STEPHEN FLINN & NOAH PHILIPS DUO AND TRIO WITH TIM PERKIS – SQUARE CIRCLE (CD by Pax Recordings)
THE HAFLER TRIO – A THIRSTY FISH (2CD by Korm Plastics)
BILLY BAO – R’N’R GRANULATOR (CD by W.m.o/r) *
MATTIN – SONG BOOK (CDR by Hibari Music) *
BEAUTUMN – WHITE COFFEE (CD by Infraction Records) *
KILN – THERMALS (CD by Infraction Records) *
CHRISTIAN WOLFARTH – WOLFARTH (CD by For 4 Ears Records) *
TOMAS KORBER/KEITH ROWE/GÜNTER MÜLLER – FIBRE (CD by For 4 Ears Records) *
KAI FAGASCHINSKI & BERNARD GAL – GOING ROUND IN SERPENTINES (CD by Charhizma) *
SAMPLER 06 (LP by Ai Records)
VINDVA MEI – GERMANS ARE PEOPLE TOO (CDR by Whitelabel)
RUNAR MAGNUSSON – THE GREATEST OF THE GREAT (CDR by Whitelabel) *
GUIGNOL DANGEREUX – MUSIC FOR YOUNG SPIDERS (CDR by Simple Logic) *
REVERSE (DVD-R by Edition Fästing Plockare)
SOUNDSKOP #2 (CDR by Sfumato/Sqrt Label)
THANOS CHRYSAKIS – INSCAPES (MP3 by Con-V) *
THANOS CHRYSAKIS – ENCHANTED MOUNTAINS (MP3 by Stasisfield)
SHALMA – SECOND BLUR (MP3 by Minus N)
DATAMAN – THE MOST FAMOUS HEROES (MP3 by Minus N)
Obituary: Derek Bailey
STEPHEN FLINN & NOAH PHILIPS DUO AND TRIO WITH TIM PERKIS – SQUARE CIRCLE (CD by Pax Recordings)
The flow of recordings of improvised music still continues. It seems a never ending field of music that attracts many musicians. “Square Circle” is an another example of this. Percussionist Stephen Flinn joins forces with guitarist Noah Philips. In one long track Tim Perkis joins in with electronics. Flinn is drummer who like some of his colleagues expanded his percussion outfit with all kind of other – often found – objects. Expanding this way the range of sounds and color derived from his percussion. He played all over the world with many improvisers like Lol Coxhill, Cecil Taylor, William Parker, etc.
Most activities of composer and guitarist Noah Philips are located in the Los Angeles area and include work with the Cline brothers, The Kreative Orchestra, etc. He has an unconventional and very skillful way of playing his guitar. Like Flinn on this percussion, Philips is mainly seeking for new sounds and textures. Because of this common interest their sounds and noises, etc. mix perfectly. Together they weave a dense and concentrated carpet of improvised sounds.
From time to time you do not know whether sounds
come from the guitar or the percussion. They have a modest style of improvising. Their vocabulary is of a very abstract level, but they succeed to give concrete form to their ideas. They do a good job together, communicating very well which is essential for all music, but especially for this kind of music. Consequently listening to this c.d. is a very satisfying experience. Well done. (DM)
Address: http://www.paxrecordings.com/
THE HAFLER TRIO – A THIRSTY FISH (2CD by Korm Plastics)
After having been a hard-to-find-object, The Hafler Trio’s second album has now been released in a complete double-disc version by Dutch label Korm Plastics. In fact the album titled “A thirsty fish” is the fifth reissue of early Hafler Trio”-albums by Korm Plastics (the other albums being “Kill the king”, “The sea org”, “Mastery of money”, “How to reform mankind”). As is the case with the previous reissues “A thirsty fish” has had an impressive treatment both as regards the sound production but also the packaging. The 100 minutes (!!!) running time have been digitally re-mastered and neatly packed in an impressive cardboard-folder with booklet, a poster and a postcard. Everyone familiar with British sound art-project The Hafler Trio knows that it is a unique institution within the field of electro-acoustic based experimental music. Originally being part of the pioneering Industrial band Cabaret Voltaire, Andrew McKenzie and Chris Watson created some of the most innovative and challenging sonic experiments in the early 1980’s with The Hafler Trio (the trio was never actually indeed a trio!). As Christ Watson leaves the project in 1987, Andrew McKenzie continues as a solo on his explorations into the strange world of electro-acoustic sounds-capes. The first result can be heard on “A thirsty fish” – a double album that despite its belonging to the Ambient-territories of electronic music, stands very far away from Brian Eno’s original definition of the term ambient, as being background music. “A thirsty fish” is an album that forces the listener to attend on every small bit of sound pulse coming from the ultra-complex Dadaist-like mixture of found sounds, field recordings, microsounds, cut-and-paste noises and abrasive drones. Listening to “A thirsty fish is an indescribable experience. The only way to get an impression of this remarkable piece of work is to experience by yourself!
