FREIBAND / BOCA RATON – PRODUCT 05 (CD by Cronica)
TRIO SOWARI – THREE DANCES (CD by Potlatch)
ULTRA MILKMAIDS/AIDAN BAKER – AT HOME WITH… (CD by Infraction Records)
STILL – REMAINS (CD by Public Guilt)
ANTI-DELUSION MECHANISM – SONGS OF MALDOROR (CD by Holispolis)
BLUE COLLAR – LOVELY HAZEL (CD by Public Eyesore)
THE CHE GUEVARA MEMORIAL MARCHING (AND STANDING) ACCORDION BAND (CDR by Public Eyesore)
AUTODIDACT – DEVOTIONAL HYMNS FOR THE WOMEN OF ANU (CDR by Public Eyesore)
WEAVE – OF THE NATURE TONE (CD by Cactus Island Recordings)
LEE MILLER – THE FUTILITY OF LANGUAGE (CD by Musically Incorrect Records)
AUBE/M.B. – JUNKYO (CD by Noctovision)
CARRIE – HONEY BLUE STAR (CD by Static Discos)
STAALPLAAT SOUNDSYSTEM – YOKOMONO 02 (LP by Staalplaat)
PAUL BRADLEY – ANAMdevelopingNESIS (CDR by Twenty Hertz)
MASKINANLEGG – RINGSAKER ROCKS (CDR by Humbug)
KOFF KIRK (3X3″CDR by Tib Prod)
KA – MONSTERPANIC (CDR by Tib Prod)
IVERSEN – 42 (CDR by Digitalis Industries)
BJERGA/IVERSEN – THE SEA IS NEARBY, YOU CAN TASTE THE SALT IN THE AIR (CDR by Kabukikore)
BJERGA/IVERSEN – NORWEGIAN MOONSHINE (CDR by Digitalis Industries)
COCKS OF THE DEAD (CDR by Phase! Records)
PHROQ – MÂCHOIRE (CDR by Solipsism)
PHROQ – UENO PARK MEMORIES (CDR by Carbon Records)
NICK DAN – GRANDE FINALE (3″CDR by Musique Provocateur)
ANTIPAN (3″CDR by Musique Provocateur)
TIWS/RECA – THE SOUND OF IPAQ (CDR, self-released)
PH. – AS WHEN LIGHTED (MP3 by Narrominded)
FREIBAND / BOCA RATON – PRODUCT 05 (CD by Cronica)
New sequence in the Product series on the label Cronica, where 2 artists share a CD. Now it’s a Dutch affair, with both Freiband and Boca Raton coming from The Netherlands. As I understand from the cd-cover, these are live recordings from March 25th 2004, made at the Earational festival for electronic music and audioart that year.
Freiband’s part is called ‘Replay’ (probably because, as it says on the cover, it’s loosely based on the previously released ‘Microbes’ cd) and it consists of 11 mostly shorter pieces-tracks which are mixed altogether in one whole piece of almost 30 minutes. The music is shifting around the ideas of presenting and (re)interpretating various aspects of sound, doing that in different manners, repetitive, loosely atmospheric or crackling, grainy ambient/industrial etc… A study of sound, best thing to do is just sit back, light a cigar maybe and enjoy it.
