venerdì 9 dicembre 2011
domenica 27 novembre 2011
This is a real puzzler, as there's practically no information whatsoever about it on the wmo/r website, which leads me to guess that it dates from the early 80s, Bianchi's "nasty" period, before he became a Jehovah's Witness.. see Marcelo Aguirre's Bianchi roundup from a couple of months ago. But further enquiries by Marcelo, who's hard at work on an extended interview with MB for these pages (I'm told), prompted a response from Bianchi – curiously enough in Spanish – to the effect that the archive sound recordings from Nazi Germany (who's speaking? Rudolf Hess?) are nothing at all to do with him and have been grafted on to the music by someone else. Curiouser and curiouser. Marcelo also reminds me of a quotation from Nigel "Nocturnal Emissions" Ayers: "[Whitehouse's] William Bennett told me, in 81, the first and last time I met him, that Steve Stapleton drew up a 'joke' contract for him [Bianchi] giving Maurizio absolutely no rights to the recording in any way whatever ever, which Maurizio happily signed. Bennett added overdubs of Hitler speeches, Nazi martial music etc. from one of those tapes they used to sell at the lunatic right wing shops." Frans de Waard over at Vital Weekly speculates that this might also be Bianchi's Weltanschauung album (maybe someone could confirm this?) but Bianchi has neither confirmed nor denied that rumour. In any case, whoever did it and whenever it was done, it's pretty unpleasant stuff, even without the speeches and military music (which only feature on the first – and longest – track). I can understand that some folk might still get some kind of perverse kick out of Nazi imagery, even a quarter of a century down the line, but it's hard to imagine anyone saying they actually enjoy the rest of this miserable, sludgy mess. And that presumably includes Maurizio himself, now that he's found GOD – the Supreme Being, that is, not the group of the same name. DW
lunedì 21 novembre 2011
domenica 30 ottobre 2011
mercoledì 26 ottobre 2011
Intimate, absurd, feral and aggressive in its homemade weirdness, the music of Kommissar Hjuler & Mama Bar has been a well-kept secret for too long. Hjuler & Bar have self-published their dada-esque sound poetry experiments on small-edition lathe-cut LPs, tapes, and CDRs for years, usually adorning them with elaborate junk sculptures and profane paintings. Intransitive is proud to collect their best recordings so far onto a single, widely available CD so that anyone can hear the music without making a major financial investment.
The husband and wife duo uses deceptively simple means – typically just their voices, a cassette-tape recorder and a microphone – to create astonishing suburban dramas that are somehow both sweetly charming and staggeringly psychotic, sometimes simultaneously. Join Kommissar Hjuler & Mama Bar as they perform acts of banal heroics, like exploring the basement… taking their son for a bicycle ride… walking with a red shirt into a field of cattle… or pondering reforms made to the Danish police system.
Kommissar Hjuler & Mama Bar are painters, sculptors, film-makers, and musicians based in Flensberg, Germany, near the Danish border. Their artwork has been exhibited in galleries and at festivals around the world. They collaborated with like-minded artists such as Thurston Moore, Arnulf Meifert, John Wiese, Runzelstirn & Gurgelstock, Brume, and Af Ursin, among many others.
venerdì 21 ottobre 2011
Male, born in Qingdao in 1983, relocated in Beijing in 2007. He is the most promising star in China’s free music/avant-jazz realm. Saxophone player, poet, voice experimenter.
He had found indie/experimental rock band “The Tipsy Verse” in 2001. Afterwards he held a concurrent post as the keyboard player in “Pipedream Princess”. Founded “Walnut Room” with Feng Hao in 2007.
martedì 18 ottobre 2011
Cor Fuhler and Gert-Jan Prins are both prominent members of the European improv world. Both live in Amsterdam, yet their paths rarely crossed before they became involved in the initial incarnation of MIMEO in 1997.
Fuhler is primarily known for his work as a pianist, in ongoing projects with such mainstays of the Dutch scene as Han Bennink, Michael Moore and Tristan Honsinger. He released a superb solo prepared piano CD in 1994, 7CC in IO (Geestgronden). In The Flirts, Fuhler manipulates sounds from turntables and mbiras, filtering them through an analogue synth. PrinsÕ background is as a drummer, but over the past decade, heÕs focused almost exclusively on electronic noise-based music, using radio and television transmitters to create a distinctive, physical sound. In 2000, he released a solo CD on Grob, Prins Live, as well as a superb trio CD with Thomas Lehn and Peter Van Bergen, e-rax-Live At the Bimhuis, on his own label, X-Or. Both Fuhler and Prins are also still members of MIMEO.
Since joining MIMEO, Fuhler and Prins have worked more and more together, in and out of the band, and in early 2001, they recorded The Flirts over the course of two studio sessions in Amsterdam. The Flirts combines a relentless yet subdued energy with an endless stream of fresh ideas, resulting in a CD that is seemingly chaotic, yet very musical.
The stunning packaging was entirely created by NYC-based designer Friederike Paetzold.
"Prins Live was one of the best records of 2000. Here returns the man with Cor Fuhler: a serious, tender and yet kicking approach that is never just music. The real virtuality!" -- Marcus Schmickler
lunedì 17 ottobre 2011
One of the best field recording albums is Eric Cordier’s Oserezan released two years ago by the Malaysian Herbal Records. Yes, it’s an ugly cover but the audio pieces are impressive, poetic and clear. The album is a collection of unprocessed recordings made by Cordier in the thirteen years hunting for sounds and goes as wide as Japanses volcanoes over a small french village. Think it’s the only pure field recording album Cordier made.
mercoledì 21 settembre 2011
The Golden Hour, Marisa Anderson’s second solo record, is inspired by Delta blues, West African guitar, country and western radio from the 60′s and 70′s, gospel, noise, rhythms, cycles, mortality, and praise. The Golden Hour features 12 improvisations for guitar and lap steel.