Essential purchase for lovers of adventurous music! (NMP)
Address: http://www.kormplastics.nl
BILLY BAO – R’N’R GRANULATOR (CD by W.m.o/r)
MATTIN – SONG BOOK (CDR by Hibari Music)
The first release by Billy Bao, a 7″ on Mattin’s w.m.o/r label (see Vital Weekly 466) didn’t do much for me. Apparently this Billy Bao moved from Lagos to Bilbao, and recorded the 7″ with Mattin on guitar and Alberto Lopez on drums. Here, on a new CD with four tracks, the line up is extended with Xabier Erkizia, Pablo Reche and Alan Courtis, so a six piece altogether, although the cover doesn’t make clear what they are playing. I assume laptops and guitars. Three of the four tracks are a bit punk like of guitars dueling, pounding drums but also with the static hiss of the laptops. In the opening ‘Dame Kritmo’ the playing is rather free and improvised. The third piece, ‘El Grado Zero Del Pulso’ is something entirely different: a slow, repeating drum sound, with a far away hiss sound coming the speakers and laptop hum. Probably it wants to be menacing, but it takes way too much time. The best piece however is the lengthy ‘Para Ahuyentar Ratas, Humanos Y Otros Insectos’, which combines the punk attitude with drones played on guitars and laptops. A bit of postrock for the postpunk and the postdrones. As a whole much better than the previous 7″, except for that third piece, which didn’t grab me very much.
An even more curious release is ‘Song Book’ by Mattin. In general a song book indicate classical songs from the particular country or region, in this case of course the Basque country. None of these classics mean much to me however of course. Mattin plays acoustic guitar (and on very few occasions organ) and sings them, recording them through the sound input of his computer. Twenty-two of these classic songs, which I think is a bit too much. If this was a 3″ of twenty minutes, it would be fine enough, but now three times as long, is a long bit too much of an overdose. Mattin doesn’t have a voice that particularly sounds good or exciting and his guitar playing is alright. Well, for twenty minutes that is. (FdW)
Address: http://www.mattin.org/
Address: http://www.hibarimusic.com/
BEAUTUMN – WHITE COFFEE (CD by Infraction Records)
KILN – THERMALS (CD by Infraction Records)
Infraction Records remains a small but trustworthy label of good quality ambient music. They don’t release more than three or four CDs a year, but usually of a high quality. The two releases here are packed in beautiful digipacks (a first for Infraction Records) and both were previously released a highly limited CDrs. Beautumn (a very nice name, I reckon) is one half of Sleepy Town Manufacture and hails from Moscow – I never heard of both. It’s ambient with a very big A. Big time synth washing ashore here, deep space stuff through an endless and weightless amount of reverb and all that. But that is not the complete picture. Some tracks are more than just that. A piece like ‘She’s A Shadowed Maybe Child Only Knew How To Be Mine And I Love Her’ seems to be built from field recordings (the inevitable recordings of the sea), but also the ticking of a clock and massive reverb on very loose percussion. It’s ambient but less the massive synth lines. Towards the end of the album there are also some more percussive pieces, a bit like the good ol’ Fax releases, Global Communication or Future Sound Of London, which should maybe been better divided over the CD. However throughout it’s a most enjoyable work that holds nothing new under the Ambient sun, but I am sure the true lovers of the genre only would see that as an advantage.
