Label: Psych.KG - Psych.KG 021,Kafue Systeme - KAFUE 21 • Format: Vinyl LP Cassette Single Sided C90CDr Mini Box Set All Media Limited Edition • Country: Germany • Genre: Electronic • Style: Abstract, Noise, Experimental, Industrial
Vital Weekly, the webcast: we offering a weekly webcast, freely to download. This can be regarded as the audio-supplement to Vital Weekly. Presented as a radioprogramm with excerpts of just some of the CDs no vinyl or MP3 reviewed. It will remain on the site for a limited period most likely weeks.
Download the file to your MP3 player and enjoy! Which is Craig David - Rendezvous more and more people do and did. Who remembers Crawl Unit, since long known as Joe Colley? As The Domestic Front he delivered some pretty interesting releases that were surely noise based, but which always seemed be more than just pointless attacks of brutality.
Here on 'Strangelet' things start out in a pretty heavy feedback mode, but quite soon returns to the form of The Domestic Front, and were the great power lies of Bailey: the sound collage. He does hard edits in the music, swiftly changing from one thing to another, while sometimes he lets a few layers continue. Throughout it seems to me however that this first release under his name is overall a more louder one than the previous releases.
Things are full on, all the time. That seems to be a new feature here, even with the edits he made. I always say I don't like noise for noise's sake, but when things are played here this forcefully and with so much care, intelligent noise I could even say, Traffic Brain - Stabat Mors / Karl Bösmann - Split I'm fully interested.
A pretty intense release, even in its quieter moments, such as in 'The Sanctity Of Sloth'. Digital noise with an intelligent edge. But Asher goes a bit further than this. Nothing else. It's called 'Miniatures' and both discs have thirteen tracks, Traffic Brain - Stabat Mors / Karl Bösmann - Split is not some conceptual thing of 'play both at once to hear the Traffic Brain - Stabat Mors / Karl Bösmann - Split thing'.
Its Asher being the piano, playing Satie like pieces. The music of Asher however doesn't make me sad per se, but his piano playing and very sparse processing are quite delicate. It seems to me that Asher records his piano playing on a hissy cassette, and then further amplifies the hiss a Traffic Brain - Stabat Mors / Karl Bösmann - Split more in the computer and compresses the whole thing so that there is some kind of piano playing left over.
It also seems that over the course of the two discs thing deteriorate further and further, with more and more hiss and gradually an almost disappeared piano. Perfect late night music, and if played in the right order, silver first and then the black CD, things end in total hiss bliss. Great CD, and hopefully the first of many more. I thought the first were pushed in a corner of the history, waiting for a revival.
Maybe this has happened with this CD. I was thinking about these bands and persons - all six of them - and what it is that ties them together. I think its the extensive use of voice material in all six - created by themselves, or lifted from various sources. That's one thing. The other is their strong love of swift editing the material, adding surprise elements in the mix. Thirdly they all used humor in some way. Roux, whom we know for his albums for 12K, Room40 etc. They call their music punk musique concrete, which is a nice invention, but not entirely an invention of their own.
Rather than punk musique concrete, I'd like to say non academic musique concrete. They work above the strict laws of composing according the holy book of acousmatic music which in France might be the same as blasphemy and throw in many elements of pop culture, to make a social comment.
That's what makes this 'punk' indeed. This is a great CD, much better recorded and produced than the old P D4 still a favorite herebut Roux and Epplay Who Pays The Ferryman - Nova - The World Of Synthesizers no doubt laptop musicians so it's 'easier' anyway.
They very much create their own take on things, and thus created an album that is beyond the usual microsound, careful laptop doodling, but also they are clever enough not Traffic Brain - Stabat Mors / Karl Bösmann - Split fall into the many noise holes on their way.
Their album is a great mixture of noise, laptop, and musique concrete - punk or otherwise. In the 80s he worked solo as and with New Carollton and had his label Watergate Tapes. In the 90s he lived in Russia for a while and upon return he worked as V.
Curiously enough he never released a full length solo CD. That omission has now been corrected. Violet uses found objects, microcassettes, damaged CDs, prepared acoustic instruments and old record players, along with a laptop to create his music. In 'Violet Ray Gas' for instance he uses quite a bit a violin like sounds, which are layered into an orchestral mass of sound, along with some obscured sounds at the bottom.
The closing piece of the CD is 'Interior Ghosts' is a hissy, glitchy piece of shifting organ like tones. There is also noise, as part of the long 'Marionetki' piece, and drone like ambience. Violet creates music that defies many descriptions, and produced an album that is highly varied but at the same time also pretty unified and strong - an excellent display of what Violet is all about.
Ambient, noise, musique concrete, old school industrial music and microsound, all blended together in a strong work. Apparently the sound quality of the original release wasn't too well and the release was printed in a limited edition of copies. Now fifteen years later the album has been reissued with a much better sound production this time in a CD-format.
Behind Brunnen, you find the artist III.