I’ve heard enough from Boca Raton before, on the labels Korm Plastics and Absurd, and his sound is easier to describe it as electro-acoustic/musique concrete, it would fit nicely in the catalogue of the label Ambiances Magnetiques I think. However, that’s a wider frame where he operates. Boca Raton shapes and designs his music in a more asymmetrical way, but with a strong focus and attention to what’s happening, aiming to surprise in that matters. So, maybe light another cigar, still sitting back and enjoying the second half of the cd. Both impressive adventures in sound, some of the best I’ve heard this year in these musical styles. Only one thing – I knew since some time that this cd was to be released, but I thought it will be a collaboration of the two artists, music they’ve made together. Perhaps that’s something to think about? (BR)
Address: http://www.cronicaelectronica.org
TRIO SOWARI – THREE DANCES (CD by Potlatch)
As soon as a group of improvisers start working under the banner of a group name, one could say that there is a more or less permanent basis for concerts and recordings. I don’t know if this is the case with Trio Sowari, but perhaps it is. Trio Sowari consists of Phil Durrant (software sampler, synth and treatments), Bertrand Denzler (tenor saxophone) and Burkhard Beins (percussion, objects). All three are well-known players in the world of improvised music. Perhaps tongue in cheek they choose three dances to name their pieces, ‘Rondo’, ‘Bolero’ and ‘Tumble’, but as you can probably imagine, none of these ‘dances’ are represented in the music, neither are they covers of say ‘Blue Rondo A La Turk’ or Ravel’s ‘Bolero’. In stead they offer some of the finest improvised playing around, a great examination of current day improvisation. Beins and Denzler play their instruments as objects, with Denzler occasionally blowing a few ‘real’ notes, but their playing works wonderfully well with Durrant electronica. It’s not easy to tell if Durrant is sampling the other two guys; it could very well, but maybe there is input of his sounds. Each of the three pieces carefully moves along the lines of the inaudible and audible, fully demanding concentration. Top stuff in this genre. (FdW)
Address: http://www.potlatch.fr
ULTRA MILKMAIDS/AIDAN BAKER – AT HOME WITH… (CD by Infraction Records)
By now Aidan Baker should be a household name, at least to those who read Vital Weekly a lot. He is responsible for many releases on CDR and MP3, but no doubt a steady stream of CDs will follow. On the other hand, the Ultra Milkmaids (or milkies as they call themselves) aren’t that productive with releases, despite their many years of existence. Here the three (the milkies are a duo) team up to join forces in a tour de force of ambient music. Set against a background of highly processed ambient drones plays the lonely guitar, plus tons of sound effects, of Baker. In the opening piece ‘Part 1 (In The Cube)’, both elements have blurred together, but in ‘Stretched Guitars Lie Slo’, the elements are set against each-other by contrast, still forming a homogenous ambient tapestry. Slowly the guitar transforms from a machine with strings to a more percussive instrument. In the third piece all the used elements become clear: guitars, computer processing and field recordings, with a strong clear Ultra Milkmaids trademark of working. A pretty strong collection of ambient tunes here, perhaps not of the most innovative kind (which is difficult in ambient music anyway), but certainly of higher relaxing nature. (FdW)
Address: http://www.infractionrecords.com
STILL – REMAINS (CD by Public Guilt)
The name Dälek is only familiar here because of their shared release with Faust, otherwise I am in the dark. One member, Hsi-Chang Lin, works solo as Still using a single Technics 1200 and a bunch of effect pedals. ‘Remain’ took two years to make, and each of the tracks were ‘painstakingly mapped out and played live in studio’. Still places himself along the lines of people like Philip Jeck or Aphex Twin. Although much on the album can be classified as ambient, there is of course an unavoidable sense of rhythm, due of course to the use of records spinning around. Although the thirty five minutes are quite nicely laid out ambient music, which in my opinion is more Jeck than Aphex Twin, it doesn’t necessarily add something new to the world of turntable playing. It’s entertaining, it’s well executed but nothing new under the sun. Also on the CD is an eighteen minute by Todd Boebel, based on his super 8 film work with music by Still. The images of Thailand and New York City are in black and white and a certain retro quality, to which Still’s music work quite nicely. (FdW)
Address: http://www.publicguilt.com
ANTI-DELUSION MECHANISM – SONGS OF MALDOROR (CD by Holispolis)
Throughout the last century the ‘Songs Of Maldoror’ by Le Comte de Lautremont has inspired many artists, be it for film, theatre or music. Maybe Current 93 is the most well-known one for the readers of Vital Weekly from the world of music. The book itself is not easy to read or understand, dealing with dreams, sex etc and can be seen as a surrealist work avant la lettre, because the book is from 1869, if I’m not mistaken. Anti-Delusion Mechanism is Hodja Hog, responsible for all the vocals and Dead Fish Fuck on trees, roots and synths. I once heard a part on a compilation CD and wasn’t blown away by it. This work took three years to record and release and is divided in eight songs. The music part is pretty much OK. Dead Fish Fuck plays synthesizer as-well as a self-built instruments of wood and strings. If anyone out-there is still familiar with Dead Fish Fuck’s LP which he released years ago, one may remember his love of scraping sounds. Here the metal is replaced by strings, but the scraping is still there. There isn’t any sort of processing going on, except maybe for multi-layering various signals. Something similar goes for the synth. So far so good, but it’s the vocals I have a problem with. It sounds like Crystal Belle Scrod meeting Diamanda Galas, and it’s just not my thing. Since the voice is the main feature in singing the songs of Maldoror, this is all the way present – throughout the entire CD. If one doesn’t love that kind of voice, like me, one has a problem, I guess. I can tell however that the work is excellently produced, that the songs are well worked out, but that in the end I had some problems with it. (FdW)
Address: http://www.antidelusionmechanism.org/holispolis.html
BLUE COLLAR – LOVELY HAZEL (CD by Public Eyesore)
THE CHE GUEVARA MEMORIAL MARCHING (AND STANDING) ACCORDION BAND (CDR by Public Eyesore)
AUTODIDACT – DEVOTIONAL HYMNS FOR THE WOMEN OF ANU (CDR by Public Eyesore)
The Public Eyesore label is mostly known for releasing improvised music on CDR (with nice covers, I should add), but they seem to be slowly moving into the world of ‘real’ CDs. Blue Collar is a trio of Nate Wooley on trumpet, flugelhorn and voice, Steve Swell on trombone and voice and Tatsuya Nakatani on percussion. The tracks on ‘Lovely Hazel’ were already recorded in 2003 but are now released. The improvised music here is of a rather ‘normal’ nature, meaning that they don’t follow the waves in improvised music of treating the instrument as an object, but instead play their instruments as instruments; ie more traditionally formed improvised music. With nine tracks, varying from four to eight minutes this is certainly not an easy to digest piece of music. It demands your full concentration, which is a tiring affair since much of the music is nervous and hectic. Great stuff, but maybe two tracks too long.