Marisa Anderson is a composer, guitarist and multi-instrumentalist living in Portland Oregon. She works solo and with others.
Anderson’s past projects include the Dolly Ranchers and the Evolutionary Jass Band as well as collaborations with many notable musicians. Anderson’s music has been featured on many soundtracks including, ‘For the Love of Dolly’, ‘Girls Rock’, and ‘Gift To Winter’. Her debut solo recording ‘Holiday Motel’ was a 2006 Outmusic nominee for Best Female Debut Record.
Anderson works at the Rock ‘n’ Roll Camp for Girls where she runs the after-school program and the Ladies Rock Camps. Before arriving in Portland in 1999, Marisa walked across the US, toured with Circo De Manos through southern Mexico, was a founding member of the Chaos Collective and helped create the One Railroad Circus in Santa Fe, New Mexico.
martedì 20 settembre 2011
From one of the most influential Chinese sound artists of our time. A new master piece that for sure will redefine site-specific and field recordings oriented sound works. This sound diary was recorded in Lamma Island, by Beijing sound artist, Yan Jun, during his stay in Hong Kong for the AROUND sound festival in 2009. The imaginative approach of Yan Jun simply opens up a whole new world for field recordings. From now on, field recordings will never be the same.
domenica 18 settembre 2011
Cannibal Movie is a sub genre of exploitation films made mostly by Italian filmmakers through the 1970s and 1980s. This sub genre is a collection of graphically gory movies that usually depict cannibalism by primitive, Stone-age natives deep inside the Asian or South American rain forests.
Cannibal Movie is also a duo from south of Italy, exponents of new rising Italian avant-garde music scene.
They play drums and a old italian organ and their sound is a mix of obscure psychedelia, hypnotic tribalism and ecstatic magic tunes.
sabato 17 settembre 2011
It's not often that you come across an all-star avant-metal collaboration themed around the hot beverage-themed demise of a winged insect, but that's exactly what this strange LP is. Aidan Baker and Leah Buckareff of Nadja team up with Italian harbingers of sludge, Ovo, for a typically glacial exercise in creepy, lumbering doom-gaze. 'A Wasp Flying Around The Sugar Jar' is a slow, creaking starter, but once it's in full flow, the band lock into a punishing grind, complete with screechy female vocals from Ovo's Stefania Pedretti. 'Trapped In The Jar' feels more energised and more experimental, bringing a tone that almost hints at avant-jazz and industrial music, whilst spilling out some serious Linda Blair effects on those vocals. The final movement over on the B-side, 'Drowned In Coffee', is especially pleasing, featuring manic pounding on toms and chanted vocals that sounds like a Swans record lost somewhere in the Middle East.
venerdì 16 settembre 2011
A quick revision to the first metaphor -- günter's music would most closely resemble a tree had you never seen a tree. [David Grubbs, SÜDDEUTSCHE ZEITUNG, 2000]
sabato 10 settembre 2011
Ultra Milkmaids was one of the groups I had contact early on in 1994. Back then there was no laptop scene.
Milkies were always in drone/ambient stuff. This one is rather surprising. Drones?
Yeah, but hellishly mellodious - seems like they are using more guitars. There's stil this Milkie feeling to it. Glitchy stuff which now seems a bit obscure. Re-issue of the material from 2002 released in limited number of 50 cdrs now back. Back from the past. Nice...
martedì 6 settembre 2011
Otomo Yoshihide, Ryu Hankil, Yuen Cheewai, Yan Jun, Sachiko M, Yang Ge, Xiao Qiang, Hong Qile, Gogo J, Olivier Heux, Tao Yi and Junyuan - "Big Can"
An awesome recording of Japanese and Chinese sound artists – some of whom you should know and some of whom you probably don’t – gathering inside a massive oil container and mustering all sorts of acoustic noises in response to the huge amount of natural reverb within that space. Otomo Yoshihide and Sachiko M are the two big names from Japan, and Yan Jun is the most well known of the Chinese artists, although he’s accompanied by a half-dozen other artists as well. While this might seem like a pretty large assortment of people making a racket inside the giant oil drum, the recording is suitably restrained with many of the bangs, scrapes, and prolonged vocalizations thoughtfully responding to the industrial reverb. It would be very easy to confuse some of these episodes with one of the fictional subterranean realms of Lustmord or Thomas Koner, but here all of that expansive isolationist reverb is in fact recorded live. Cracks of wood upon the thick metal walls give way to a coordinated chorale of sustained vocal bellowing that’s not too far from ritualized chants of the Tibetan or Gregorian variety, with small eruptions, clatterings, and rustlings of various objects presumably found within. When the activities diminish and some chiming metals are struck, the length of the echo seems to last close to 15 seconds before finally decaying to nothing, allowing resonance from outside to intrude. It’s very clear that all of those within the space know a thing or two about improvisation, knowing that shutting the hell up is just as important as making the right sound. But it’s the space itself – the Big Can – that is the real massive presence throughout the recording.
Holy fucking shit. This CD will own you. No, fuck that, this CD will pwn you. This CD will pull out any possible 4chan geek term for domination you could ever consider. This is one of the most in-your-face, powerful, and utterly destructive noise albums I've ever heard. China has been building an interesting underground music scene over the past decade, starting with the weird 'performances' (meaning basically art where they eat soap in front of you) in the 90's. Now, you have a number of acts that are really starting to gain worldwide attention. Torturing Nurse is at the summit of the pile, battling for the top with pieces of scrap metal sticking out of their arms and contact microphones exploding from their stomachs like The Thing. Get ready to have your entire body destroyed by il Comunismo Doveva Morire.
sabato 3 settembre 2011
Burial Hex is the solo project of Wisconsin-based musician Clay Ruby, who after building an underground reputation through a slew of CD-R and cassette releases in tiny editions, now seems poised to emerge at least halfway out of the shadows of occult obscurity with this CD release on the cult English label Aurora Borealis.