Intermezzo: Adagio - Shostakovich* - Fitzwilliam String Quartet - The String Quartets Kinkelaar who apart from the Brunnen-project also is known as part of the Beequeen project with Frans de Waard. The expression on the album is overall quite minimal, based on keyboard sequences from the old Ensonic Esq 1 synthesizer and then discreet vocals from Freek himself. The atmospheric and overall mellow synthlines from the electronic equipment is the dominating part of the sound picture with the gentle downbeat vocals coming from the distance.
Weird electronic experimentations intervenes the pieces, sometimes quite noisy, and thus breaking the calm and easy-going Podívaj Sa, Cérečko - Jarmila Šuláková - Kyčera, Kyčera textures with some quite interesting contrasts.
That Edward Ka-Spel of Legendary Pink Dots takes part on a track doesn't come as a great surprise, since the whole expression draws attention to the style of the Dots. A very nice release that fully deserves this fine treatment! That lies mainly in the singing. It is with some reluctance that I started playing the new one, "Tempoacha".
Tenniscoats, a duo of Saya and Ueno were at the time of recording impressed by Lawrence English' 'Studies For Stadbroke' on Winds Measure Recordings, so it was suggested that they would go out and record their music outside, in nature, on the street and incorporate the field directly into the music. The vocal part is left aside, or is used very sparsely here, which improves, me thinks, the music a great deal.
The sparse, naive playing is still there present, but the The Cleansing (Hardstyle Version) - LÂme Immortelle - Es Tut Mir Leid character of the music, and the moving away of the need to play pop tunes, makes this into a highly enjoyable CD. Laidback music, very musical and yet also at the same time, having that field recordings feel to it.
I would hope this would be the change of the tune, they would need and not just an one-off experiment. The other new release by Traffic Brain - Stabat Mors / Karl Bösmann - Split is a compilation, which deals with the eight year existence of Fabrique, a series of forty concerts in the Brisbane Powerhouse Turbine Platform. But these names are present on the CD that celebrates these eigth years. Looking at the pictures there a lots of people of laptops, guitars and some with other instruments.
The CD is nice bunch of live pieces, excellent excerpts of bigger performances, with none really standing out of the rest or seem to be making a true difference, but its quite a fine collection. Difficult as it is to review such as compilation, it has captured some nicer moments. They play farfisa organs and HP sine wave oscillators. Two different titles, each three pieces. These pieces are alright, but tend to go of the Traffic Brain - Stabat Mors / Karl Bösmann - Split a bit.
The first three pieces are much nicer, as they are slow humming works of a delicate nature. Slow, evolving and revolving - nice drone stuff. Richard Garet we know from his releases on Winds Measure Recordings and Brendan Murray, well he's one of the music scene's undiscovered heroes. The work they carried out together was recorded between and I am not sure if there is some sort of thematic approach to this, but this is a fine work of two long pieces of field recordings and computer processing.
In terms of microsound, drone, field recording or ambient music I didn't hear anything 'new', but throughout this was a most enjoyable disc. Especially 'In Parallel', the longest piece of the two is a piece that goes through various stages of field recordings - mostly recordings dealing with the weather - and gliding and sustaining electronics, works very well. Like said, nothing new under that particular sun pun intendedbut executed with a great love for the material and with great skill towards the methods at hand.
The two 7"s are on a conceptual level. Each artist has a piece and two lockgrooves at their disposal. It reads a bit like a who's who in the experimental music field, with on the first volume the more experimental and noisy artists such as Lary 7, Joe Colley, Busratch, Toshio Kajiwara, Tommy Birchett and Dieb 13, while on the second volume things get more musical with improvising musicians as Ian Epps, Kenta Nagai, Annette Krebs, Chris Forsyth, Giuseppe Ielasi and Koen Holtkamp.
Especially the side with last three is particular musical. Not easy 7"s to play with all these lockgrooves, but like always with this sort of thing they might serve as DJ tools for the more adventurous DJs out there. He has a small hand bell as the prime sound source here. I assume one of those bells to call upon the downstairs staff for a drink.
This bell generated the sounds used here, and this twenty minute mini CD is an absolute text book Roden piece. There are Chasing Shadows - Deep Purple - Deep Purple transformations of the bell, pitched up and down, reversed and otherwise altered, and then they are looped. All of these loops are placed in a multi-track editor and then mixed together in a very consistent built-up - the Roden method.
This piece is no different, and of course that's no problem, but I must Traffic Brain - Stabat Mors / Karl Bösmann - Split I thought it would be time to try his hand at something new. New working methods, new sound sources perhaps. This is a beautiful piece, but its also perhaps something that we know all too well.
His pieces are around the theme of 'Fractals Of Benoit Mandelbrot'. I don't know what to think of this, I must admit. Stabat Mors sound influenced by noise. There is some distorted guitar playing going on, with bits of feedback here and there.
Down Deep - Dave Angel - Classics, East Village - Rock Candy Funk Party - Groove Is King, Pieni Rumpali - Various - Suosituimmat Joululaulut Kautta Aikojen, lyid skor 14 - Arovane - lyid skor (File, Album), Louis Armstrong And The All Stars* - New Orleans Days (Vinyl, Album)