venerdì 17 dicembre 2010
First compilation of tracks that was issued by Germany's Thomas Brinkmann, original released in 2000. This CD compiled many of the legendary Ernst 12" series, partly with new mixes and versions. That series of classic late 90s orange sleeved/labeled 12"'s, featured all German-ish female names for tracks (aka Anna/Beate, Clara/Doris, Erika/Frauke, Gisela/Heidi, Inge/Jutta, Monika/Nicola, Petra/Olga, Susi/Trixi, Ulla/Vera, Wilma/Xenia, Yvette/Zora). Ultra-minimal, cutting, Brinkmann-esque. Some of the most riveting electronic music of the last decade and self-defining. With one bonus previously unreleased track.
martedì 14 dicembre 2010
giovedì 9 dicembre 2010
composed and recorded at messor studios (madrid) and the dark room, yale repertory theatre (new haven), during the spring of 1997. sound engineer: rob gorton.
this work was commisioned by the ralph lemon company for geography, a dance theatre work directed by ralph lemon, commissioned and premiered by the yale repertory theatre, new haven, ct. geography was also commissioned in part by 651, an arts center, brooklyn, ny and the national dance project of the new england foundation of the arts. additional fnuding was provided by the multiarts production fund of the rockefeller foundation and by 651’s africa exchange program, which is generously supported by a grant from the ford foundation.
domenica 5 dicembre 2010
By visiting Lagos in 1983, Tokyo in 1999, 2000 and 2001, Bangkok several times between 1986 and 2002 and Mexico City in 2002 and 2003, CM von Hausswolff came, as thousands of other people, to the conclusion that something is running amok. An uncontrollable avalanche consisting of the construction of houses, streets and in-between spaces develops in large cities as independent "anything can happen"- status.
giovedì 25 novembre 2010
The title of this new release on Microwave suggests that the tracks
presented here are models for (making) this kind of music. Or it's a hoax
of course. The first track, which is simply called 'A Jingle' tends to make
me believe it's the second choice. Very short and basically just electrical
circuitry gone unwired. but very nice. Second is Radboud Mens with a much
more serious approach: a well defined composition (I wonder if it
couldactually be played backwards and still sound the same...), but lacking
a little in excitement for me. Immedia are present with a track that is for
a very large part inaudible (even on headphones) except for an occasional
outburst. Reminded me of Richard Chartier. Petra Klusmeyer presents a work,
that doesn't actually sound like a microwave piece, but more like serious
electronic composing. And good composing. New one is Monotonos from The
Netherlands, with a clear and sober track. Good introduction. Hem from the
UK is also new to me, with a track that rolls from right to left on the
speakers and has a somewhat sneaky atmosphere. Another new name is Freiband
with a sober, but very subtle track, a strong introduction as well. A
bigger name is Kim Cascone with a short, but fiercely electronic piece.
Another new name is Sony Mao, who's doing a duet with R2D2. But luckily for
us, it's not only funny: it's good as well. And the list of new names (for
me) is longer. Tarlose present themselves (them, him, her, who knows?) with
probably the most minimal track as yet. Reminds me of Surge, but even more
minimal. And who's next? Surge, but with a sound that goes more in the
direction of Chain Reaction than I would have thought possible.A nice
development, I think. That brings us to Brian Lavelle, who's name again is
new for me. This track can almost be seen as a popsong, with an
introduction and the other ingredients to follow. Very nice indeed. Ha, I
know Massimo from a former Microwave release, but I would never have
guessed that the guy produces gabber as well. This one could even work on
the floor, except for that break in the middle of the piece, which makes it
a lot more interesting than your average gabber. I might become a fan of
Mr. Massimo. Cancerman (yep, don't know him) presents a track with a pretty
dark and gloomy atmosphere and leaves everyone waiting for the real beat to
kick in. This expectation remains unfulfilled however, and so Cancerman
escapes obviousness. Arizona Running (new from Holland!) present a very
exciting track with a broad array of electronic sounds and a strong sense
of tension. Last track is by Immedia again and again this is a very low
volume piece, that is very present however. Good filtering. So, this CD can
be considered as a manual, but why? As a compilation of people working in
this 'field' of contemporary electronic music and introducing quite a lot
of new names, it seems to make more sense.
martedì 23 novembre 2010
After the extraordinary 4CD box-set, "Together' s Symphony" (with MAURIZIO BIANCHI), Silentes Minimal Editions is proud to present the incredible new solo effort by NIMH. Stratospheric sounds from another dimension, where multi-cultural sound-worlds collide. Processed electronic emulations of traditional Thai (and other indigenous) instruments, esoteric percussion, breathing, drones, feedback, shortwave radio, disembodied voices floating in air, and hazy field recordings all combine is a most intoxicating manner. With THE MISSING TAPES, NIMH returns to a more adventurous style, pushing the boundaries of sonic innovation past anything that we've heard before. An amazing 50+ minute sonic-travelogue of electroacoustic experiments. Ambiguous music for those who want something completely unique.