The four tracks which comprise Initiations are all around 18 to 19 minutes in length, which makes for a satisfyingly lengthy listen, and also conveniently enough makes the album easy to issue on vinyl. And guess what? With label Aurora Borealis being the quality act they are, Initiations is also available as a double vinyl LP.
Opening track ‘Will To The Chapel’ lulls the unsuspecting listener into a false sense of security with an orchestral overture – darksome and brooding, to be sure, but not overtly terrifying. However, the gloves are dramatically whipped off at around the four-minute mark, as the minor-key strings are decimated by a ferocious onslaught of black noise. The label’s website lists the instrumentation used as “feedback, voice, PAIA 4700, samples, microphones, homemade oscillators, metal, organs, earth, distortion, delay, insect, reverb, electric piano and analog tape”, but your guess is as good as mine as to what the exact ingredients of this unholy racket are, beyond some tormented shrieks and low dragon-like growls. Possessed cries of “Thy will be done!” punctuate queasy waves of gritty lo-fi noise and feedback, something like Burial Hex’s labelmates Wraiths or early Brighter Death Now. This is the side of Burial Hex’s sound which featured on the recent split single with Silvester Anfang, also released by Aurora Borealis. A late reprise of the opening orchestral theme seems ironically mocking of the listener’s shattered sense of security – by now it’s clear that anything could happen on this album, and all bets are off about what we’ll be subjected to next.
giovedì 1 settembre 2011
recorded by goh lee kwang at the STEIM, Amsterdam, May 2007.
editing & mastering by goh lee kwang 2007.
image by lau mun leng, design by herbal in house design team.
no pre-programing, no on-going effect, no post-overdub. no turntable.
mercoledì 31 agosto 2011
No need to tell you who Karkowski is – anyone who's spent time listening to computerized harshness will be familiar with his no-nonsense, chip-on-a-shoulder attitude and a handful of good to almost great recordings – but I had to google to find out that Churko is a (younger) Canadian based in Japan who's worked with artists as diverse as Ilios, Tim Olive, Harris Eisenstadt and Paal Nilssen Love. Infallibilism, recorded live in Japan from May 2008 through February 2009, is exactly what you would expect: 32-plus minutes of white (grey, black and pink..) noise and crazed fragments of granular ball-gripping distortion – the lone exception being the subterranean tremors of "The Pleasure Of Interval" – with the customary threat for the ears if you try to raise the volume a bit more than necessary. Not an overly shocking record, but definitely up to standard in a genre that needs serious homework to be considered worthy of respect. Test passed.
- Massimo Ricci -
venerdì 12 agosto 2011
Recorded throughout the first half of 2008, Euphonia sees Lawrence English and Tom Hall team up to explore a range of extended processing and compositional techniques. Inspired in equal parts by the openness of Cluster's Kraut explorations, echoes of Eno's ambient works, contemporary field recording and minimal electronics, Euphonia creates a uniform sense of warmth and glow - a sonic rendering of glimpsed views from some distant, hazy horizon.
Working with various instruments, analog equipment, electronics, as well as a variety of 'in the field' processes (whereby sounds created in the studio were re-recorded in various environments such as dilapidated water tanks on a farm), the record is a tempered with a sense of muted restraint and subtle variation.
giovedì 11 agosto 2011
Agathocles (Belgium) is by far one of the most prolific bands of all time, and would you believe that this is the first time I've ever really heard 'em!? Sure, I've heard a couple of tracks here and there over the years, but this is the first time I've ever sat down, Agathocles release in hand, and listened to the band as a standalone. I think they've just released so damn much that I never even wanted to bother checking anything out because I knew at some point a CD like this would likely come along and throw out a shitload of tracks in well over an hour, collected all in one place. Their style is a sort of sludge/grind hybrid, swaying from bludgeoning slow riffs to blast beats and thrashy speeds, all the while with barked vocal growls unloading assaults galore. At times they bear resemblances to early Carcass (musically and vocally), but they definitely have their own vibe in that respect. And some of the songs (the band's earlier work from around 1988) that are faster and utilize a more straightforward shouting vocal approach sound more like fast, thrashing crossover hardcore with grind mixed in. Even others still are more along the lines of pummeling death metal (such as "Mutilated Regurgitator") - generally a bit longer and more involved than the one-minute grind tracks. Included herein are the Agathocles tracks from their split 7"s with Violent Noise Attack, Putrid Offal, Riek Boois, Blood, Nasum, Smegma, and Morbid Organs Mutilation, as well as the "If this is gore, what's meat then?" cassette, the "Cabbalic Gnosticism" cassette/7", the "Fascination of Mutilation" one-sided flexidisc 7", and the "If this is cruel, what is vivisection then?" 7"... not to mention various other rare bits and pieces. The tracklist reads 49 tracks, but there are only 41 on the actual CD, so I don't know if certain "tracks" have more than one song in them or what? There's definitely something wrong though, because I can't tell if any of the lyrics match up with the track numbers, but I know that many don't. The CD face does say that it's the "Mince Core History 1985 - 1990" CD, but the "Mince Core History 1989 - 1993" CD has 41 tracks, so maybe the wrong material was pressed onto some of the discs!? I'm totally lost. The mastering could be better as many of the tracks have different output volumes, but it's not that big of a deal as most of the recordings are really raw anyway. They never achieve a great deal of density, but very few tracks are unlistenable. I'd like to hear more bass in the mix most of the time, but there's not much you can do at this point. The layout is all black and white, but very thorough and well done. First up is a two page biography of the band, then four pages of lyrics, then a massive six pages dedicated to showing all of the old record covers and details accounting for where these tracks came from.