On the format of CDRs the other new release is by the excellently named The Che Guevara Memorial Marching (And Stationary) Accordion Band, which is what is says: a band of people playing accordions. The band consists of Bob Marsh, Dan Cantrell, David Slusser, Ernesto Diaz-Infante, John Finkbeiner and Ron Heglin. Despite the politically inclined band name, the music doesn’t sound like political marching hymns, but it’s rather a very free improvisation in four parts on six accordions. Not easy stuff either, even when it sometimes sounds a bit drone like, but overall it’s pretty hectic, chaotic and above all dense. Uneasy music, me thinks.
The first time I heard music by Autodidact was way back in Vital Weekly 172, so say six years ago. I wrote: “Autodidact – the word implies learning, but this CD is filled with utterly boring guitar & rhythmbox music that drags on without structure, original ideas or inspired. I’m sorry but Autodidact should go back to school.” Nothing changed very much, as I’m still not very impressed by the seven lengthy cuts on guitar, voice from the grave and very occasional rhythm-machines. Ultra slow. The best thing I guess are the titles such “SS Fuck Puppets of the She-Wolf Ilsa” or “Madame Curie’s Illuminating Discovery”. Otherwise something to pass on. (FdW)
Address: http://www.publiceyesore.com
WEAVE – OF THE NATURE TONE (CD by Cactus Island Recordings)
Primarily Weave is just one guy, Barry Leake who plays laptop, flute, guitars, percussion and a Korg MS10. On four tracks he gets help from Philly on drums and from one Tui on MS10 on one track. Before this Leake played in various bands, was a DJ and composed soundtracks for multimedia cinema and museum performances, among other things. Weave plays ‘easy’ music: each piece is built around a smooth rhythm, over which Leake plays his keyboards, tinkles the guitar in a jazzy manner and fills the rest with occasional flutes. Despite some of the IDM influences, the beats are pretty straightforward, not too much to the foreground, thus providing the album to play around with relaxed notions. A bit jazzy, a bit ambient, without falling into a cliche of New Age, this is well entertaining music, either to relax or to work by. (FdW)
Address: http://www.cactusisland.net
LEE MILLER – THE FUTILITY OF LANGUAGE (CD by Musically Incorrect Records)
Despite with what one could think, Lee Miller is not a guy made this music. It’s a band named after ‘one the twentieth century’s sexiest photographers’ and consists of Jordan Nicholas Mamone on guitar, bass and vocals, Jyrki Olavi Laiho on guitar, mandolin, bass and vocal and Janne Kalevi Peltomäki on drums, keyboards and bass. For me this is an album of music that is outside my usual digest of things. Heavy rock, but freely played, with strong minimal tendencies. A track sounds sometimes like being in a loop, with some tight playing on the drums and bass, with the guitar providing the noise. Vocals are kept to a minimum. Not as slow as The Swans, but with the same tension. The recording is pretty much like a live recording, thus enforcing the punk like character of the music. Think Swans, think early Sonic Youth, think no wave and you may get the picture. Play loud and headbang along. Pretty strong stuff. (FdW)
Address: http://www.mir.blogdns.com
AUBE/M.B. – JUNKYO (CD by Noctovision)
There was a time when Vital Weekly reviewed many works by Aube, about 6 to 8 years ago, but not so many in the more recent years, although I believe Aube is still quite active. Here he teams up with Maurizio Bianchi, the man who released a whole bunch of LPs in the early eighties and then disappeared. He’s back doing music since a couple of years, but I must admit I am not blown away by his recent solo work. Although Bianchi never seemed to be a man of collaborations, this is his second one. The previous, with Telepherique, was reviewed in Vital Weekly 433. Bianchi plays piano and feedback and Aube electronics and mix, so me thinks Aube reworks some of Bianchi’s sounds, and that’s the extend of this collaboration. No big deal, since the result is much enjoyable. Bianchi’s sounds are treated in Aube’s usual slow built-up approach. Starting with some rather simple set of sounds, Aube adds over a long period of time smaller sounds and sound effects, always maintaining the peace of a piece. The four pieces on this disc all have the same structure, which is Aube’s trademark, and perhaps also his shortcoming. But hearing his music after such a long period of silence is quite nice again, and he manages to give Bianchi’s recent New Age edges a dark atmospheric, one that it really needs and that works well. (FdW)
Address: <info@noctovision.net>