lunedì 15 novembre 2010
Over the course of four years Per Ahlund, also known as Diskrepant has released four albums, of which 'Ex Machina Libertas' is the last one. The start, a split release with Des Esseintes was a pretty noisy one, but he quickly turned to more quieter music on '33-12' and 'Into Sleep', which get a following on this new one. Like its two predecessors, the sound here is based on field recordings, analogue and digital sound synthesis, concrete sounds, which are melted together. Moulded perhaps is a better word. This music of AI - ambient industrial as well as artificial intelligence. Music from a darker corner of the world, the word underground where a laboratory of aliens create sub humans. Dark rumble in this dark laboratory - why would aliens need light - and some repeated action, which forms a rhythmic loop at one point. Excellent dark atmospheric ambient music, with nothing much new under this particular black sun, but it makes a fine listening round. Very Swedish in packaging, and in terms of dark music, one could say this is the more intelligent brother of some of the Cold Meat Industry bands. (FdW from Vital Weekly)
giovedì 11 novembre 2010
Produced, edited, mixed by Lorenzo Senni and mastered by Marcus Schmickler, "Dunno" is the very first official release from the 27years old italian founder of Presto!?; his previous release "Early works" (2007) is a collection of old re-edited tracks mainly influenced by early laptop heroes Mego style.
Now with "Dunno" we have a pure computer music record where digital psychedelia meets brutal pulasr synthesis trains and sharp FM streams. Built up with a double approach, "Dunno", is something between vintage experimentalism of the computer music pioneers and the new digital brutality of fat, acid glissandos and shepard tones in rave style. Using a large palette of computer synthesized sounds and a sophisticated musical awareness he creates ten tracks of beautiful artificial energies and abstract pleasure (Rolf Delley, QJ)
lunedì 8 novembre 2010
handmade silkscreened, limited edition of 38
14 tracks x total time 11'.28''
releasing date: october 31st, 2007
mercoledì 3 novembre 2010
Keeping track of the musical output of Daniel Menche has never been easy. Besides his numerous albums and singles, released by an eclectic range of labels, he has contributed countless tracks to compilations, many of which reached only the smallest of audiences. “Scattered Remains” tracks his progress from 1995 through 1999, collecting the best of these pieces, now fully remastered, onto two full-length CDs. With the passing of time it has become nearly impossible to find many the original releases these tracks came on, making this rarities collection a must have for long-time fans and new converts alike. Besides the material culled from CD compilations, three tracks previously only available on vinyl appear in digital form for the first time ever. The list of labels involved reads like a who’s who of cutting edge music in the ‘90s: Banned Productions, Ash International, 23five, Noise Museum, Self Abuse, Isomorphic, KAON, Shirocoal, Suterfuge, G.M.B.H. and of course, Soleilmoon.
Soleilmoon Label Site
mercoledì 27 ottobre 2010
Be Invisible Now! is the solo project of Marco Giotto from Italy. During the nineties he has played in several different bands from guitar improv (Apple Pillar) to hardcore (Cheswick). Giotto has also recorded guitar sessions for Italian post-hardcorists With Love (now on GSL Records) for their album "I Love Cul The Sac" in 1999. His latest experience in a band is from 2001 with d.EVIL, a deviant hard-psyche band turned recently to garage-noise-rock.
Giotto’s first solo work as Be Invisible Now! was the self-titled 2002 ep featuring two long tracks where he clearly marks the influence of his recent passions for the cosmic couriers and the anologue electronics recorded in the mid seventies from bands such as early-era Tangerine Dream, Kluster/Cluster but also the sonic research of Dick Raaijmakers and more recently Sonic Boom.
Giotto is also a member of the Be Maledetto Now! project, a duo of him and Nihil Is Me/Maledetto (With Love guitarist Andrea Giotto). They have a split cassette out on the micro.label 8mm Recs/Long Long Chaney and a partecipation on the DVD compilation "Infinite Mind" released by 8mm Recs/Canedicoda.
domenica 24 ottobre 2010
HORISONT's debut album revives the sounds of 70's heavy classic rock. The mix of classic rock, progressive, blues and psychedelic brings the mind back to the days of Blue Cheer, Black Sabbath and November. The wha-wha, fuzz, slide, double riffs, thunderous drums and a killer voice, it's all here.
giovedì 21 ottobre 2010
01. More light. (15:47)
02. And the gloom of that light (5:36)
03. More gloom. (9:48)
04. And the light of that gloom (7:16)
Greg Kelley: Trumpet
Bhob Rainey: Sax
Günter Müller: MDs, Selected Percussion, Electronics
martedì 19 ottobre 2010
"La Vera Macchina D'Argento" (...or "The Real Silver Machine", if you prefer...) was composed and recorded in 2003 using many different sources/instruments such as broken/faulty discs, environmental/field-recordings, guitars, percussions, various objects and self-built devices.