martedì 9 agosto 2011
Father Murphy is an Italian trio comprised of Reverend freddie Murphy (vocals, guitar), Chiara Lee (vocals, keyboards,
chinese percussions) and Vittorio Demarin (drums, viola, vocals). Born in Treviso, northern Italy, from the ashes of
freddie’s several previous musical projects, Father Murphy with just one album and a plethora of ep’s and limited
releases became one of the most mysterious and enigmatic musical entities coming out of Italy. If their first album Six
Musicians getting unknown was still somewhat rooted in twisted psychedelic pop and sounded vaguely related to Os
Mutantes and Italian psych pop masters Jennifer Gentle, the new record is a bold statement and a significant step
ahead - out of every familiar musical genre and right into the darkness. Recorded in San Crisostomo in Bombanella
church between the end of 2007 and the beginning of 2008, And He told us to turn to the sun maybe was born like a
rather weird attempt to a concept album about religion, but surely sounds like a collection of dark, foreboding songs
that crawl and twist and hiss like that old biblical serpent.
Think of Gnostic masses, kabbalistic chanting, chiming little bells, tinny Gregorian-like drones played on toy-keyboards
and the subtle but inescapable influence of 70’s Italian horror rock acts like Jacula and you will have some of the
ingredients that make Father Murphy’s music. Add a good deal of lunacy and enough humour to keep the gloom away
(just because you cannot take yourself that seriously) and the album is here, in all its strangely beguiling simplicity. Song
after song, from the initial semi-pop outburst of “We were colonists” to ascetic, almost medieval atmospheres of Go
Sinister, the entire lp feels like a truly different, warped experience. Think of Alan Sparhawk’s Low doing versions of
Twilight furniture from This Heat or Milk it from Nirvana. When the final, 10-minutes mastodon “In their graves” creeps
in with all the agility of a primordial doom-metal beast slowly sucked in a prehistoric swamp, everything comes full circle:
an uneasy, compelling, furiously heretic yet sandblasted in Catholicism little album that could come only out of Italy.
sabato 6 agosto 2011
Late at night, take a walk into the woods where bushes have eyes and join this twenty minutes long celebration leading the audience to a psychedelic trance.
In Zaire recently expanded from the original three piece of Riccardo Biondetti (G.I. Joe), Alessandro De Zan (G.I. Joe, Orfanado) and Claudio Rocchetti (3/4 Had Been Eliminated, Olyvetty) with the addition of guitarist Stefano Pilia (3/4 Had Been Eliminated, Massimo Volume) touring Europe twice and taking part at Netmage Internatinal Live-Media Festival with a live re-interpretation of the soundtrack of Paper Maché, a movie shot in color during the celebration of the Viareggio Carnival between 1956 and 1967 with an 8mm camera by Bolognese cinematographer Alessandro Mantovani.
giovedì 4 agosto 2011
Lago Morto is a band conceived by italian artist Nico Vascellari as contribution to the exhibition ‘Rock Scissors Paper’ curated by Diedrich Diedrichsen at Kunsthaus Graz.
Lago Morto is, in the curator’s words’, ‘a social punk sculpture’, a way ‘to turn the model of the cast band upside down. Lago Morto is about things that casting calls usually exclude - targeted aggression, unpredictable social effects and local politics’. The results is a band that toured for fifteen days in Vittorio Veneto in non musical venues such as bar, osteria, pizzeria, laundrete, video store etc. The LP contains all fourteen songs the band has created. The DVD contains a video from each of the sixteen locations of the tour plus an extra video playing the sixteen videos simultaneously.
mercoledì 3 agosto 2011
Another chapter of the drone odissey by our Danish favorites releasing two side-long tracks of black magic.
Side A was previuosly released on a limited tour-tape by their own label Into the Lunar Light and sounds like the musical score of a horror film sang by a gathering of hungy wolves in a windy cave. On side B the drone assault ceases, to be replaced by reverbing guitars, obsessive synth melodies and echoed vocals building a psychedelic atmosphere. Released in occasion of their Italian Tour in June 2011.
That's a long and repetitive hypnotic mantra to elevate Your cerebral remains to an higher plan, - all built on four suites, two per Artist, USA meets Italy, both persuasive and sinister, like soundscoring a four-stages trip for the outer space. Justin Wright records an airy synth sample similar to a quiet respiratory movement, - then He makes a loop of it, to death, and it weaves a infinite carpet of sounds where an acoustic guitar advances solemnly, in a crescendo of fuzzy solo and symphonic multilayered arpeggio. The following obsessive satured signal of Seeker Of Sonic Auras wouldn't disfigure on A Clockwork Orange o.s.t.. - Be Invisible Now! will totally wash Your head, - a music bath of low cosmic frequencies and quirky drones, - a psychedelic slowdown into isolation. When suddenly the drums are calling, the doped ambient turns in a magnetic storm, and winds drive You by force along space exploration. L'Ultimo Giardino Dietro La Chiesa is the stronger venture here, - abrasive synths and minimal resonances as rythm section, a couple of harsh explosions, a long brilliant elucubration, - nothing left to improvisation: for sure, stronger and more mature indeed than debut album Neutrino.