CARRIE – HONEY BLUE STAR (CD by Static Discos)
The girl behind Carrie is one Laura B. Not sure if she choose Stephen King’s book for her alter ego, but she has been solo active since 2001 and before with such groups as Mery Poppins, Baron Ashler and Miyagi before going solo. On ‘Honey Blue Star’, my first encounter with her work and her real debut, she plays organ, rhythmbox and sings. Ten tracks, some thirty-four minutes, of intimate music playing and singing. Her influences range from Bjork to Tujiko Noriko to Lali Puna or Barbara Morgenstern. Nice songs for sure, and not as stretched out as some of Noriko’s work, more concise and to the point, but on the other hand nothing new under the sun. No big deal since there isn’t much of this kind of music around anyway. Not just for those guys who want to impress their girlfriend with something ‘electronic yet listenable’, it’s atmospheric music for all. (FdW)
Address: http://www.staticdiscos.com
STAALPLAAT SOUNDSYSTEM – YOKOMONO 02 (LP by Staalplaat)
To review this LP is not an easy task, simply because it’s not intended as a piece of music to be played at home and enjoy, it’s rather a tool to work with. Primarily by the Staalplaat Soundsystem in their Yokomono sound installation: ten records are not played by the usual stylus, but by a vinyl-killer: a car with a needle built in. The signal is picked up by radio transmitter and mixed by the two members of the Staalplaat Soundsystem in a concertversion or stationary when in an installation version. On this record, you will find 110 loops, 55 by the Staalplaat Soundsystem and 5 each by Anton Nikkila, CM von Hauswolff, Charlemagne Palestine, Fennesz, FM3, Ignaz Schick, Ilpo Vaisanen, Justin Bennett, Phil Niblock, Radian and Tim Hecker. Each of these people do what do best: drones by Niblock and Palestine, exotica/electronica by Nikkila, and clicks by Fennesz and Von Hauswolff. On the other side fifty-five loops of digital silence by the soundsystem. Silence, but with already enough hiss, cracks and clicks to surely provide an excellent soundtrack for an installation. I just wonder what people should do with it at home? (FdW)
Address: http://www.staalplaat.com
PAUL BRADLEY – ANAMdevelopingNESIS (CDR by Twenty Hertz)
Rapidely Paul Bradley is developing himself into the worlds most active producer of dark ambient drone music. ‘Anamnesis’ is his latest work, a professionally packed CDR release (full color cover, print on CDR), with three pieces of some of the darkest drones around. Especially the first two pieces, ‘Rüya’ and ‘Irenic’ are slow majestically moving beasts of unearthly rumbles. Hard to tell, as always wether this a bunch of analogue synths on an oceanic drift or processed field recordings – perhaps a combination of both is the most likely thing. In ‘Anterior’, the final piece on this set starts out way beyond the threshold of hearing and takes a long, almost Francisco Lopez time to built up from this way below sound until something becomes audible. Shimmering small sounds, morse code like sounds arise from this cloud of sound and sets this piece, both in built up and use of sounds from the rest. Maybe this is a new path in Bradley’s work? (FdW)
Address: http://www.twentyhertz.co.uk
MASKINANLEGG – RINGSAKER ROCKS (CDR by Humbug)
This is the third Maskinanlegg release (see also Vital Weekly 453 and 468), aka Bjorn Hatterud. As far as I can judge this one has, unlike the previous two, not a theme connected to the nine tracks. Maskinanlegg continues to play his own fine blend of noise, created on a casio keyboard, mindisc, microphone and some effect boxes. A kind of noise related plunderphonics, in the same vein as Cock ESP. The tracks are less short than before, but are more minimal, which doesn’t make things necessarily better. The best thing is here is a rendition of the Velvet Underground’s ‘All Tomorrow Parties’, with a slowed down Nico. The previous two releases did put however a bigger smile on my face. (FdW)
Address: http://www.tibprod.com/humbug.htm
KOFF KIRK (3X3″CDR by Tib Prod)
KA – MONSTERPANIC (CDR by Tib Prod)
IVERSEN – 42 (CDR by Digitalis Industries)
BJERGA/IVERSEN – THE SEA IS NEARBY, YOU CAN TASTE THE SALT IN THE AIR (CDR by Kabukikore)
BJERGA/IVERSEN – NORWEGIAN MOONSHINE (CDR by Digitalis Industries)
Our over productive friend Chefkirk teams up with the unknown Koff Koff (of whom an MP3 was reviewed in Vital Weekly 385) for a pack of solo and collaborative recordings. The first 3″CDR contains their collaboration of pushing back and forth soundfiles. Mostly noise related and occasionally rhythmically oriented. However the results aren’t that interesting. Overall the material drags on a bit too much, and doesn’t take the listener anywhere. It’s noise and not very good at that.
