P. MILES BRYSON – MEGALOMANIAC DECORATOR’S QUARTERLY (CD by Illegal Art)
HOT TROCHE – YOPAAKUYU WITH ME (CD by Illegal Art)
SHINJUKU THIEF – SACRED FURY (Cd by Fin De Siecle)
302 ACID (CD by Emit Records)
KOJI ASANO – SANCTUARY ON RECLAIMED LAND (CD by Solstice)
EVOL – MAGIA POTAGIA (CD by Mego)
THE INVISIBLE FROG – SPACE MAKES NOISE (CD by Amanita Records)
RAXINASKY – TRANSPORT DE VIANDES (CD by Amanita Records)
WELTER QUARTET – RING RING (CD by Amanita Records)
FREIBAND – {FLYING} (3″CD by Scarcelight)
INTERTRONIK – IMPROVISATION #2 UND #3 (7″ by Knistern)
KLEMENS KAATZ – VERZERRUNGEN (7″ by Knistern)
KLEMENS KAATZ – TRANSFORMATIONEN (7″ by Knistern)
CHRISTIAN RIBAS – A3XX (7″ by Knistern)
JAN M IVERSEN – MASTERING 280 (CDR by Simple Logic Records)
ENSEMBLE SP – EX. IMPLICIT (CDR, self released)
PIA GAMBARDELLA – RELUCTANT DIVERS (CDR by W.MO/R)
BILLY BAO – BILBO’S INCINERATOR (7″ by W.MO/R)
THE WESLEY KERN GUN – ROCKET TO THE ROOM (CDR by Humbug)
VIÖN/MEM – 12’00/TSCH (2xCDR by Humbug)
CROPCIRCLE – SOUNDTRACK FOR A PERFECT NIGHTMARE (CDR by Creative Fields
Records)
MECHA/ORGA – FLOAT (CDR by Echo Music)
CHEFKIRK – KIK-KIK-KIKKIK (CDR by 1000+1 Tilt)
TBTTBC – MIRANDA A HAIRDRESSER’S OPERA (3″CDR by To Be Announced Records)
TBTTBC – LIVE IN GHENT 15-09-2004 (3″CDR by To Be Announced Records)
CIVIL WAR – WHEN FACT THREATENS BELIEF (3″CDR by Longbox Recordings)
MHFS – TI POINT WHARF (3″CDR by Scarcelight)
P. MILES BRYSON – MEGALOMANIAC DECORATOR’S QUARTERLY (CD by Illegal Art)
HOT TROCHE – YOPAAKUYU WITH ME (CD by Illegal Art)
Two examples of Illegal Art’s ongoing researches into the world of
plunderphonica, always with a new edge to it, and the two CDs here
proof that plunderphonica can be made differentely, and sounding
differentely. P. Miles Bryson has a couple of diverse releases
available (see Vital Weekly 245, 408 and 443) and ‘Megalomaniac
Decorator’s Quaterly is his second Illegal Art release. Less filmic
inspired than his previous release, here he finds himself with a
whole bunch of songs from 1960s, mostly ballroom like music. The
liner notes are called ‘A Critical Examination On The Current State
Of National-Socialist Guerilla Decorating’ – and leaves me clueless
what it has to do with the music, unless you think of the music as a
form of sound decoration or muzak. Bryson knows how to put these
tunes together, by matter of repetition, addition of spoken word and
still sound quite smoothly. However, a whole album worths of this
stuff – and with full I mean the entire sixty seven minutes – that is
simply too much for a demonstration of this kind. This would have
been brilliant and hilarious for say twenty-five or thirty minutes,
but now I feel it’s a bit over-done.