mercoledì 22 settembre 2010
Blind Jesus by Andrew L. Hooker and Stefano Pilia debuts with a record that, according to this writer, is one of the best works of avant-rock heard recently: unravelled stuttering in the vein of Storm & Stress fall from crumbling gorges of tape loops, caracoling flights in the foreground interrupted with improvised retro-folk, wanton porno-concrète jokes arm-in-arm with strained ecstatic drones, followed by melancholic acoustic crackling, industrial creaking, soulful moans, obstacular Supreme Dicks style songs... The duo's language is to some extent recognizable "in the style of", but these five tracks improvised with tapes, guitar, samples and effects are sewn together and assembled with a rare sense of fantasy.
domenica 8 agosto 2010
The zeitkratzer ensemble performing two tracks by John Duncan in a collaboration promoted last year by Podewil in Berlin. A project started over a year ago, the result of continuous and tenatious work over several meetings between Duncan and the musicians, in charge of performing two originally electronic compositions with their acoustic instruments.
The 27 minutes of the first piece revisit NAV-FLEX, a composition published last year by Duncan in the double CD with Francisco López, NAV . In zeitkratzer's hands the piece seems to acquire new life, maintaining the positive qualities in Duncan's original work: those high, obscure phantom sounds, that slow pulsing bass, those extremely suggestive drones, slow and gradual waves that expand throughout the entire space of the mind and body, measuring full and empty.
Managing to frame an ungraspable track such as NAV-FLEX and perform it as a piece for acoustic instruments was a theoretical challenge, a challenge clearly won, resulting in complex sound full of detail, giving extremely diverse effects at all volume levels. What's striking is the richness of the tonal range, the continuous hastening of the instruments, the expansions in the sustained notes. This is a cyclic, insistent work that takes form through echoes and rumbles, a silent becoming of chimerical sounds. Sublime in the capturing of a stillness with night-like flavor, through low and enshrouding notes, gradations of a matter that is something 'other' from us, sublimated in slow passages of beauty. The reciprocal hastening of the instruments, the diffuse persussive articulation, the rustling and the breathing, the soft touches: without knowing how, we find ourselves surrounded by a dreamlike matter that undermines and deforms every normal perceptive coordinate.
TRINITY is an older work, included in the 1996 compilation A Fault In The Nothing : short, grating and stinging compared to NAV-FLEX. A crescendo of striated chords that explodes in rapid, stabbing movments of sound, just as effective as the first track although in an opposite direction. If the first was all a compact stirring, TRINITY is an explosion in a thousand splinters, marked by brass rhythms and beats of the string instruments, composed by refrained clusters of notes, that die in a single breath of three minutes.
giovedì 5 agosto 2010
Désormais, a French adverb meaning “from now on,” is an apt if somewhat oblique - tag for the collaboration between Mitchell Akiyama and Joshua Treble. Begun in the fall of 2001, the resulting album, Climate Variations, is the product of mundane exchanges - sound file uploads, emails, phones calls, cdr’s, etc. Despite the distance between the two musicians, both real and virtual (Akiyama is based in Montreal, Joshua Treble (aka Tony Boggs) in Cincinnati), the result is a total communion of personal styles and aesthetics.
Located somewhere between the drone rock of My Bloody Valentine and the glitch-scapes of Christian Fennesz, Climate Variationsis a mosaic of guitar shards, piano fragments, field complaints and borderline copyright infringements. It is a sublime and sometimes jarring work that is as captivating in its intricacy as it is in its raw emotional power.
mercoledì 4 agosto 2010
Radioland is Stephan Mathieu's long awaited 5th full length studio work, following his acclaimed The Sad Mac CD from 2004. Exclusively based on real-time processed shortwave radio signals, Radioland takes the listener on a carpet ride across endless, majestic shimmering landscapes. Radioland is a mesmerizing reflection on the bubble of information thats all around us, all the time, by one of the truly unique minds in today's abstract digitalia.
martedì 3 agosto 2010
christian marclay - turntables. günter müller - drumls, elecectronics. recorded live at festival nouvelles scènes, dijon, france 17.10.1992; at festival visionöre schweiz, düsseldorf, germany 26.06.1992 ; at art 24'93, basel, switzerland 18.06.1993. cover artwork by christian marclay, tom recchion. released 28.10.1994
Peter Brötzmann: tarogato, bass clarinet, tenor saxophone
Shoji Hano: drums, percussion
Recorded live by Tsutomu Suto at Aku Aku, Tsukuba, on October 10, 1991
Mastered by Tsutomu Suto
Design by Peter Brötzmann and Shoji Hano
Photography by Arndt Sebastian
Released in 1992
domenica 1 agosto 2010
David Jackman aided and abetted by Michael Prime, Dinah Jane Rowe, Roger Sutherland, Jim Oâ€™Rourke and Robert Hampson.
Track listing: Veil of tears part 1 (14.40), Delta (14.53), Obon (04.44), Lamentations (07.39), Veil of tears part 2 (14.37).