After the release of two Colin Potter CDs one could think that the Kiln release also is by Potter, since he has a similar band, but it’s not. This Kiln comes from Peninsula and are Kevin Hayes, Kirk Marrison and Clark Rehberg III, who were once part of Fibreforms and Waterwheels. They have already a couple of releases here and there, of which ‘Sunbox’ was reviewed in Vital Weekly 430. I believe (not having written that review myself) that album was dealing more with rhythm, but that seems to be gone here. Or perhaps it’s the other way round, since the music on this release was recorded between 1993 and 2000 (before being released in 2001 as a CDR), so it marks the old, first phase of the band. There are no less than twenty-three pieces on this CD of deep space music, usually recorded directly to tape. Kiln uses a wide array of synthetic sounds, sound effects and perhaps guitars to craft music that is quite Eno like. Sometimes a big empty chilly space, such as on ‘Pureloveplate’, but usually deep and warm. It’s quite nice altogether, but there are some things that could better. Many of the pieces are merely sketches, a simple set of sounds that sound nice but could be worked out better. Probably the big disadvantage of working directly to tape. Then some of the sketches are short, too short to leave a good impression. Maybe it would have been an idea to put all these sketches together in a bigger flow, or perhaps multi-layer them and create a new work out of it. The flow is now gone and that is a pity. Otherwise, some of the sketches are awesome – I suggest putting them on repeat. (FdW)
Address: http://www.infractionrecords.com
CHRISTIAN WOLFARTH – WOLFARTH (CD by For 4 Ears Records)
TOMAS KORBER/KEITH ROWE/GÜNTER MÜLLER – FIBRE (CD by For 4 Ears Records)
Although not really always a common procedure, but I popped Christian Wolfarth’s CD in, didn’t look at the cover or the info. After a while I was so curious to see the cover and find out what he was all about, since I was pretty clueless. The music was kinda rhythmical, but also highly electro-acoustic in nature. Of course I had already forgotten the fact that I reviewed a CD he did for Creative Sources, together with Günter Müller and Jason Kahn (see Vital Weekly 497) and that is a drummer. But as soon I had that bit together, things made sense. No doubt Wolfarth knows his drumming techniques, and even on this CD he remains far from using electronics or some such, but what he does here extends the word ‘drumming’ or ‘percussion’. Surely things are repetitive, but sometimes they sound like ‘sampled’ and put to ‘loop’ on the machine. A classical drum-kit is nowhere in sight, or at least we can’t see it. Maybe Wolfarth uses one, to place his objects on the kit and use them as resonating surfaces, but that might very well not the case. Sometimes there is a nasty sounding feedback like tone in there, which I found pretty hard to trace back to any of the sounds, maybe it has to do with the amplification of the objects. But that aside, this is a pretty intense CD, with lots of small, precisly detailed sounds.
Labelboss Müller shows up on a trio disc with two guitarists: Keith Rowe and Tomas Korber. That disc has three tracks, of which two has an appearance of all three, and one with just Korber and Rowe. Mixed together to form one long, flowing piece by Korber. It’s a highly intimate affair, this disc. There is first of all, a strong presence of hiss and static, that is put in there deliberately. Not because it was recorded to a ferro cassette, but the buzzing comes from the guitars that are loudly amplified but don’t make too much sound; well, perhaps. Maybe it’s Korber fiddling with his electronics. On top there is the finest crackling of small, very small objects that move gently in and out of the mix, make a small gesture to the listener, before moving away. Somewhere half way through the second piece the sound of the guitar becomes alive, arising from the mass of swirling static insect like sounds. Towards the end of the third section something similar happens with a slight percussive sound. They form the distinctive marks the various players leave here. Otherwise, everything else seems to be mixed up, again into a very detailed swamp of organic sound. Quite nice, once again. (FdW)
