of the
best moments on those tapes. A.M. Salad uses a wide array of tools to
produce sound. That includes old records, defective devices from
thrift stores, an old organ, walkie talkies, toys and sounds from the
office, kitchen, bathroom and garage. And probably much more, but
basically anything that produces sound. Or rather: that produces
noise. The result is a seventy minute collage of noise, but one of a
much more interesting kind. A.M. Salad has of course it’s loud noisy
moments but also finds room for tunes that are less noisy and more
contemplative (of course it doesn’t become ambient music, but still).
In there the damaged, crackles vinyl grooves are being picked up by
contactmicrophones and surface noise becomes a groove in itself.
Maybe at seventy minutes this is a bit too much and some of the
tracks are certainly too long, but the nice moments outlast the
weaker brothers.
Emil Hagstrom is one of the older statesmen of noise, mainly known
for his work with Cock ESP, but also as Wrong and Origami Genitalia.
On his ‘Emil & Friends’ release he works with ten friends from the
noise scene, such as John Wiese, Ovo, Mike Shiflet, Prairepusher,
Panicsville and more. Noise noise noise around the the clock here,
but the good thing is that Hagstrom keep his tracks short and to the
point. The crashing of metal, feedback, howls and earpiercing noise,
they are all there of course but it is served in a well-balanced
dose. If Cock ESP is your thing than so should this solo release by
Hagstrom warm your hearth on a cold winterday. (FdW)
Address: http://www.freenoise.org/sun
JUDAH – COOL CRAP (CD by Small Voices)
It is not easy to play ‘Cool Crap’, the debut album of the Italian
band Judah, and not think of Suicide, the band (not the act of
commiting). The similarities are pretty strong. An ongoing sequencer
tune, a simple rhythmbox and even the vocals sound like that of Alan
Vega. It could be an album of Suicide, but the tracks aren’t
unfortunally as good as some of the Suicide pieces (who too had
tracks that I didn’t like). The main difference between Judah and
Suicide is that Judah doesn’t have any real uptempo pieces. So no
‘Ghost Rider’, ‘Rocket USA’ or ‘Franky Teardrop’ to be found here.
Does that mean I dislike this album? Not really. It has some nice
moments for sure and I like the really copycats anyway. Still a 6 out
of 10 rating here. (FdW)
Address: http://www.smallvoices.it
STYLUS – EISTEDDFOD (CD by Irrational Arts)
Although Stylus have been around since 1997, and I heard bits here
and there, ‘Eisteddfod’ is the first full CD that I heard from him,
as Stylus is Dafydd Morgan. This is his sixth full length release.
The music on this release is based on a concert Stylus did in August
2002 iat the National Eisteddfod of Wales in Pembrokeshire, but not
the actually recording. The first six tracks were recorded at the
rehearsals, the seventh track is a reworking of the last track from
the concert and the last three were recprded at a radiostation.
Stylus plays moody and psychedelic music with a strong experimental
edge to it. Regular instruments such as piano and guitar are set
against analogue synths and field recordings (probably made at the
National Eisteddfod), which add a the psychedelic touch. On “Wooden
Milk Part 4′, drummachines make their entrance. In this track, with
choir like voices, it is where Stylus goes a bit too much into the
areas of gothic like music, but it’s made up by the other tracks
which are more experimental. Stylus has a varied sound and moods and
atmospheres on this disc are many and therefore it’s quite a nice
work. It made me curious about the previous works (which are on Ochre
Records, in case you didn’t know). (FdW)
Address: http://www.irrational-arts.co.uk
Y CREATE – MADADAYO (CD by EE Tapes)
So you probably ask: Y Create? I didn’t ask this question, as I knew
Y Create was the solo project by one Hessel Veldman, from IJmuiden,
The Netherlands. In the days when I was a little boy, he was the main
man for experimental and electronic in The Netherlands and he ran
Exart Tapes, worked with Willem de Ridder in FNTC (with a release on
Staalplaat) and contributed a track to the very first cassette I
released (also as Y Create, but with Gert-Jan Prins on percussion.