The two parts of Veil of tears were recorded 1992 with Michael Prime, Dinah Jane Rowe and David Jackman; Delta recorded live at Recommended Records, London 1990 with Roger Sutherland, Michael Prime, Dinah Jane Rowe and David Jackman; Obon was recorded 1985 all sounds by David Jackman, remixed 1994 by Robert Hampton and Jim O'Rourke; and Lamentations was recorded 1994 with Robert Hampson, David Jackman and with archive sound from 1985 by Philip and Richard Rupenus.
Artwork by David Jackman.
giovedì 29 luglio 2010
This solo work by the 3/4hadbeeneliminated guitarist Stefano Pilia can aptly be defined “ecstatic”, in the purest sense of the term. Each guitar note seems to emanate from beneath an invisible surface, lingering for a few moments only to drop back down and be replaced by another; different harmonics emerge creating a restless resonance, and tiny clusters of melody appear and disappear before fading in the haze of a gorgeous drone.
Stefano Pilia was born in Genoa in 1978. He lives and works in Bologna. An electro-acoustic composer and multi-instrumentalist who has realeased various recordings with both Italian and foreign labels , has toured Europe and the USA, collaborating with artists as well as musicians. His work has become progressevly concerned with the research of the sculputural dimensions of sound and it's relations with space both through instrumental executional practices and investigations into the recording and production process. He is one of the founder members of 3/4HadBeenEliminated, a synthethis between improvisation, electro-acoustic composition and avant-rock sensibilties. He generally plays live as solo and with 3/4HadBeenEliminated and frequently collaborates on the sound-tracking (both live and on CD/video) for the productions of Zimmerfrei, Cosmesi, Homemovies and Wuming2.
martedì 27 luglio 2010
In only two years of work Fabio Orsi has achieved critique and fans, imposing his name as one of the most promising and representative of the entire Italian independent scene. A drift began with the excellent vinyl LP "Osci" (SmallVoices 2005), followed by the famous split CD "For Alan Lomax" (A Silent Place, 2006) together with Italian My Cat is an Alien and a couple of cooperations with Gianluca Becuzzi: "Muddy Speaking Ghosts Through My Machines" (A Silent Place 2006) e "The Stones Know Everything" (Digitalis Industries 2007). Today, as final confirmation of his talent, A Silent Place is proud to present this new Fabio Orsi solo. "Find Electronica" is a wonderful album finely full of lyric, structured as a long drone/ambient suite divided in two portions which are the frames of the articulated central track. A strictly personal exercise on the "Weird Folk" theme, hypnotic and seductive. The "found" electronica meets the humoral sonorities made by the six chords, projecting enchanted landscapes on a vibrant horizon, with an intimate sensibility. Abstract and emotional, deep and dreamy, "Find Electronica" is a great album: an essential step in the ascending Fabio's career. Another great/small gem from that "silent place" in the deep Italian South.
domenica 25 luglio 2010
Estranging sounds complex in five unusual recordings, edited and assembled in an alienor period of two years.
Fantastic collaborative work; file under: experimental, concrete music, deep dark noise ambient.
venerdì 23 luglio 2010
P16.D4 existed from 1980 to 1988 as a continuously working group. The only permanent member was Ralf Wehowsky (RLW). Since 1992, RLW works under own name. All the tracks of Tionchor had appeared on different compilations. They were restored and compiled during 1986 for Tionchor which was released II/1987 as L.P. (Selektion SLP 013). Three bonus tracks and the complete discography have been added for this CD reissue.
giovedì 22 luglio 2010
sabato 17 luglio 2010
A student of Scratch Orchestra member Philip Dadson, Roberts approaches composed sound-sculpture via the Orchestra's meta-musical intercourse of exploratory improvisation. Roberts takes a performance-based approach to the presentation of sound, relying on unconventional "prepared" and "table-top" guitar treatments and a free-flowing phraseology of texture and timbre. The three long pieces that comprise 1998's ALL CRACKED MEDIAS, Roberts' first recording for Mille Plateaux, employ guitars, piano, and various percussive devices in an effective, one-man emulation of the directive that drives revered British improv ensemble AMM.
Roberts embraces AMM's sedimentary process, producing laminate strata of tones, bowed-metal sonorities, percussive treatments, and discontinuous string scraping, noise, and piano-pounding interjections. That said, MEDIAS possesses a post-digital character quite removed from AMM's ultra-organic trademark. Roberts' apparent use of the computer in arranging, assembling, and relating sounds-particularly on the 26-minute "Kompakt Arcade"-emerges as an intriguing progression and introduces an exciting new wrinkle into a vital but somewhat under-explored dynamic.
giovedì 15 luglio 2010
Collaboration between AARON DILLOWAY (ex-WOLF EYES) and ROBERT TURMAN (ex-NON, Z.O. Voider). Recorded in January 2009 during a horrible Ohio snowstorm. Dilloway on synthesizer and tape delays and Turman on tapes and effects. Very minimal, very slow, very cold. Frozen and stuck in the snow.
sabato 10 luglio 2010
Christa Pfangen are Andrea Belfi and Mattia Coletti. The name is a hommage to Nico, although the music has obviously no relation with the icon of the New York avant garde scene. They belong to the new electroacoustic/improv/avant-rock scene which is taking shape in Italy and includes such names as 3/4HadBeenEliminated, Valerio Tricoli, Å, Stefano Pilia and others.