Excellent split CD, warmly suggested, - especially if You dig Murcof, - probably one of best releases on Boring Machines' suicidal (as well always highly respectable) catalogue
giovedì 28 luglio 2011
We've long championed the work of Maurizio Bianchi, the grim electronic sculptor whose work in the early '80s paralleled the likes of Whitehouse, Ramleh, and Matthew Bower's early power electronics project Total. As much as we would like to ramble on about Bianchi's intriguing musical and existential history in reference to this record, it's almost a moot point as it's really hard to discern any sounds that bear the signature of Mr. Bianchi. Don't let that caveat scare you off from checking out this thoroughly amazing blur of noise, drone, acoustic tumult and electronics; but we have to be completely honest. No, it doesn't sound much like a Bianchi record; instead, the real author of the final mix of The Epidemic Symphony No. 9 is the little known Japanese sound artist Hitosji Kojo (who also records as Spiracle). If there's any justice, Hitoshi / Spiracle shouldn't be "little known" for very long. In fact, he should be heralded as the viable contender to replace David Jackman / Organum as the king of the droning acoustics. And no, none of the guttural drone expressionists who splatter cd-rs with quickly rendered cosmic exasperations come close to the power that Jackman was capable of in the '80s. But Hitoshi Kojo does. Like Jackman, Hitoshi's work is a dense compounding of layered acoustic textures, each of which are impeccably recorded and carefully positioned within the stereo field. In working with the source material presented by Bianchi and Nobu Kasahara (another obscure Japanese sound artist who has collaborated once before with The New Blockaders, giving some clue as the cacophony he's capable of), Hitoshi continues this strategy of precisely placed sounds which are then given plenty of opportunity to growl, rumble, vibrate, and bristle however they see fit. Where the first lengthy track steadily builds up to a crashing crescendo that abruptly cuts to silence, the second track exhibits some of what may be Bianchi's sounds -- a return to the Sacher Pelz techniques of varispeed tape and crushed turntable clatter which Hitoshi compounds into rippled acoustic shimmer. For the finale, Hitoshi blurs the source material into an industrial chorale marked by a surprisingly elegant two-note melody. Highly recommended!
mercoledì 27 luglio 2011
Musick for the Performancoid Installation Plastic Spider Thing Pt. 22
Originally release in July 2004 as 1.000 copies jewel case CD by FinalMuzik.
I. Entrata lentissima
VI. Forte con brio
VII. Macabre (Meet Murder My Angel)
IX. Coda lenta
Composed, performed and recorded by CCCPierce, except: track VII composed by Soft Cell (Almond / Ball) and here performed by Massimo & Pierce. Additional inspirations by Coil and Aleister Crowley. Originally created as a soundtrack for Plastic Spider Thing Part XXII (November 2003). Remastering 2004 by Sergio Pigozzi.
mercoledì 20 luglio 2011
Maurizio Abate plays acoustic raga guitar and drones in the higher-mind style of Jack Rose and Robbie Basho. Some great aggressive, overtone-thick work here, with Abate generating whole mouthfuls of barbed microtonal teeth that sink deep into the background drones and pin em to the sky.
giovedì 14 luglio 2011
A suggestive gallery of abstract images, confused fragments of life and real living experiences, sights of urban landscapes... Noisy and electronic interferences, mechanical machines movements, concrete noises, low frequences fluxes, hissing sounds, interferences, but also melodic acoustic guitar pieces, human voices and other field recordings... A brave, uncompromising and heterogeneous "decomposed" mosaic of avantgarde sound art beyond time, beyond any point of view and any geometric coordinates.
mercoledì 13 luglio 2011
An eely one, to be sure. “S3” is a single piece, 41-minute collaboration that subtly plays with conventions of eai, presenting the listener with a steady-state approach that implies elements that never appear and offers unexpected ones in odd places in the structure. It begins with about 10 minutes of extremely quiet noise. Not only quiet but pitched at the sort of frequencies that are likely to be present in one’s listening room, that is if the computer, lights, heaters, etc. are active and functioning. Personally, my PC’s hum was often co-equal with much of this section, making for a very enjoyable little “dilemma” trying to figure out what, if anything, I was hearing from the disc. Oddly, at other times, I could pick out the joint low burbling and supersonic bat-squeaks with relative ease; maybe it depended which way my head was tilted. After this interval, the volume is upped a notch, “S3” emitting whispery rubbings and ethereal whistles, a somewhat more voluminous rumble beginning to emerge underneath. Just when you think you’ve gotten the arc of the piece down, expecting it to wax into a prolonged eruption, it up and slaps you with only a brief flare, descending back into a low, menacing throb. From this point, about the halfway mark, “S3” sputters and thrums in more erratic fashion, like a cast-aside firework with a dysfunctional fuse. It’s a little disquieting, a little tough (for me) to immediately grasp the structural logic but, at the same time, there’s a basic solidity that makes itself felt, providing just enough tug to tow the listener along. The volume only ever rises to medium levels; the onslaught I imagined coming never really arrives—another very nice non-event. About 30 minutes in, after a soft blast of unique static, the piece reverts to, more or less, the initial state, flickering on the edge of audible distinguishability. For myself, “S3” is the sort of work that, first time through, is very difficult to get my aural arms around but that, on successive listens, reveals more and more about its structure, allowing great appreciation for the placement of sound elements. (Among other things, it makes me want to hear a recording of the Workman/Julien Ottavi set from this last autumn’s ErstQuake fest, wondering if it would reveal more on re-listen). It still retains a kind of gaseous quality and that’s all to the good yet you can begin to detect glimmers of outlines, enough to provide a certain amount of…comfort. It’s a complex project and an excellent one.
martedì 12 luglio 2011
“What can we hear now? A sound, as though grains of sand trickle down onto a fine membrane….”
This sound, as though grains of finest sand trickle onto a membrane–the last thing that the narrator in Stanislaw Lem’s “Solaris” hears when he starts out on his journey to a world that is falling apart–is the most fitting way to describe the characteristics of Luigi Archetti’s music NULL.
Stylistically, the compositions can be placed within the field of planar tonal design, and with this, also an experimental treatment of static sounds and microtonality, out of which finally something like monolithic sound sculptures have emerged.
Oscillating in filigree nuances, the modulation of a drone that seems to last an eternity alone indicates that the sense of real time has been canceled–while, at the same time, another acoustic track surfaces like a distant memory, only to disappear again. One begins to think that a sonorous world has come to a standstill or has been silenced. Soon, however, a sonic texture gradually begins to spread, scraps of sound seem familiar for a moment and already disappear again before one can grasp them; in the meantime the lower-frequency oscillations of the sound crawl under one’s skin in the form of vibrations.