Of an entirely different nature is the work of Hot Troche, aka Ryohei
Kobayashi from Tokyo. So far he has released an album on Pink Rabbit,
remixed Cornelius and Team Doyobi, works with Tujiko Noriko and plays
out live a lot. ‘Yopaakuyu With Me’ is his second release and he
works with rhythmmachines, samplers and sticking a microphone in his
mouth and sometimes attempts to sing – even. The music has loads of
energy and speed, with noise (in ‘Ear Phone’ for instance) and
rhythm. Not exactely music to dance to, but nevertheless quite a
dynamic affair. Hot Troche sound like one of those ADHD kids who got
hold of a bunch of electronic devices, so it’s nothing for those with
weak nerves. With thirteen tracks at some fifty minutes, this too is
not an easy to digest release, although in the end a bit more varied
than the P. Miles Bryson one. Two different takes on plunderphonica
and both of them quite alright. (FdW)
Address: http://www.illegalart.net
SHINJUKU THIEF – SACRED FURY (Cd by Fin De Siecle)
I was quite stunned by the debut album of Australian sound artist
Darrin Verhagen a.k.a. Shinjuku Thief. Released on Australian label
Extreme Records (R.I.P.) back in 1992, “Bloody tourist” was an
intense cinematic journey into experimental spheres of oriental
ambience and environmental samples. “Sacred fury” is the fifth shot
from Darrin Verhagen under his Shinjuku Thief-project this time
released on Swedish label “Fin De Siecle” who is also responsible for
album releases from the bestial side of Darrin Verhagen alias the
power electronics/noise-project E.P.A. “Sacred Fury” stays away from
the noisy expressions and instead continues the style of earlier
Shinjuku Thief-albums. “Sacred Fury” sounds like the soundtrack for a
movie thanks to the blend of environmental sounds and cinematic
soundscapes of moody, mellow, beautiful and ugly atmospheres. The
interesting thing about this album is the way Darrin Verhagen manages
to keep a balance between music of an almost futuristic
high-technological kind and the surreal sound constellations that is
the trademark of Shinjuku Thief. (NMP)
Address: http://www.findesieclemedia.com
302 ACID (CD by Emit Records)
After a couple of compilation CDs re-launcing the Emit Records back
on the market of ambient house, it’s now time to expand to one band
per release, and 302 Acid is one of them. It’s a band for it has Doug
Kallmeyer (samples, bass), Justin Mader (samples, projections) and
Andrew Reichel of Gel-sol on electronics. Musicwise they move away
from the ambient sound of Emit Records in favor of a more upfront
rhythmic sound. Rhythm machines are pounding all over the place, with
heavy synth lines crashing at full speed against the rhythms or
gliding nicely along these beats. These boys like a wide variety of
music, from punk to metal, from jazz to progrock and it seems to me
that all of these influences should find their place in this music.
Whereas The Orb in it’s more recent guises are not so much about
ambient anymore, so 302 Acid busy along similar lines to break down
the barriers between all sort of musics and create a richly varied
dance music that never has a boring moment. I found myself playing
this release a couple of times in a row, and never had the impression
of hearing the same thing twice. So that’s nice enough indeed. (FdW)
Address: http://www.emitrecords.com
KOJI ASANO – SANCTUARY ON RECLAIMED LAND (CD by Solstice)
There are musicians who produce a lot of work, but mostly it’s the
same work over and over again (no names here). But Koji Asano is
different, he produces a lot of work, in irregular intervals but you
never know what to expect. He’s now back in Japan, after being in
Barcelona for several years and ‘Sanctuary On Reclaimed Land’ is CD
numero 36 and was made for an exhibition in Osaka. Asano plays a
grand piano in an empty warehouse and processes the recordings on his
computer. The huge reverb of the warehouse still sounds through in
this work, but perhaps there is also additional reverb added. In the
course of fifty minutes, this work moves back and forth between
‘real’ piano sounds and the various processes thereof. It’s a minimal
work that moves in slow circles, and maybe it lacks a bit of tension
to be entertaining for the full fifty minutes, but it’s definetly one
of the better Asano works. No noise this time, just a gentle flow of
sounds. That is sometimes good enough by itself. (FdW)
Address: http://www.kojiasano.com
EVOL – MAGIA POTAGIA (CD by Mego)
Since 2001 Roc Jimenez and Anna Ramos are active as Evol, besides
running one of the nicer CDR labels, Alku. Evol has had releases on
Fals.ch, Scarcelight and Alienation, and here offer a full length
work. All of the sound on this CD was 100% computer generated and
presented here without hardly any editing. Three lenghty pieces of
computer generated noise music, coming in the form of almost
classical electronic composition, but with the fury of say Merzbow.
Highly cut-up in approach, this is certainly no easy music to access.