Address: http://www.for4ears.com
KAI FAGASCHINSKI & BERNARD GAL – GOING ROUND IN SERPENTINES (CD by Charhizma)
The name of Kai Fagaschinski might not be very known around here, the name Bernard Gal probably is. Over the past seven or eight years he has played a lot of concerts, created sound installations and has had releases on Durian, Intransitive, Klanggalerie and other labels. If I understand the website notes correctly than this new release is a combination of treated clarinet sounds, played by Fagaschinski, in combination with real time playing of the same instrument, alongside the treated sounds. The clarinet, like so many wind instruments, is a perfect instrument for this kind of working method. It can produce wonderfully sustained sounds, perfect to produce long blocks of computerized drone/ambient music, but also short, staccato sounds that in return the computer can treat into something that sounds like bird whistling. Lastly the instrument itself can be played with, say, a bow and then the possibilities are endless to create a beautiful, intense piece of music. Throughout the hour that this disc lasts (two long tracks and one shorter), these two musicians take you on a journey through vast, empty spaces, changing moods and perceptions but also bring it closer to home, with what seem a game of pool (at the beginning of the second track). The two take their time in producing these sounds, letting them breath out entirely, all the way to the end. Music to sit down by, do nothing and take it all in. It’s not as demanding as some improvised music, but my suggestion is to listen to this into a dimly lit room at a moderate volume. An environment by itself will unfold itself quite easily. (FdW)
Address: http://www.charhizma.com
SAMPLER 06 (LP by Ai Records)
Ai Records has become quickly, at least for me, one of the more interesting techno labels in the world, who show a firm interest in discovering new talent. On this new LP you’ll find eight (new) names, some of which will have their own releases in 2006. The press blurb mentions influences of all of these artists and it’s funny to see The Eagles, Nirvana and Yes listed on the same lines as Autechre or Boards Of Canada. Surely these kids listened to their parents record collection, but it’s the latter two who seem to be leaving the best influences. The eight bands on this sampler have listened closely to the whatever is available in the world of IDM and artificial intelligence, Aphex Twins and what have you, but they all are fairly good at giving the material a strong twist of their own. The glitchy sounds of Datassette are among my favorite, whereas the melancholy of Tomcats In Tokyo didn’t do much for my taste – heard it too often. These eight (also included are Rootsix, Biologic, Pathic, Sensiva, Plant 43 and Moonjean) have their own styles, making this into a very nice, enjoyable disc of techno/ambient music. A good introduction, holding promises for the future. (FdW)
Address: http://www.airecords.com/
VINDVA MEI – GERMANS ARE PEOPLE TOO (CDR by Whitelabel)
RUNAR MAGNUSSON – THE GREATEST OF THE GREAT (CDR by Whitelabel)
If my count is right, the last time we reviewed some from Icelandic Vindva Mei was five years ago, in Vital Weekly 235. What happened afterwards, I don’t know. Maybe I missed out something. ‘Germans Are People Too’ is of course a very funny title and was recorded in Copenhagen. I believe one of the band-members moved there. The CDR has one long track (50 minutes and 29 seconds) and includes a remix of Stillupsteypa, somewhere in there. In the course of these fifty minutes, Vindva Mei takes us on a trip to shores, seasides and into the disco. It’s a most curious mixture of ambient music, a bit of industrial music (construction site sounds at the beginning) and a bit of technoid rhythms. It’s sometimes very nice music, although the great variety doesn’t exactly work in a very great way. It’s a pity that the CDR is not indexed with various points, which makes life a bit more difficult for the adventurous DJs. But throughout it’s quite an enjoyable trip.