A feeling of strangeness and disconcertment becomes physical. With this the senses are automatically sharpened; all ears, one dives into a universe of sound, which is something different and more than what one can decipher acoustically.
A universe of sound particles spreads out, in which the sounds provide no references to a possible location. What the ear might consider to be the crunching sound of snow crusts, the deep droning of ice breaking, the scraping of migrating glaciers is often merely an acoustic hallucination, while actually the sounds have been composed using the finest of sound particles, which Archetti’s ear has taken from completely different sources, such as the hum of generators, or the white noise of a blank video tape being played, or drone sounds created with the E-bow, which he extracts from his electric guitar (often with scordatura tuning).
An intermediate realm is created in which acoustic sedimentations are layered into a sound tapestry so dense that it feels like there is almost no air left to breathe or to hear with anymore.
But it also draws one in like an invitation to journey further into unexplored regions, a journey through timeless and spare acoustic events with a rivetingly hypnotic effect.
venerdì 8 luglio 2011
lunedì 4 luglio 2011
L'idée du massage sonore est de créer une proximité particulière entre l'auditeur et le musicien-masseur. Ce dernier auscultera l'intérieur des objets, des matières, pour en dévoiler leur champ acoustique. Dans ce disque de Pascal battus (que l'on retrouve, entre autre, au sein de Phéromone), le massage se fait par contact, comme pour court-circuiter l'air, milieu où se propage l'onde sonore. Ecoute au casque conseillée. (Metamkine)
Il s’agit de produire avec précaution des sons directement dans les oreilles d’une personne.
Pas de concert, pas de salle de concert, pas de "public".
Dans une relation individualisée, le "praticien" produit des sons perceptibles par l'unique contact avec l’oreille. Ne pouvant entendre le résultat, il transmet un secret sonore qu’il ignore lui-même. (P. Battus)
venerdì 1 luglio 2011
By now Andrea Marutti is a well-established name in the Italian world of experimental and electronic music. He runs the Afe Records label, and is best known for his ambient electronic music, although he dabbles also in many other styles. If that isn't enough, he also works together with many others, like Madame P, Aidan Baker, Hue, Sparkle in Grey, Dronaement and many others.
Here he teams up with Fausto Balbo, who started in 1988 Jesus Went To Jerusalem, later Der Tod, but went to experimental with electronic music later on. The album they crafted together shows a deep love for analogue and digital synthesizers, and was recorded in various sessions, but mixed together in a long session, using an analogue mixer.
The overall musical approach is best described as "cosmic" music. Four lengthy pieces of spacious electronics, with a nice rough edges. Not as gently floating about as say everything Tangerine Dream did after the mid seventies, but with that nice experimental touch. Ultimately it all sounds pretty retro, but that notwithstanding, it also sounds like a great trip.
[Frans de Waard]
giovedì 30 giugno 2011
Kid 606s Tigerbeat 6 label spreads its wings that little bit further and brings us the latest LP from Australia's Paul Gough, aka Pimmon. With a diversity of sound that fuses an Oval-esque glitched-up ambience with chaos-theory music in the vein of Bernard Parmegiani and Autechre, the sound here is a wide mesh of almost intangible emissions that sometimes create a hub of pops and randomized activity, and sometimes come together to unleash soundscapes that are almost unspeakably beautiful. 'Vovul ll' is one such track, devotees of Christian Fennesz would do well to look into its washes of processed acoustic organisms and floating glitch bubbles. 'Slow Burn Friends' is equally mesmerizing....the gradual encounter of ambience through malfunction is incredibly soothing and deeply evocative. Pimmon, along with Fennesz's Endless Summer, has here created one of the finest evocations within this genre in quite some time. Essential. -djmartian.blogspot.com
lunedì 27 giugno 2011
Manga-Michi is a short, very sparse duo performance by trumpeter Masafumi Ezaki and electronicist Taku Unami. Both musicians tend toward a severe minimalization of the sonic palette and a hyper-awareness of the silences surrounding the quiet sounds they produce. Those sounds are always quite abstract; few casual listeners would identify Ezaki's contributions as having emanated from a trumpet, for example. But the two performers display remarkable empathy, each clearly conversing with the other, thereby softening what might otherwise be an excessively arcane foray. When the volume does well up into even the slightly loud zone, it's as thought there's a momentary flaring of a heated discussion. Unami, especially, is a master at choosing just the right, subtle tone, be it a sine wave, a series of glitch-like clicks, or a serene wash of white noise, to complement his partner or partially fill in open space, always leaving a trace of that space in the listener's consciousness. Fans of the contemporary onkyo scene in Japan as well as those who enjoy the spare beauty of musicians like Taku Sugimoto will discover a lovely world herein.
domenica 26 giugno 2011
martedì 17 maggio 2011
zeno gabaglio: cello, electric cello and looping tools.
produced by zeno gabaglio, luca and vasco viviani.
recorded and mixed by nello sofia at blackdog studio, lugano, july 2006.
technical support: francesco bissolotti, eric jensen and stephan schertler.
graphic design: alfio mazzei.
domenica 15 maggio 2011
In the 25th year of Ralf Wehowsky's recording career, Anomalous Records presents his first truly solo release featuring four new compositions based on instrumental improvisations. Using simple devices (tone-generators, percussion toys, music boxes, an electric toothbrush and an electric guitar) played in unusual ways, he builds up layers of each sound to create a suite of textural pieces. Each of the four tracks takes on an identity unique from the others, as the first three each focus on one of the sound sources while the last combines elements from the previous three to make something else. The disc opens with a 20-minute piece of mysterious and drifting electronic tones. Other tracks highlight very tactile sounds and bring a much more 'live' element to his work, while retaining his skillful use of dynamics and placement of silence which have gained him so many fans. Previous releases by RLW have seen him collaborate with such diverse artists as Achim Wollscheid, bernhard günter, Andrew Chalk, David Grubbs, Jim O'Rourke, Kevin Drumm, and Bruce Russell. He is the founder of the now defunct group P16.D4 and the still active label Selektion. Other releases of his work have appeared on Table of the Elements, trente oiseaux, Streamline, Perdition Plastics, Swill Radio, Meeuw Muzak, and Metamkine.
sabato 14 maggio 2011
Snawklor is a decade long musical collaboration between visual artists Dylan Martorell and Nathan Gray.