Computers working overtime here and so may be the senses of the
listener. Although I found each of the pieces a fascinating thing, it
turned out to be simply impossible to listen to the entire CD in one
go, since a certain fatigue would get hold of me. Having no problem
with say two entire Merzbow CDs in one go, this is simply too much to
be true. But a small dose every once in a while is certainly most
appropiate. (FdW)
Address: http://www.mego.at
THE INVISIBLE FROG – SPACE MAKES NOISE (CD by Amanita Records)
RAXINASKY – TRANSPORT DE VIANDES (CD by Amanita Records)
WELTER QUARTET – RING RING (CD by Amanita Records)
The French Amanita label has quite reputation for forceful music,
brutal, energetic music, usually played on conventional instruments.
The Invisible Frog for instance is one such band. Duby plays guitar
and Nicolas the drums and they come from Belgium. Their ten songs in
less than twenty-nine minutes is one long orgy of sound, songs
cutting into eachother with great speed and energy, full on driving.
It’s very punk in approach, except that these guys handle their
instruments very well. The short songs are performed with great care
and is basically a shot of adrenaline into the listener. Not many
moments of silence or any such things, so with 200 miles per hour
against the traffic.
Raxinasky is also a duo of guitar and drums from Belgium and even
when there are similarities in volume, speed and aggression, it’s
altogether something different. Raxinasky plays eleven songs in
fifty-eight minutes, so much longer tracks, and they include
occassionally ‘vocals’. They too play songs with a lot of sudden
changes and is very much free jazz inspired, with all the parameters
on 10. Although this is quite heavy stuff, it made a slightly less
impression on me than The Invisible Frog. Whereas they have short
songs that take the listener by surprise and move on right away,
Raxinasky takes more time and a more uniform in there approach. If
The Invisible Frog is a tsunami, then Raxinasky is a hurricane.
As the name already implies Welter Quartet is a four piece of drums,
bass, guitar, violin and singing. Compared to the previous two
releases, we are talking music here. Jazzy lines, avant-rock
archetypes, improvisation on the violin in a strong folky tradition
and the female voices singing in a cabaret style (although sometimes
a bit false). Like the Christian Ribas 7″ reviewed elsewhere, this
not much I usually play a lot, but however it has some strange
captivation on me. It’s melancholic, kitschy, dreamy and funny – well
enough for a couple of spins. (FdW)
Address: http://www.amanitarecords.com
FREIBAND – {FLYING} (3″CD by Scarcelight)
Freiband had a nice techno sounding concert in Athens/Greece few days
ago, on 11.march at the so called Masynergy diy festival, where also
few other quite interesting Greek artists played. There I was told
that this 3″EP ‘{flying}’ is actually a cover/rework/remix of a track
called ‘Flying’ which is the only instrumental song by The Beatles.
Unfortunally I haven’t heard the original song, but perhaps this is
one of those cases when there is no obvious similarity between the
original and the remix at all, like, for example, Fennesz’s remix of
the track ‘Paint it black’ by The Rolling Stones. Or, like Freiband’s
own tribute to Joy Division’s producer Martin Hannett by making music
with sounds taken from their songs of the album ‘Unknown Pleasures’.
Well, something like that. What’s a similarity in remixing anyway?
The sound of this 20min EP with 8 tracks is mostly in some grainy
atmospheric contemporary ambient areas, sometimes vaguely loop-based,
which actually reminds of Goem. That’s something to be noted, the
borders between Goem and Freiband are slowly melting when Frans fuses
them altogether in an amusing combination, which was specially
obvious on his Athens’ concert where he played as ‘Freiband plays
Goem’. Talking about that, it’s similar to Atom Tm sounding more and
more like Senor Coconut’s latino style on the recent releases. With
it’s sound ‘{flying}’ can be compared to Fennesz’s grainy ambient or
to Jim O’Rourke’s subtle improv styles. Actually, for now there’s no
need to listen the original song by The Beatles, this is fine just as
it is. Packed in a great shiny-happy cover and cd design which goes
well along with these short untitled ambient crackling tribute
drones. Enjoy the melodic sunshine. (BR)
Address: http://scarcelight.com
INTERTRONIK – IMPROVISATION #2 UND #3 (7″ by Knistern)
KLEMENS KAATZ – VERZERRUNGEN (7″ by Knistern)
KLEMENS KAATZ – TRANSFORMATIONEN (7″ by Knistern)
CHRISTIAN RIBAS – A3XX (7″ by Knistern)
These four 7″s were released in the year 2004, but only recentely
reached our desk. Knistern is a German word meaning ‘crackling’. They
want to focuss on all sorts of music, but releases only 7″s. So far
the artists are all from the Hamburg area. Intertronik opens the
series. This band has Guy Saldanha on electric bass and Klemens Kaatz
processing the sounds Guy produces. The two pieces were recorded
already in 2002 at Hamburg’s nicest space for experimental music, the
Hörbar. In ‘Improvisation #2’ the two quickly built from quietness to
a vicious loud feedback piece, the ‘Improvisation #3’ on the other
side is much nicer and easier to access with its broken computer
rhythms and pounding bass lines.