Working with percussion, treated guitar and an array of different objects and noises, they have given birth to a dynamic work of great beauty and reverberating rhythms, oscillating between avant folk and electroacoustic music.
martedì 6 luglio 2010
With a little cabin and digitally-altered woodland scenes decorating it, Pan Sonic member Ilpo Väisänen's solo disc is perhaps an industrial/microscopic ode to the great outdoors... who knows? With Scandinavian names appended to crunchy obscurities, Asuma could be about anything. For fans of that crunchy microsound though, it may well be more fun than a picnic in the forest...
| Muted drum-like pulsations sputter in the opening track, slowly gaining an electric fibrillation here, a tiny jitter there... until all evolves to become the buzzing entity of Autioitu I. Brassily ringing drones course through Tukahduttaja, backed by coarse, downwardly-sliding ripples. As if an energetic drummer's output were digitized into binary code the reinterpolated through Väisänen's computer, Klikki pips and pops with spunk, then suddenly veers into a murkier phase before recovering its previous rhythmic self. |
The mechanically droning atmospheres of Asumaton (8:51) shift on various thrumming layers, then are topped with higher-pitched arpeggios. Vallitseva blits and bleeps as more micro-syncopation pockmarks the dense, undulating surface, ringing with an increasingly glaring sheen. Quiet wisps intermittently flutter through Arvioimaton Ongelma (0:44), growing louder and spastically birdlike at its conclusion.
Jaettu's stark metered pulses synchronize before spattering into their own directions, regrouping and then fading away. Sporadic clicks keep time in Autioitu II, to be joined by distant mechanical resonance.
|1||Jean Bach -||Agaric And Bhab|
|2||Sissy Spacek -||Untitled|
|| Electronics - John Wiese
Featuring [Sampled Vocals] - Corydon Ronnau
|3||Cock E.S.P. -||Total Eclipse Of The Cock|
|5||Gang Wizard -||Untitled|
|6||Longstone -||Access Denied|
|7||Rose For Bohdan -||Dumptruck|
|10||Inca Eyeball -||Woodbines|
|11||Reynols -||Quito Plasno 1960|
|12||Planetarium (2) -||Call Of The Gnostic Hymn|
|13||Wrong (2) -||An Excersize In Lapsus Linguoe|
|14||Aube -||Ionosphere VI|
|15||Larz -||Where Were The Movers|
|16||Monotract -||Ebony DMD|
|17||Ashtray Navigations -||Brought Together|
|18||Big Whiskey -||Assasination Attempt|
|19|||||* -|| Agenda
domenica 4 luglio 2010
Sachiko M: sampler with sine wave
Yoshihide Otomo: records, CDs
Recorded by Yoshiaki Kondo at GOK Sound, Tokyo on July 20, 1998
Mixed by Yoshiaki Kondo at GOK Sound, Tokyo in March 1999
Mastered by Kazunao Nagata at Transonic Studio, Tokyo in March 1999
Design: Günter Müller
Produced by Sachiko M, Günter Müller, and Yoshihide Otomo
Released April 1999
venerdì 2 luglio 2010
Documenting installation projects (Florence, Curitiba, Roskilde, Chicago) and the performativities around building, installing, recording, amplifying, sound and space, music and architecture, as a concert that reaches out and incorporates art and audience alike, activating sound and object, buildings and bodies.
mercoledì 30 giugno 2010
For Les 120 Jours, Michel Chion, Lionel Marchetti and Jérôme Noetinger assembled a common bank of many original sounds which each of them had worked on, transformed and re-composed in his own style. This gives the listener the ability to hear a musical language in the form of collage-citations, which, for this occassion, they also named a 'concrete diversion'. Musique concrète composed in 1997/98 for the Festival Musique Action, 16 May 1998, at Vandoeuvre-lès-Nancy, France. This is a 2 disc set.
sabato 26 giugno 2010
"Francis Plagne" is the second album by fractured kaleidoscope pop sound by the pound Francis Plagne. This eponymous release further explores Francis' obsessions with 'pop' and 'organised sound', all from a modest bedroom studio in the Eastern Suburbs of Melbourne, Francis has developed his craft to a level way beyond his 19 years. Incorporating field recordings, drones, electronics and improvisations, along with harmony-rich pop songs of the finest order. Unusual, identifiable and exciting. Leave your delay pedals and cheap drone at the door.