Snawklor as a duo make improvised electro acoustic music and sound installation with whatever is at hand exotic instruments, feild recordings, toys and electronics. As a trio with Duncan Blachford on drums they explore the possibilities available only in louder volumes.
giovedì 12 maggio 2011
JEALOUSY PARTY: Roberta WJM / mixer, JP Set (cd, md, microfoni, percussioni) Mat Pogo / mixer, voce reale e registrata Edoardo Ricci / sassofono contralto e soprano, clarinetto basso, trombone Jacopo Andreini / batteria, percussioni Andrea Caprara / basso Alessandro Boscolo / mixer, suono, registrazione, missaggio, master
1. Amaranta's Dance 2. Hold'em Punca 3. Play On 4. Ora Quando
5. Ci Sta (Serve Qualcosa) 6. No Melody
mercoledì 11 maggio 2011
- Cathode #4 (20:57)
Taku Sugimoto: electric guitar
Tetuzi Akiyama: turntable without records, contact microphones
Yasuhiro Yoshigaki: waterphone
Kumiko Takara: snare drum
Masahiro Uemura: bells
Ami Yoshida: voice
Mari Furuta: snare drum
Yoshimitsu Ichiraku: cymbal with bow
Sachiko M: sine waves, contact microphone
Yoko Nishi: prepared 17-string koto
- Cathode #5 (14:19)
Yoko Nishi: prepared 17-string koto
Taku Sugimoto: electric guitar
Andrea Neumann: inside piano
Sachiko M: sine waves, contact microphone
Otomo Yoshihide: turntable
- Cathode #3 (Variation of Modulation #1) (22:15)
Taku Sugimoto: electric guitar
Yasuhiro Yoshigaki: percussion
Kumiko Takara: vibraphone, percussion
Ko Ishikawa: sho
Ami Yoshida: voice
Mari Furuta: crotales, percussion
Yoshimitsu Ichiraku: percussion with bow
Sachiko M: sine waves, contact microphone
Yoko Nishi: prepared 17-string koto
All composed by Otomo Yoshihide
Recorded and mixed by Yoshiaki Kondo at GOK Sound, Tokyo, May-July 2001
Additional recording by Otomo Yoshihide at A-102 Studio and M-101 Studio, Tokyo, August 2001 and March 2002
Mastered by Toshimaru Nakamura in May 2002
Produced by Otomo Yoshihide
Design by Masae Tanabe
Includes liner notes in Japanese and English (translation by Cathy Fishman and Yoshiyuki Suzuki) by Otomo Yoshihide
Released in July 2002
martedì 10 maggio 2011
Songs From the Nerve Wheel is a collection of solo guitar improvisations from the free jazz/avant garde end of the spectrum. Horist's use of extended techniques and effects give the whole album a dark, otherworldly tone. Delays are used at times to provide a hint of rhythm as Horist squeaks and scrapes on his guitar, using a musical vocabulary that owes a great debt to Derek Bailey. At times you'd swear this was somehow electronically generated. In fact, there is hardly a hint of any conventional guitar technique anywhere on this recording. Horist definitely knows how to operate his toys, but the lack of a wide tonal range makes the pieces all sound similar. Fans of Henry Kaiser's outside solo guitar improv and K.K. Null's sheets of sound experiments should check this out. Not for the timid. ~ Sean Westergaard
mercoledì 4 maggio 2011
The musical research that I have undertaken goes beyond man's "point of listening" (instead of "point of view") to experiment what could be defined as the machine's "point of listening" (the aesthetic of the machine). Therefore it is an aesthetic that privileges a "beyond-feeling", the meeting with the "outerness", with the "totally-out".
The audio frequency field of this work is beyond the possibilities of our "perceptions"; it is in fact in the range of the "ultrasounds" (up to 20kHz) and the infrasounds (down to 16Hz). Throughout this work the sounds were generated at the maximum volume available for digital systems (0dB).
Therefore this composition is totally full, saturated, without dynamics, with a volume level consistently turned up to "fortissimo" (classical notation), just outside the range of human perception. What remains for our hearing? Only silence? However all that we perceive in this work is entirely the result of what has been discarded, the driftage, the limits of technology and our auditory apparatus; anything that springs out of those interferences, from those collisions, the clashes of those hyper-frequencies, their results, the difficulties and the noises of the sound-reproduction system (amplifiers, loudspeakers, filters, etc.) actually produced by the surrounding space (those objects that vibrate), our very own auditory apparatus and body (often it is not our ear but our whole body that feels and vibrates).
This work could be defined as the "place of paradoxes", the place in which "limits" transit and collide.
Inversion: in this composition, emptiness and silence are the consequence of the total fullness, of the "totally sonorous" (even if beyond our hearing possibilities); in contrast sounds, signs, traces of those, are entirely the result of the instability of the "totally-full", from its collapse, from those results, from the marginal effect of these "depressions", from what is discarded, from the turbulences. Finally we can confirm that here we are listening to the results of "absence", of the "emptying" of the "sonorous", of its "non-result".