The solo release by Chefkirk is alike but better. Here, again, like on many of his recent releases, rhythm and noise play an important role. What doesn’t succeed on the collaborative release, namely creating an interesting piece of music out of it, succeeds well on this release. There is care for dynamics and variations in the sounds used.
Maybe to my surprise, the solo release by Koff Koff wasn’t bad either, though also not great. Here too various elements of ambient related sounds are thrown in the blender and at various points in time, things pop out with a loud bang. But there is certainly much tension in this material. A pity that joining these two didn’t work out but solo things are all alright.
Of an entirely nature is the release KA, aka Kjell Oyvind A34, Kai A80 and Tore A22, all members of the Origami Republika. The recordings were made in 1997 on a four track cassette recorder of sound sources unknown. The four pieces are all best described as dark, atmospherical music with a dash of industrial music. Slowly developing, minimalist patterns on a bunch of analogue synths, plus electro-acoustic sound sources of a rather obscure nature. The result is quite nice drone music, in the best tradition of Mirror, Ora and especially Monos. Time ahead I’d say, a pity we had to wait for so long.
Tib Prod label boss Jan M Iversen has also a couple of solo and collaborative releases, but this time released on Digitalis Industries. The first one ’42’ was originally titled ’21’, with twenty-one tracks but it was cancelled before release, and now a full length with forty-two tracks becomes available. The idea is to present forty-two tracks of one minute, which each the idea of a complete song. Such is not an easy task, because a minute is over before one realizes it. Of course Iversen doesn’t succeed in each track, but throughout there are some mighty nice pieces to hear. Mostly electronic, mostly rhythmic, this is a well enjoyable release.
In November 2004 Iversen recorded some stuff in ‘a cabin near the Lindesnes lighthouse at Norway’s soutermost point’ with Sindre Bjerga. So far I wasn’t entirely blown away with the joint releases, but these two are quite nice. ‘The Sea Is Nearby, You Can Taste The Salt In The Air (The Lighthousetapes Vol. 1)’ builts up carefully around some loosely improvised sounds of a rather free nature. Not dense, not over the top, just carefully and quietly improvised. A well-done piece of music. On ‘Nowegian Moonshine (The Lighthousetapes Vol. 2), the guitar plays an important role. Here things are much denser, almost drone like, but then in a more violent or aggressive way. Maybe a little bit less interesting than the other one, but both a major step ahead in their joint work. (FdW)
Address: http://www.tibnprod.com
Address: http://www.digitalisindustries.com
Address: http://www.kabukikore.net/
COCKS OF THE DEAD (CDR by Phase! Records)
Release number 12 in the catalogue of Phase! Records, a quite interesting Greek label from Athens. I don’t know who’s behind Cocks Of The Dead, maybe checking the label’s site can help, but pity I can’t do that right now. There are 5 tracks and 35 minutes of music altogether. It’s not easy to point out and explain what’s this music about stylistically, but nevertheless, it’s a pleasure listening to it. There are hints of (post)industrialised ambience, improvisation, noise, drone etc… But none of them in a regular form, but rather adjusted to the specific sound of this artist(s). Also, the general atmosphere is kind of old-fashioned or old-flavored, which in this case is adding a distinctive charm to the music. It’s not a kind of music I can easily relate to, but certainly amusing to listen to it with it’s specific originality. (BR)
Address: http://www.phaseweb.tk
PHROQ – MÂCHOIRE (CDR by Solipsism)
PHROQ – UENO PARK MEMORIES (CDR by Carbon Records)
Here is a true story: year and years ago I was living with my parents and I was playing, I think, ‘Music For The Hashishins’ by Vagina Dentata Organ at a pretty loud volume. My brother came rushing in and asked me whether I was brushing my teeth using a microphone. Maybe Phroq had a similar experience? All the sounds on ‘Mâchoire’ are ‘manipulations of field recordings of my mouth (jaws, teeth, throat and breathing)’. Phroq is one of more intelligent noise makers I know. Unlike so many others, his work is pretty noisy, but also well-balanced. There is passages of softness and sheer inaudibility to encounter. Dynamics, the difference between soft and loud, play an important role. And this makes ‘Mâchoire’ into a highly enjoyable affair. Good noise.