With Prins he also was in a band called Gorgonzola Legs. Somewhere in
the earlyb nineties I lost contact with him and he went on to do
other things. But he’s back, with Y Create and his old passion for
radio plays. The recordings on ‘Madadayo’ were recorded between 1979
and 2002 and remixed in 2002-2003 for this release. Y Create uses the
full eighty minutes a CD can offer to play his music, but with only
eight tracks, you can imagine they are lenghty affairs. Y Create’s
pieces usually start out with a piece of drones, with lots of small
variations in the EQ-ing, and percussion comes in. The percussive
bits move around constantly in the background, being fed through an
enormous amount of delay and reverb lines and in some case even
develop into a banging rhythm with hints of techno. All of these
eight pieces have a great ambient feel to them, but Y Create is
pushing the boundaries a little bit more and things are just a bit
more adventurous here. Great come-back album. (FdW)
Address: http://www.eetapes.be
DEEP – SLEEP606 (BPN-MIX) (8″ by Dhyana Records)
DRONAEMENT – PHONORECORD (8″ by Dhyana Records)
DOGHOUSE – 8″EP (8″ by Dhyana Records)
A while ago we reviewed the first two releases in a series of 8 times
8 inch records (see Vital Weekly 412) and now the series continues
with the next three. The first is by Deep, who had previous releases
on Dhyana Records. Their 8″ record has two tracks of just bass
guitars, eight to be precise, spread out over the eight tracks of the
recording device. It deals with sleepless nights and I am not
surprised. The heavy distorted bass sounds doesn’t lull the listener
to sleep, but sounds like someone taking too much speed and
frantically playing the bass. A pretty lo-fi recordings affair going
on here.
More interesting is the ‘Phonorecord’ by Dronaement, which is a
hommage to the vinylrecord (funny of course to release it on a lathe
cut, since that is alike vinyl, but it’s not vinyl). Droaement uses
records by Ravi Shankar, DJ Spooky and RRR-500 lockgroove record on
an experimental phonedevice, taping the sounds with
contactmicrophones and making an interesting sound collage out of
that. On the b-side is ‘Digital Grain’, taking the sounds from the
other side into the digital domain and making it into an even more
dense sort of pieces, consisting of many layers. However the
soundquality on this side is not as good as on the other side.
I don’t know that much about Doghouse, except that he is from Vienna.
His record is not exactely 8 minutes per side, like the others were
so far. Doghouse plays around with techno rhythms, but in all three
tracks he is not playing the ‘right’ sort of techno thing, rather it
sounds like an attempt to make this kind of techno music, but with
far more limited means. It’s ok, but not really super good. The best
track is ’42’, with a sparse piano loop and click rhythm. (FdW)
Address: http://www.dhyanarecords.com
LDS RELATIONSHIPS (CDR compilation by Entr’acte)
SUDDEN INFANT – <- LOOK LEFT (3″CDR by Entr’acte)
FOR THE ATTENTION OF – LIVE RECORDINGS 2003 (CDR by Entr’acte)
FILTER FEEDER – FEEDING GRENZY (CDR by Entr’acte)
This is a new UK label who claim to have not a specific musical
agenda ‘other than to release new and challenging music of quality in
fine handmade packages’, the latter being handmade digipacks. The
first release is a remix album of a much older release of Entr’acte,
which was reviewed in Vital Weekly 189. The album by Luxury Discreet
Surroundings was, if I remember well, pretty noisy but dealing with
environmental recordings and a quite interesting approach to noise.
The remixes are done by heavyweight noise artists such as Peter
Rehberg & Kevin Drumm, Christoph de Babalon, Column One, Dave
Philips, Kouhei & Imany, Errorsmith and Sudden Infant. They all take
the material into an even more extreme area, either by sampling,
additions of extra synthesized sound or by means of computer
manipulation. Some of the pieces are rhythmical such as Sudden
Infant, Blackjewishgays Presents Something J or the toally fucked up
drum & bass from Christoph de Babalon. P_Audio stays close to the
original. It turned out to be quite an interesting compilation, not
for the weak of heart, but certainly nice remixes for sure.