giovedì 24 giugno 2010
Austin's Stars of the Lid are one of the leading lights of the '90s ambient/experimental music world. GRAVITATIONAL PULL, their second recording, was initially released only in an extremely limited vinyl edition. The goods folks at Kranky kindly reissued it for mass consumption, and thankfully so, since it is one of the band's finest efforts. Though they use heavily processed instruments to achieve a spacious, whirling conflagration of sound, Stars of the Lid downplay any futuristic/electronic elements in favor of a more organic vision. True to the title, this is music in tune with the elements, and the sounds of the natural world seem to pervade these works. At once spectral and earthy, GRAVITATIONAL PULL is full of subtle dynamic shifts and low-key electronic impressionism.
martedì 22 giugno 2010
erikm : 1 turntable + fx
martin tetreault : modified turntable + surfaces
otomo yoshihide : 1 turntable + guitar
recorded on 22th may during musica genera festival 2004
by artur nowak. edited & mix : erikm. cover artwork : trace cut / erikm .
lunedì 21 giugno 2010
pieces of winter by john hudak and stephan mathieu" is based on one composition by each of the two sound artists originally made for a small personal edition as season greetings for friends in the winter of 2002/2003. john hudaks recordings for "winter garden" were based on a contact microphone buried overnight in snow that turned to ice, then he recorded snow falling on this enveloping ice. the basic recordings for stephan mathieus "nuit blanche" were made on christmas eve 2002 with eva-lucy mathieu on ocarina and himself on pump organ. Finally these original pieces were exchanged and transformed into a calm, minimal suite of digital variations.
domenica 20 giugno 2010
Uneasy Flowers, the second album by Autistic Daughters, is an incremental improvement over their fine 2004 debut Jealousy and Diamond. But any other degree of advancement would feel inappropriate, since this group's music deals in small steps and minute shifts. This can make for a sleepy listen-- sometimes it even sounds like the trio has drifted off into musical unconsciousness. But more often this album is like a quiet dream, filled with moods and images that linger past the end of each song.
That effect combined with the fact that Autistic Daughters are on Kranky might imply their music is pure ambience. But the trio is actually a song-based entity, relying on vocals, guitars, drums, and some modest electronic effects. The seven tunes here sometimes evoke the soothing drift of Kranky stalwarts like Stars of the Lid. But they're closer sonically to the slow melodies of Low, the soft glitch of the Books, or even Wilco's mellower moments (the alluring bent of Dean Roberts' voice at times recalls Jeff Tweedy).
The miniaturist feel of Uneasy Flowers is enhanced by Roberts' lyrics, which explore ideas in subtle shades. Phrases and images recur, tracing the outline of an enigmatic character named Rehana. Through clever repetitions of terms like "rain," "gin," and "value judgment," Roberts paints an impressionist portrait that makes surreal sense. On the title track, over chopped snare hits, he describes an elusive "it"-- "tell your brother it's a balancing act"; "it makes our laughter more easily stomachable"-- without ever fully revealing his subject. Later, on the sparse "Bird in the Curtain" and the minimal "Hotel Exeter Dining Room", Roberts slyly dodges meaning, singing about uncertainty and awkwardness with apt imprecision.
Musically, the songs on Uneasy Flowers are skeletal, offering bare bones where more impatient bands might pile on sonic flesh. Sparse and measured, each tune forms gradually, letting its elements grow into each other like ivy on a wall. This encourages the listener to connect dots and color in shapes that may never actually be there. Not every tune rewards the effort, but enough do, especially "Gin Over Sour Milk", the album's masterful midpoint. Over a descending rhythm, Roberts whispers about a pretty obvious choice-- who wouldn't take alcohol over spoiled dairy? But as in most of Autistic Daughters' music, that simplicity hides a more complex idea lying just beneath the surface.
Marc Masters (Pitchfork)
sabato 19 giugno 2010
Throughout his life Enore Zaffiri has dedicated himself to the study of extended time duration in music, from a mathematical and geometrical standpoint. Early in his career, it became evident to him that electronic music was able to open infinite possibilities for this type of experiments. As early as 1964, Zaffiri started to use self-built and modified electronic instruments in order to find a new musical perspective based on a structural principle derived from Euclidean geometry. From this principle he was able to determine the various sound parameters and both the formal and spatial dimensions of his compositions.
The seminal project "Musica per un Anno” (Music for One Year, 1968) was composed and recorded in 1968. Based on a cycle of 360 days, it was conceived as a possible sound track for ambients: the sound events change imperceptibly but continuosly, in relation to months, days, hours and minutes. Every instant of time has its unique music, which merges with the light and the air of the ambient. As this music develops over time, with no clear beginning or end, every minute of it is "important", when listening to it. A masterpiece.
martedì 15 giugno 2010
venerdì 21 maggio 2010
Aki Onda is a New York-based electoronic musician, composer, producer, and a photographer. Since he established himself as a producer in Audio Sports with Eye Yamatsuka and Nobukazu Takemura in the eraly Nineties, Onda has released a string of exquisite solo albums featuring contributions from musicians as diverse as Blixa Bargeld and Linda Sharrock. These include 2003's Cassette Memories series and the highly acclaimed albums Ancient & Modern and Bon Voyage! which Onda performs with multiple cassette recorders and electronics, using sounds he has field-recorded himself as a diary for more than fifteen years.
martedì 18 maggio 2010
And the cosmos has hatched a new egg of progression... The Neokarma Jooklo Trio are a wildflower in the Italian music scene using cosmic improvisation and meditation techniques that gently hoover into musical religion. With uptempo tribal percussion and trance-inducing slightly Middle Eastern and Asian Gamelan influeces, they summon the greater ancient spirits of nature. Ethereal drones are woven to a magical flying carpet, then drenched in reverb and delay to dig deep in an emotional visionary barrel.