Vindva Mei’s member Runas Magnusson is responsible for a solo release ‘The Greatest Of The Great’. The five pieces here make a much more coherent impression, as an album. Some of the pieces were used for theater plays and all deal with, wether or not processed, environmental sounds, analogue synthesizers and even some voices. Most of the time the material kinda spooky, really intense and could be used right away for a horror movie, especially ‘The Delicate Work Of The Creator’ has these qualities. Throughout the release the music stays on the darker side of the light spectrum, with only small sparks of light coming in, but always with a twist – Runar isn’t quite self-serious. Crossing the lines between latter nineties of Stillupsteypa in terms of stealing sounds and some Hafler Trio in terms of sound processing, this is quite nice music. As said, as a whole much more coherent than the Vindva Mei release, this is quite nice cinematographic music. (FdW)
Address: http://this.is/whitelabel
GUIGNOL DANGEREUX – MUSIC FOR YOUNG SPIDERS (CDR by Simple Logic)
So far the releases of Italy’s Guignol Dangereux were on Norway’s Tib Prod label, but now releases a full length on Simple Logic from Poland. Here it sees a further exploration of the style he is playing around with, as on his last releases on Tib Prod: using two theremins, samples and electronics, exploring some cruder form of techno music. I assume he takes he rhythms as sampled from CDs and vinyl, and sometimes they don’t seem to be doing a ‘right’ loop, but that adds to the charm of the music. These loops are fed through a bunch of electronics, transforming the rhythm sometimes just a little bit, and sometimes a lot. Not music you can dance too, but certainly one to tap your feet along. Fine stuff, but it could be better: some of the tracks are still merely sketch like and could be enhanced with some extra work. Also with fourteen tracks spanning more than one hour, this is also a bit long. It’s perhaps the biggest problem with the whole CDR scene: one can never stop chucking out another piece of music. With some more time spend on lesser tracks, so much of this kind of music could benefit more. But a few of these tracks (say half of it), is certainly most enjoyable, even at this stage. (FdW)
Address: http://www.simlog.tk
REVERSE (DVD-R by Edition Fästing Plockare)
Although I am the least likely person to reviews films, this is a short art film that I like. ‘Reverse’ has two girls walking down the street and music by Christian Dergarabedian (aka Earzumba, and therefore landed on this desk, I guess). It takes you some time to realize that the two girls walking down the street, or rather: leaving a shop, walk around and going back to the shop, that everybody else is walking backwards and they move forward. However, of course it was filmed the other way round. The girls walked backwards (in reverse, hence the title) and than the film is played backwards, so that it seems they walk normally. A very simple yet confusing thing, which looks nice and for the six minutes that it lasts also the perfect length. Earzumba’s music has also reversed sounds, and fits along the music quite nicely. I’m not a film critic, but this one I thought was really nice. Simple and effective. (FdW)
Address: http://edition-fasting-plockare.ch
SOUNDSKOP #2 (CDR by Sfumato/Sqrt Label)
A compilation of ‘a various musicians meeting organized with outlook express and soulseek’ it says on the rather sparse info, by Sebastian Chou of Oddjob and Lukasz Ciszak of the Sqrt Label. It overlaps a bit the compilation reviewed here two weeks ago, also by the Sqrt Label, as we meet again Antmanuv, Finaldoll, Trriddilu, Lukasz Ciszak and Oddjob, as-well as again new names such as Dsort, , Stirling Negative, Astrol’s Kitchen and XV Parowek (ok, that one we recognized). Also the musical content goes very much into similar directions here: a bit of minimalist techno music by Astrol’s Kitchen, concrete sound cut-ups by Parowek, a bit of noise by Rohypnoise/Planetaldol and various improvised music pieces by Ciszak and Oddjob. All tracks sounded more or less quite nice, with not one that was particular good, but on the other hand not one that was particular bad either. Again a good introduction for those who want to try their hands at new names. (FdW)
Address: http://www.sqrt-label.org
THANOS CHRYSAKIS – INSCAPES (MP3 by Con-V)
THANOS CHRYSAKIS – ENCHANTED MOUNTAINS (MP3 by Stasisfield)
Two releases up there for free download by Thanos Chrysakis, who, judging by his name is a Greek, but apparently living in London. ‘Inscapes is a series of compositions based on the timbral affinities of the sounds. The articulated micro-sonorities and their modulations within the textural counterpoint create a dynamic aural space’ he writes. Three (or four, but ‘1-2’ are cut together) of them are to be found on a MP3 release by Con-V. These are created by electronic, acoustic and environmental sounds. Although it may seem to be the usual ingredients of micro-sound, and the results sound very much like ‘ambient glitch’, it’s very nice material all along. Especially the lengthy ‘Inscape 1-2’ has a beautiful mellow flow to it, and even when things are quite minimal, the material shifts back and forth all the time. This is not unlike some of Stephan Mathieu’s work along similar lines.