Sudden Infant, aka Joke Lanz from Switzerland, is quite active with
his concerts (as sometimes noted in the announcement section of Vital
Weekly) and the recordings on his 3″CDR releases were made during his
recent stay London. Maybe because of his long career, Sudden Infant
is for me one of the few really interesting noise artists. His music
is a combination of turntablism, voice/spoken word/mouth and musique
concrete frenzy. Sometimes this is really loud and obnoxious as in
‘You Trendy C***’, but in ‘Tasty Whitechapel Geezer’ he has some
loops of him breathing going and other more vocals stuff, which sound
very poetic. Mixing in street sounds from London, this is a great,
furious noise party. Most surprising track here of course is a
‘cover’ of Cabaret Voltaire’s oldie ‘Nag Nag Nag’.
For The Attention Of is a new name for me. They are from France but
are now based in London. The three tracks on their CDR were recorded
live ‘on K7 in London, 2003’, but if they wouldn’t have told you so,
then you wouldn’t know. The quality of the recordings (and probably
the remastering) is excellent. The music of For The Attention Of is
best described as ambient, incorporating, I assume, field recordings
and synthesizer (either real ones or software versions). However this
is a bit further away than the ambient of say Vidna Obmana or
anything on the Hypnos catalogue, because it’s much darker in terms
of processing sounds. Maybe the first track is a bit long for what it
does, but overall it’s a pretty interesting ambient work of a darker
nature.
Also new to me is Filter Feeder and ‘Feeding Frenzy is a collection
[…] around a theme of media distortion and propaganda, largely in
reaction to coverage of the build-up to and eventual war in Iraq’.
That’s handy to know, since I couldn’t tell after the first time of
hearing this. The eleven, lenghty tracks are built around rhythms
(which sound like preset rhythms of cheap machines) and spoken word
samples, that aren’t easy to understand. A couple of tracks are
alright, but eleven is a bit too much to digest at once. The ideas
per track are simply not interesting enough to hold my attention
throughout each track, let alone the whole thing.
The shortest release is by Ze, who had ‘a misunderstanding of an idea
for a Laura Branigan cover version’. Stupid as I am (or should that
be ‘remotely away from popmusic’) I didn’t know who she was nor could
I hum one of her tunes, so ‘Self Control/Death Drive’ don’t mean a
thing to me in terms of covers. ‘Self Control’ is a nice slow electro
tune with vocoder vocals and ‘Death Drive’ is a more uptempo
instrumental song of electro-nature, and both are quite nice indeed.
(FdW)
Address: <info@entracte.co.uk>
MUZICK OUT OF OPEN WINDOWS (CDR by Field Muzick)
DRONAEMENT – FIELDS 1 (CDR by Field Muzick)
More Dronaement is to be found on Dronaement’s new label Field
Muzick. The labels kicks of with two releases. The first is a
compilation with actually a simple but effective theme. Open the
window, record the daily sounds and add music to those daily sounds.
Or adding daily sounds to music. The music is by such people as
Dronaement, Sebastian Roux, Logoplasm, The Infant Cycle, Alio Die,
Andrea Marutti and Deep – all people with some name recognition in
the scene of CDRs. What is noteworthy on this compilation is that the
field recordings are in good balance with the music. We hear
birdcalls, children playing but they are all embedded in a set of
synthesizer passages or computer processing. The whole thing consists
of music that a strong ambient character, with nice atmospheric
tunes. Frz w/Imagho step out with a piece of guitar strumming, but
this doesn’t break the nice flow. Highlights are the deep sounds of
Sebastian Roux and the Ora like piece of Alio Die.
The other new release is by Dronaement (of course I should say) and
on two tracks he is helped by the ever so active Aidan Baker and
Andrea Marutti. Like on most of his previous releases, Dronaement
plays ambient/drone music, could of course hardly be anything else, I
think. Using a wide array of analogue synths and of course field
recordings, Dronaement comes with a darker version of ambient music
with a bigger sensibility for the experimental side of ambient music.
On ‘Anduasende’ he gets a bit of inspiration it seems from early
nineties Asmus Tietchens and Werkbund. The influence of the latter
becomes apparent in tracks like ‘Field Map 1’ and ‘Field Map 2’. It
seems to me that with this release the music of Dronaement is even
more sophistacted than before and therefore a major step ahead. (FdW)
Address: http://www.fieldmuzick.com
correction: it seems that in some mail and in our website archive in
Vital Weekly 453 it says only Yvan instead of Yvan&Lendl as it should
be. Don’t know why that is…