Soothing chimes and bells that floatingly enter your space are blurred by it's stoned execution. Neokarma are constantly looking for the perfect balance, patiently waiting and letting the instrumental flow dictate the direction. All in a spacial, almost minimalist fashion, where chords and shifts are breathing in all their shivering glory.
And with every improvised song, a new chapter unfolds and brings a glimpse of a better tomorrow. A hopeful soundtrack delivered in bleak , desolate times. A dance around the campfire where cosmic beliefs walk hand in hand with their earthly presence. A sincere ethnic take on calming the masses to further absorb a world of visions that never abandon post.
lunedì 17 maggio 2010
The latest Plastic Crimewave Sound album 'Painted Shadows' (the title inspired by a practice used in german expressionist films) has a more cosmically devotional vibe than past LPs, touching on eastern folk-blues and elongated kraut-like soundscapes, with new elements of banjo, violin and female voice added to the stew. However, there is still some trademark PCWS rocking, as they still deliver blasts of motor city-type acid-punk, japanese-style skree, and waves of tension and release. This is the last PCWS album to feature ace leadsman Nick D'vyne, with the always-solid backbone of PCW(guitars, chants/howls) Mark Lux (bass, electronix) and Lawrence 'Skog Device' Peters (drums).
lunedì 10 maggio 2010
Olyvetty is a project of audio/visual environment started in Berlin in 2006 by musician Claudio Rocchetti and visual artist Riccardo Benassi.
Olyvetty is the displacement of a symbol, the overcoming of language on content and of information on production. A systematic plumbing of noise dephts and of minimal-techno dérives that reaches new visionary landscapes.
Claudio Rocchetti was born in Bolzano, Italy, but has been living in Berlin for some years. He processes sounds by mixing turntablism's manipulatory techniques with concrete music. He breaks down and deconstructs sounds and uses radios, recorders and microphones to create an analogic process of sound generation.
He is also part of 3/4 Had Been Eliminated and Hypnoflash. His music was released on many labels, including S'agita Recordings, Bar La Muerte, Smallvoices, Wallace Records and Die Schachtel.
Riccardo Benassi was born in Cremona but he had long lived in Bologna and, more recently, in Berlin. He has been working with sound experimentation for years and is a young artist of great promise in Italian contemporary art.
In his work objects become the real protagonists and the audience is encouraged to interact, turning everyday noises into symphonies. His multidisciplinary research is not restricted to sound experimentation and spans over different expressions, such as videos and illustrations.
The two artists met in Berlin and decided to start their collaboration. What they have in common is their actual research on sound, which means a direct interaction with the objects and their surfaces through the use of different supports, both during production and live processing.
Their debut release, entitled "As All-encompassing As a Hole", was self-produced as a de-luxe double 12" hand-engraved picture disc - also available as an extremely limited "pop-up landscape" package of 17 copies - was soon followed by a 7" on Hundebiss Records entitled "Im Leeren". Once again their groundbreaking assault of noise freakerie was superbly packed in a d.i.y. gatefold pop-up black'n'white sleeve.
The duo performed in many european festivals like Sonambiente, Flora and Netmage.
"Nostalgya Canaglya", their newest audio effort, was made available by Afe in October 2008 in the form of a tiny and noisy 3" CD-R Card.
giovedì 6 maggio 2010
Back in the late '80s, Melbourne's Andrew Curtis and Philip Samartzis collaborated in the aurally volatile project simply called Gum. With little expertise or training, the two gathered up what objects they were familiar with, in particular thrift store turntables and soiled records. Eschewing their original attraction to the giants of Industrial Culture, Gum quickly developed an aesthetic privileging the caustic rupture of skipping records and smoldering surface noise, predating the current avant-turntablist aficionados like Philip Jeck, Janek Schaefer, and Otomo Yoshihide. With the publication of Gum's Vinyl Anthology, 23five, Inc uncovers the bulk of Gum's work, including all of the material from their self-published albums Vinyl and 20 Years in Blue Movies and Yet to Fake an Orgasm as well as several infamous compilation tracks and plenty of unreleased material.
martedì 4 maggio 2010
burkhard stangl: acoustic & electric guitars, electronic devices
dieb13: turntables, portable computer, portable gramophone
burkhard stangl and dieb13 are both integral members of the increasingly prominent viennese improvised music scene, coalescing around the activities of the durian and charhizma labels.