A totally different conceptual angle is ‘Ueno Park Memories’, in which Phroq uses field recordings made in a park in Tokyo, which is surrounded by various museums, aswell as a temples and more than a 1000 cherry trees. Although the sound input is totally different, the result works in a similar way. Ranging from quite soft to quite loud, with an emphasis on the louder parts, this is also a pretty strong release, best to be enjoyed when listened in one uninterrupted go. (FdW)
Address: http://www.selfabuserecords.net
Address: http://www.carbonrecords.com
NICK DAN – GRANDE FINALE (3″CDR by Musique Provocateur)
ANTIPAN (3″CDR by Musique Provocateur)
Two new 3″CDR releases on Musique Provocateur, from a land down under. The release by Nick Dan, “Grande Finale” doesn’t provide any background, but on the website we read; “Following years of vilification the Lebanese-Australian population of South West Sydney and their football team, needed a release. The reason may have been the 2004 premiership, the location Belmore and the colors blue and white, but the feeling was universal. Grande Finale is an audio abstraction of how they chose to celebrate”. This makes sense when one hears the release: car horns, people whistling and shouting, but all of these sounds are fed through boxes of sound effects, adding a strange, almost backwards like marching rhythm. The idea is a nice one, but maybe just for a couple of minutes, but not the entire length of a mini CDR, despite minimalist changes in processing.
Also from down under is Antipan, a four piece band of Anthony Guerra on drums, Matt Earle on guitar, Sumugan Sivenesan on guitar and Nick Dan on bass and vocals. All of them are active in the world of improvisation, and though this is much more rock than say their work with others in the world of improvisation, although it’s a rather free play. Recorded live to enhance the lo-fi aspects of the music and to bring the punk spirit into improvisation, or perhaps the other way round. (FdW)
Address: http://www.mprov.org/
TIWS/RECA – THE SOUND OF IPAQ (CDR, self-released)
One could assume that Tiws/Reca is two persons, but in fact it’s just one: Maarten Kleywegt, who is also a member of the Fckn’Bstrds, aswell as some other unknown bands. Before calling himself Tiws/Reca, he was called The Industrial Wiping System. On ‘The Sound Of Ipaq’ he works with the Ipaq H3130 Pocket PC running Linux and PD A. Some high pitched feedback like sounds is what he offers, but he filters the result through his mixing board. The twenty minutes are minimally and sparsely filled with this. Not that great, but not that bad either. It’s a rather consistent executed idea and that’s fine enough. (FdW)
Address: <lnp@galaway.com>
PH. – AS WHEN LIGHTED (MP3 by Narrominded)
Even when I’m not the greatest fan of guitar/rock music, it’s quite enjoyable listening this music by pH. released by the quite open-minded label Narrominded from The Netherlands. pH. are Gabry on vocals, guitars and drums, and Lars on vocals, keys and bass, and they play a kind of, let’s say, punk-rock music. Very short tracks of 1 to 2 minutes, lyrics like: “I will always sleep right next to you, go on tell the band I’m through with them.” This music reminded me a little of Frank Black. It’s great when someone makes you enjoy music you usually don’t listen, and this band has done that for me. (BR)
Address: http://www.narrominded.com