Klemens Kaatz, of whom I never heard has two 7″s on Knistern. The
first one contains eight short pieces for three bass guitars. The
musicians are in the middle, the speakers at the corner and they play
the basses with various techniques, like bowing, plucking or with a
plectrum. The eight sketch like pieces are both minimal and rock
oriented in approach and therefore sounds quite nice.
A different kind of bass, the contrabass can be found on Kaatz’ other
7″, here in duo with electronics, meaning a whole bunch of effect
pedals. Five also some shorter compositions, loosely based on
improvisation, with the electronica adding slight distortion to the
material. Also nice, but lesser in it’s approach as the
‘Verzerrungen’ 7″. That was crisp clear with a stronger conceptual
approach.
Also Christian Ribas is a new name for me. His four pieces are for
‘sampler and big band’ and that is very true. The big band plays some
strong jazzy tunes, but there are also loops being made at the same
and the whole thing blends together quite nicely. Groovy tunes, funky
guitar lines and the wind-instruments are forcefully present in this.
Musicwise this was for the nicest single, because it sounded so
different from the usual lot at the Vital desk. Might not be stuff I
want to hear all day, but in such a well-sorted small dose it’s quite
nice indeed. (FdW)
Address: http://www.knistern.net
JAN M IVERSEN – MASTERING 280 (CDR by Simple Logic Records)
Things were a bit quiet for Jan M. Iversen, the man behind the Tib
Prod label, but here is another of his solo recordings, for the
Polish Simple Logic Records label. ‘Generated from the use of guitar,
flute, drum machine, rex50, microphone and some Ethiopian
wood-string-thing’ it reads on the cover. Don’t know what a rex50 is,
but hearing this work I think it’s a reverb unit. All of the sounds
used in this single piece (thirty three minutes) are smeared with
reverb to create a dense, atmospheric piece of music. None of the
other instruments are well recognizable in this blur. I’m never a big
lover of the extensive use of reverb, because it seems, at least to
me, too easy to create atmospheric music with this sound effect. It
should be possible to generate some with similar effects but without
a reverb. Now it’s a blurry vague ambient industrial release. Iversen
can do much better! (FdW)
Address: http://www.simlog.tk
ENSEMBLE SP – EX. IMPLICIT (CDR, self released)
Originally the name of Ensemble SP was SALIkaPALIKAU and this duo of
Darius Gerulaitis and Gytis Skundzinskas hails from Lithuania. They
have been together since 1994 and there havbe been various
contributions to compilations and self-released CDRs. I haven’t heard
any of these, so ‘Ex Implicit’ is my first encounter. They play music
generated on laptops, me thinks. In the early parts of this
composition there is some deep bass sound and some synthesized drone
stuff, which sound kinda traditional, but as the release evolves,
things become more abstract, with various plug ins and digital sound
processing, which stay, despite some attempts to be louder and
noisier, always on the friendly side of things. It’s a work that
sounds nice enough, but holds for those who aware of this kind of
music, not enough new things. Otherwise it’s a nice thirty minutes of
music. (FdW)
Address: http://www.dronerecords.de
PIA GAMBARDELLA – RELUCTANT DIVERS (CDR by W.MO/R)
BILLY BAO – BILBO’S INCINERATOR (7″ by W.MO/R)
The name Pia Gambardella is new to me, and he works with
installations and sound performance, using test equipment, adapted
and self-built electronic devices. The work ‘Reluctant Divers’ is
based on a recurring dream while being in hospital, which I will not
try to rewrite or explain. In nine tracks, lasting circa half an
hour, Gambardella works with the sounds of feedback, which are
perhaps processed through the computer, perhaps not. Seeing this
being on Mattin’s label, it’s easy to see the connection, or perhaps
the inspiration. However, it could hardly interest me. Feedback music
can be nice, when done right, backed with a good conceptual idea, but
here it works out, for me at least, in a rather pointless way.