‘Enchanted Mountains’ is on the other hand a different work. Here too he uses computer processing (of what seems to me original piano sources and some classical music), but the material is more upfront and played around in a much more collage like manner. Everything seems to be fed through all sorts of computer processing and doesn’t have the same ambient glitch quality of ‘Inscapes’, but it’s still in the same corners of microsound. The material is played with great care and ear for detail. Especially the third part is highly recommended. Intense, atmospheric and soundtrack like. (FdW)
Address: http://www.con-v.org
Address: http://www.stasisfield.com
SHALMA – SECOND BLUR (MP3 by Minus N)
DATAMAN – THE MOST FAMOUS HEROES (MP3 by Minus N)
Japans Minus N, or rather ~N, has very nice releases to download, always with a nice cover, and always (with one exception), by artists I never heard of. Like Dataman and Shalma. The latter has four tracks (despite them being MP3s they still have the traditional length of a 12″) of minimalist techno music, but not as stripped down as some of the German counterparts. Mysteriously interwoven voices play a role in there somewhere, deep down, hypnotic and sleepy synths are played but the rhythm marches on. Maybe an unlike combination? It is one that works actually quite nice. It’s a pity that ‘Formranks’ is a remix of the also present ‘Pretension’, but otherwise quite nice.
Also of Dataman I know nothing. He selected five heroes to name his music after: Mr. Sunshine, Mr. Pussy, Mr. Fly, Mr. Illusion and Mr. Enregy. Of course I am way too old to feel any connection to the world of manga, computer games and other kid stuff. Dataman plays more straight forward techno/acid music, also in a pretty minimal vein. Certainly ‘Mr. Illusion’ is a classic acid track that could been from the original Chicago scene. Dataman’s music is less filled with lots of extra, small sounds and probably the better floor filler, whereas Shalma’s music would probably fit better at home. Both are very pleasing, relaxing and escapist music releases. (FdW)
Address: http://minusn.com/
correction: In the Antler Juice review in Vital Weekly, the name of Sam Stephens is spelled wrongly as Sam Stevens.
Obituary: Derek Bailey
At the age of 75 Derek Bailey passed away on december 25 from complications due to Motor Neurone Disease. He was one of the founding fathers of the European improvised music.
Born in Sheffield (England) on january 29, 1932 he grew up in a musical family. He began his career as a guitarist at a very young age and started playing conventional jazz professionally in the 50s. In the 60s he started a trio with Tony Oxley and Gavin Bryars. This group evolved from playing jazz along traditional lines to playing completely free. He moved to London in 1966 where he came into contact with important musicians like drummer John Stevens (Spontaneous Music Ensemble), Evan Parker and Barry Guy.
With Oxley and Parker he established in 1970 the still existing Incus label. One of the first independent record-labels, owned by the musicians themselves.
On a pamphlet, enclosed with the first Incus record – ‘The Topography of Lungs’ by Bailey, Parker and Bennink – they write: ‘The rapid evolution of improvised music to an intensity of expression which has made it often less immediately accessible to the well conditioned ear of the average listener has brought general confusion. In the face of indifference and incompetence at the major record companies, musicians all over the world are moving to control the dissemination of their recorded music themselves’.
In 1977 he initiated the famous Company week. Inviting improvisors from all over the world, this festival became a crucial meeting point for many improvisors like Steve Beresford, Anthony Braxton, Han Bennink, Steve Lacy, George Lewis, and so many others.
His ideas and thoughts on improvisation Bailey laid down in the book ‘Improvisation: its nature and practice’, published in 1980.
Playing electric and acoustic guitars, Bailey developed an extremely radical music: highly idiosyncratic and easily recognizable. His improvisations are atonal, non-melodic and arhthymic.
He described his music himself as ‘non idiomatic’. His music does not swing, and there is no blues feeling. On the other hand all kind of musical traditions and forms can be traced in his work.
In the 80s and 90s he sought the company of not only fellow improvisors, but also of musicians who worked in the totally different domains. He recorded with the popular jazz guitarist Pat Metheny, a drum-n-bass DJ, the rhythm section of Ornette,s Prime Time group, Ruins, duets with a chines pipa player, a tap dancer and Thurston Moore, etc., etc. Just like another english guitarst of his generation, Keith Rowe, he was successful in making improvised music fruitful in other musical areas.
The career of Bailey is very well documented on dozens and dozens of records, most of them released on small european labels. Some of the recordings he made in the last few years found their way through the Tzadik label of John Zorn. His last releases is the solo-abum “Carnal Tunnel”, recorded this year in Barcelona and released on Tzadik. (DM)
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