Interactivity and invariableness: this work, which seems to be an "Art des sons fixes", an art of the medium therefore always equal to itself, here it becomes "event", "open work", interactive, "aleatory"; it is in fact totally variable, depending on what the listener chooses as even turning the head slightly is often enough to experience changes in what we hear; it depends on the place, the objects in the room, the environmental characteristics (the impact and reflection of these unheard frequencies create totally different effects), from the system of reproduction and how it is regulated (deliberatedly controlled or unconsciously affected by the listeners) and also from the anatomical-physiological characteristics of the listener (the extreme characteristic of these frequencies allows a subject to listen to a hiss or a loud sound and for another subject to listen to total silence).
Concrete-electronic: in this work it is possible to listen to concrete waste, to the left overs of audio material of a totally synthetic nature. Therefore, this work sits on that border, within an enigmatic trace, on the border between two paradigms; in effect at the same time it answers to a radical "concrete" logic and one of "electronic purism".
Therefore, a pure "objective" sound (a simple "sinusoidal wave"), purely inorganic, inexpressive, beyond-human, a sharp, metallic object, that can also hurt, a totally "extraneous" sound (an extreme-experience, sometimes toxic, harmful, but not only for man, but also for the machine).
Well, what we actually listen to in this work is the meeting (clash, collision) point between man and his technological extension (amputation); this leads us into that listening zone, shady and disturbing which, ultimately is not only within both the mind and thinking, but also a product.
Even the resulting audio wave images in this work are very anomalous. The normal audio waves visual system of reproduction... collapses... breaks down. The coordinates logic systems are not longer valid...the readouts are no longer legible. The algorithms are completely unreliable... unfounded... they only tell us of an other world...beyond our mind.
martedì 3 maggio 2011
Armed with a sampled rhythm and shredding feedback, Swedes Henrik Rylander and Leif Elggren do the lord’s work on Gottesdienst, their first collaboration, recorded live in Göteburg in 2005. There’s nothing especially ecclesiastical about the piece, though from eyewitness accounts, one can imagine that the force of the live performance sent more than a few in the crowd into prayer for the salvation of their quickly degenerating sense of hearing.
Rylander’s 2004 solo disc Traditional Arrangements of Feedback showcased his ability to wrangle feedback, bending it to his musical will, and it’s a technique that’s all over Gottesdienst. A snippet of strings – repeated for nearly the 20-minute duration of the piece – is its rhythmic base, interspersed occasionally with fragments of recorded dialogue. Laid overtop with heavy-handed abandon is a thick sheet of white hot sound, a distorted presence that threatens to demolish all in its shadow, though the less abstract facets of the piece endure unharmed. Gottesdienst isn’t a complicated work; the two aforementioned ingredients are its primary players, with minor deviations as the sampled strings and vocals are altered underneath the gritty screams and roughly hewn gurgles. The monotony that evolves from the largely unchanged rhythmic base would be nicely mind-numbing if it weren’t for the intrusive quality of the oft-insistent feedback, but, all the same, at its stormiest, Gottesdienst stays firmly tethered where a more tumultuous climax might have been more effective. Still, even if the two individual voices might be better if more thoroughly intermingled, there is a hypnotic effect to the work, and it’s not hard to see how it might have mesmerized live.
Annexed to Gottesdienst are two remixes of the work, one from the iDEALIST, the other from C.P.U. The former wraps the recording in a hazy cloud, with the hint of a rhythm somewhere in the depths, and the spirit of the feedback carried on in a subtle buzz. The drone of the iDEALIST’s reconstituted Gottesdienst isn’t concerned with the relationship of the piece’s primary actors; instead it dilutes the two and molds them into an amorphous dirge. C.P.U. works in an even more incongruent fashion, and while the second remix contains more identifiable remains of the original track, C.P.U.’s filters and effects render the music far more inorganic. Both remixes are interesting slants on Rylander and Elggren’s original, and, unlike so many releases they feel as substantial (especially in the case of the iDEALIST’s) as the piece upon which they’re based, not extra scraps tacked on in a misguided attempt to offer more value to the paying consumer. It’s not to their detriment that Rylander and Elggren are upstaged a bit by their remixers; it’s a product of the disc’s construction, both in terms of time (the original piece constitutes just over half of the CD), and the way a rather straightforward statement, with two individual voices, is slowly dissolved as the disc progresses, forcing two into one, clouding the simplicity of the original performance, and wiping nearly all traces of Rylander and Elggren from Gottesdienst’s mutilated corpse.
lunedì 2 maggio 2011
2-Come un giorno parte 1
4-Firenze parte 1
5-Come un giorno parte 2
6-Firenze parte 2
Electroacoustic compositions performed and recorded between December 2000 and June 2001, dedicated to Claudio Fasoli.
Inside cover design by Nicola Smanio
Inside photography Chiara Zorzi
Velvet case by Luciana Meneghini
Chicagoan Olivia Block made her debut on Sedimental with Pure Gaze in 1999. This sequel, assembled over the course of five years, starting in December 1997, is a similarly meditative and surprising 30 minute mix of environmental sounds, unobtrusive electronic enhancements and precisely placed instrumental passages. Like Luc Ferrari, Block knows how to draw seductive music from the blending of such elements, making creative interventions in the natural world, casting enigmatic shadows across familiar ground. Both releases are effectively self-portraits, showing Block caught up in a Moebius Loop of listening and composing, discovering and deliberating. She acts as a gateway for the found sounds of indoor and outdoor spaces, birds and insects, crackling ice, fire, and wind buffeting the microphone, which are captured and relocated. Once caught suggestively between raw and processed states, their identity is complicated. Block uses silence effectively, it oozes in and out of the predominately quiet sounds that form the music. Her electronic interventions merge with the field recordings, and often the two become indistinguishable. The carefully organized sounds of the wind quintet, including Jeb Bishop on trombone, carry associations of a social world, and although initially droning on the borders of the electronic zone, the group are ultimately heard playing a slow, dignified tune, saturated with communal values and counterpointed against a firework display that Charles Ives would surely have appreciated. At which point it seems appropriate to press “play” and light out for the territory once more.