Billy Bao is the one responsible for the first vinyl release on
W.m.Or, a 7″. Billy Bao came from Lagos to Bilbao and discovered punk
rock and formed a band with Alberto Lopez on drums and Mattin on
guitar. The three tracks on this 7″ were recorded in three hours and
are not really the sort of the punk rock I grew up with. Kinda slow
songs, recorded without much speed or energy, more like a bad version
of the Swans, with some electronic processing in ‘Bilbo’s
Incinerator’. The whole point, besides offering a manifesto that this
world sucks, is missed here by this reviewer. For these two W.mo/r I
must pass on. (FdW)
Address: http://www.mattin.org
THE WESLEY KERN GUN – ROCKET TO THE ROOM (CDR by Humbug)
VIÖN/MEM – 12’00/TSCH (2xCDR by Humbug)
“The Wesley Kern Gun is Steve Aylett and some machines. Aylett also
writes books”: this is what is written on the cover. Don’t know what
these machines are, but I expect them to a computer. Aylett found
ways to time stretch sounds and whatever he puts into this, he
stretches this into some lenghty, drone ambient sound. It’s not
really surprising music, but it nevertheless sounds actually quite
nice, maybe like a computer generated version of Mirror or Ora. Good
background sound, although that may not sound very positive…
Also on Humbug is a double release by two projects from Poland, Viön
and Mem. The two releases have different cataloguenumbers (017 and
018), but belong together through their covers and conceptual ideas,
in both cases the manipulation of field recordings. It’s unclear if
these boys play together or if one delivers the input and the other
the output. On both CDRs this however works out quite nicely, with
sounds being gently processed into semi-droney pieces with
occassional glitchy elements. Quite nice microsounding stuff going on
here, but in terms of innovation, it’s perhaps less interesting.
However, I had a good time playing both of them. (FdW)
Address: http://www.tibprod.com/humbug.htm
CROPCIRCLE – SOUNDTRACK FOR A PERFECT NIGHTMARE (CDR by Creative Fields
Records)
Italian sound artist Francesco Testa is the man behind the
Cropcircle-project originally introduced back in 1999. This CD-R
titled “Soundtrack for a perfect nightmare” is the fourth shot from
Cropcircle. It works as one long musical piece clocking approximately
48 minutes. The album has a lucid dreamy atmosphere. The soundscapes
are first of all tranquillizing with lots of melody and orchestral
expression. Functioning on different levels we have the slow waving
layers of deep ambient underneath, meanwhile the upper layer first of
all is melodic with a strange sort of outer-space-feeling. A
mysterious and eclectic atmosphere saturates the main part of the
album. The first six tracks are hauntingly beautiful and dark
reminiscent of a mixture between the interstellar deep ambient
expression of S.E.T.I.’s “Pharos” (1995), and the sci-fi-darkness of
Lustmord’s “The place where the black stars hang” (1994). Seventh and
final track of the album is the only track that brutally separates
from the otherworldly ambient-feeling. Based on over-the-top power
electronics not far away from Swedish legend Brighter Death Now,
“Welcome home” is the section on the album where the listener is
being violently dragged out of the sweet dreaming back to reality
with six minutes of merciless aggression. One can only ask the
question whether it is the dream world or the real world that hold
the worst nightmares. If you ask Cropcircle the answer apparently is
quite simple! (NMP)
(No Address)
MECHA/ORGA – FLOAT (CDR by Echo Music)
In a large disused factory building in Athens last week I saw
Mecha/orga play his music to a crowd of a couple of hundred. Maybe it
wasn’t the right place, as his music needed carefull attention, and
could best be enjoyed by sitting down, closing your eyes and simply
listen. But that was not possible, so for the listener the
proceedings might seem to have taken a long time. For the lucky few
it was possible to obtain this self-released CDR (sold out at the end
of the night) of five pieces of, let’s say this for the sake of
convience, ambient music. Mecha/orga, by day Yiorgis Sekellariou,
uses the sounds of urban life and treats them inside the computer and
plays around with the resulting feedback of it. In his concert he
played one piece that started out being barely there until it
extremely loud, with a few simply, almost Kozo Inada, changes. Here
the material is more straight forward. A piece starts out on a
certain level and maintains there, with very subtle changes. The
first track is a simply too easy time-stretched piece, but the other
four are really nice low end rumbles that slowly develop insect like
sounds, just as in the second piece. Mecha/orga may be seen as
someone who took inspiration from say Francisco Lopez, but all of his
material is much more audible than Lopez’ work, and that’s at least
one big different change. (FdW)
Address: <echomusic@mailbox.gr>
CHEFKIRK – KIK-KIK-KIKKIK (CDR by 1000+1 Tilt)
Roger H Smith, aka Chefkirk, wants to be, it seems, to be the Merzbow
of the CDR world, with yet another release. In his usual rhythm ‘n
noise vein, he produces seven tracks, of around thirty minutes (his
albums are never Merzbowian in length!), that slowly develops into
something much more enjoyable. His rhythms are becoming steady, the
noise around it also, and even manages to incorporate musical
elements, or dare I say, some ambient elements in his music.