stangl explores the full range of the guitar, from quiet, melodic plucking to atonal walls of noisy drones. this range and adaptability has allowed him to become a ubiquitous presence on record over the past few years, in the collective projects polwechsel (recordings on erstwhile, durian and hat art), efzeg (grob, durian), and sssd (grob), in duos and trio with christof kurzmann and taku sugimoto (erstwhile, slub, musica genera), and solo (durian, future release on charhizma).
dieb13, who uses a range of names for performing including his real one, dieter kovacic, is a immensely skilled turntablist, as demonstrated by his solo disc (charhizma), and his recorded work with martin siewert, boris hauf, günter müller, jason kahn, werner dafeldecker, and uli fussenegger (durian, grob, for 4 ears).
stangl and dieb first met at a living room concert of efzeg in vienna in 1999. since then they have been continously collaborating in various groups, as well as both participating in billy roisz's videos with soundtrack works. eh documents stangl and dieb's initial work as a duo, and will be complemented by billy roisz's visuals in live situations.
eh was recorded by christoph amann in his studio in vienna (his third project for erstwhile, after schnee and wrapped islands) in december 2001. eh explores a constantly shifting tableau of guitar and electro-acoustic sound, utilizing a kaleidoscopic range of approaches, framed by lulling intro and outro pieces in which stangl's melodies both battle and meld with dieb's noisescapes. the instruments used, from viennese contraguitar and portable gramophone to electric guitar, electronics and computer, encompass over a century of musical history. the source material for the design comes from viennese artist billy roisz, utilizing extreme closeups of old shellac records to create the proper gritty ambience.
lunedì 3 maggio 2010
Written, performed, recorded and mixed by Mattia Coletti.
Artwork by Mika Naniwada. Graphics by Mattia Coletti and Mirko Spino
Mastered by Maurizio Giannotti at Bips Studio, Milano.
Compilation of songs collected between 2004 and 2007.
Tennessee dedicated to Satoshi and Mika.
« Roden indicated to me that he ‘totally loves this piece’ and I can understand why. This is a beautiful sound work/piece of music (in that broader meaning of music that people like Roden explore). Its density, intricacy and beauty remind me of artists who work only in miniatures: as explored in the Roden ‘special issue’ (&etc v1.7), he works in bounded musical forms, yet creates pieces in there which are expansive and could stretch infinitely despite their limits.‘The radio’ is a prime example of this - each section could be left to continue further and further, delving into its focused world, and the whole disk could be left to repeat, the narrow passage of its composition gradually expanding to encompass the world. Perhaps I exaggerate, but this is a magical, beautiful piece that should not be missed. » Ampersand Etcetera
domenica 2 maggio 2010
A double CD-R compilation coming in a deluxe gatefold cardboard sleeve. It includes new and unreleased tracks by Andrea Marutti, Frango, Inhibitionists, Annelies Monserè, Arbdesastr, Wizards Tell Lies, Le Reve Reveille, Lust, Philippe Petit, Sparkle In Grey, Genecyst, Kluge, Rom:U, Arterial Red, Claudio Rocchetti, Iris Garrelfs, Coma Stereo, Unknown Celebrities, Gultskra Artikler, Ben Reynolds, Die Stadt Der Romantische Punks, Black Forest/Black Sea, Compression of the Chest Cavity Mirade, Telekaster and Erika M. Anderson.
This three year-long collaboration begun in 2006 when Korber and
Wehowsky embarked on intense recording sessions in Eggenstein,
where the latter resides, lasting several days. The output from
these sessions forms the basis of this work, augmented by additional
field recordings and various electronic manipulations. Korber and
Wehowsky used the same software which allowed them to exchange
the pieces at any stage of the compositional process, so that every
detail of the music could be shaped in a truly collaborative manner.
The result obliterates the borders between improvisation and
composition, spontaneity and careful planning.
Tomas Korber (Zurich, 1979) received a basic training in clarinet
and music theory alongside guitar lessons. He discontinued these
studies after five years, shortly thereafter teaching himself to play
electric guitar and use the computer and other electronic devices
for music making. Korber has written compositions and played
improvised music since the early 1990s. He is a prolific solo artist
and performer; his work includes film scores and music for dance
and theatre, as well as numerous collaborations. In 2009 he was
awarded an artist residency in New York City by the Department
of Cultural Affairs of the City of Zurich.
Ralf Wehowsky founded the group P.D. (later renamed P16.D4) in
1981 and the label Wahrnehmungen in 1980, which was renamed
Selektion in 1982. P16.D4 was a highly influential and experimental
group. Their concept of materialaustausch (material exchange) was
developed long before the term ‘remix’ was coined. They performed
at punk and No Wave festivals as well as at the bastions of academic
avant garde such as Ferientage Neuer Musik in Darmstadt. In the
early 1990s Wehowsky adopted his RLW moniker. His quiet, highly
complex style of composition is based on artifacts of instrumental
and electronic lateral noises.
limited edition (300 copies) available through the entr'acte site