‘Kik-kik-kikkik’ is perhaps one of his musically more varied
enterprises thus far. Still probably a long way to come, but with all
these small and subtle changes, he might be getting somewhere one
day. (FdW)
Address: http://www.geocities.com/tiltrecordings
TBTTBC – MIRANDA A HAIRDRESSER’S OPERA (3″CDR by To Be Announced Records)
TBTTBC – LIVE IN GHENT 15-09-2004 (3″CDR by To Be Announced Records)
To Be The To Be Continued is what TBTTBC stands for and these two
small releases follow Layer’s solo release of last week. ‘Miranda, A
Hairdresser’s Opera’, is probably the shortest opera ever made,
nineteen minutes with three acts and in total twelve scenes. TBTTBC
are a sort of guitar group, but also keyboards and vocals. They play
rather short songs, which are all linked together via the story of a
girl remembering a dream about a opera, and meeting the composer of
the opera. Rather weird story, but the execution of the opera is
quite nice. The Residents meeting Der Plan or some such. The vocals
are sped up, so they sound a bit Teletubbies like. Weirdness through.
The cover, drawn by Dennis Tyfus, is beautiful, almost Trevor Brown
(see Whitehouse) like. Very nice small opera.
‘Live In Ghent’ is also a 3″CDR but less organised around a theme or
concept. It sees these boys also in a somewhat different musical
approach, with more noisey and droney sounds, no vocals only wordless
vocal sounds. Apperentely they play only laptops here, altering the
sounds of themselves as a rock band. They improvise loosely around
the sustained sounds and do this quite nicely. As said, different
from their opera, and maybe less worked out, nevertheless nice stuff
indeed. Limited to twenty-five copies, which was about the size of
the audience. (FdW)
Address: http://www.tbttbc.tk
CIVIL WAR – WHEN FACT THREATENS BELIEF (3″CDR by Longbox Recordings)
The band Civil War is a trio of Amy Cimini on viola, Adam Sonderberg
on bass drum and Katherine Young on bassoon. This short release was
recorded in abandoned grain silo, adding some spacious textures to
the music. If understood correctely each track is a solo track from
each of the members. Cimini’s viola piece is very nice, juxtaposing
the overtones in the sound. Sonderberg’s piece is high piercing
feedback like, in which I didn’t recognize a bass drum at all, and
Young’s piece is one of lenghty sustained sounds on the bassoon. This
is the first release by Civil War and is a nice introduction to each
of the players, now bring on the joint stuff. (FdW)
Address: http://www.longboxrecordings.com
MHFS – TI POINT WHARF (3″CDR by Scarcelight)
Mark Sadgrove is the man behind MHFS, and he hails from Auckland,
where he is a physicist, working on a doctorate in experimental
quantum dynamics. In whatever spare time he has, he works with open
source software tools to make music, and he had two previous releases
on Celebrate Psi Phenomenon. ‘Ti Point Wharf’ is a rather lo-fi
recording of songs, covered rather than uncovered with hiss. Seven
rather short tracks of hiss, static crackle and some guitar playing
and singing in the fourth track, but that one is also being drowned
in this curious hissy backdrop of sound. It’s a rather excentric
sound he puts on, seemingely not caring about the quality of the
sound, but rather adding more curious shaped distortion to the music.
Lo-fi drone music with occassional folk qualities. Strange
combination, but it works. (FdW)
Address: http://www.scarcelight.org
correction: The Andrew Duke Cd ‘Dead Air Alive’ was actually released
by the label petite
sono] and not Andrew’s label. The web address for petite sono] is
www.petitesono.com