@C - Ab Ovo CD Crónica
BJNILSEN - Eye of the Microphone CD Touch
COOLY G - Hold Me 12" Hyperdub
DIRTY PURPLE TURTLE - Medicine & Madness CD Spezialmaterial
EVOL - Something Inflatable LP Alku
F.S. BLUMM - Up Up And Astray CD Pingipung
FAMILY FODDER - Monkey Banana Kitchen LP/CD Staubgold
FELIX KUBIN mit MITCH & MITCH - Bakterien & Batterien LP/CD Lado ABC/Gagarin
G*PARK - Sub 2CD 23five
GELBART - Vermin LP Gagarin
HATI - Wild Temple CD Monotype
HENRY VEGA - Stream Machines CD ARTEksounds
JASON GRIER - Unbekannte LP/CD Human Ear Music
JASON VAN GULICK - Entelechy CD Idiosyncratics
LUBOMYR MELNYK - Windmills CD Hinterzimmer
MAILE COLBERT - Come Kingdom Come CD Two Acrons
MARSEN JULES - Beautyfear CD Oktaf
MAX EILBACHER - Red Anxiety Tracers LP Spectrum Spools
MIA ZABELKA, ZAHRA MANI & LYDIA LUNCH - Medusa's Bed CD Monotype
MONNO - Cheval Ouvert CD Idiosyncratics
REINALDO LADDAGA / V.A. - Things that a Mutant needs to Know... Book+2CD Unsounds
RLW & SRMEIXNER - Just like a Flower when Winter Begins CD Monotype
STEVE MOORE - Pangaea Ultima 2LP Spectrum Spools
TROPHIES - You Wait To Publish CD Monotype
@C - Ab OVO
CD Crónica Electronica cronica085
Composed by Carvalhais & Tudela, May 2012 to July 2013 from the soundtrack to OVO.
The original soundtrack to OVO, a play by the Teatro de Marionetas do Porto, was composed by Tudela & Carvalhais from November 2011 to January 2012.
"100" features Tam (guitar), Shirley Resende (accordion) & Sara Henriques (voice).
The man has fallen. The skull opens. Time expands.
What is left of the the memory fades away on the floor. He has just lost the notion of future, only the past and his automatisms remain.
He was an actor, without the basis of theatre - a puppeteer?
His life is nothing more than the ruins of memory, and it is fragmented, divided in 4 characters. In the moments when everything is constructed and reconstructed as easily, the borders between worlds become even more permeable. The space of the stage is the inner space inhabited by the 4 characters coming from the unconscious, but captured in the world of stage acting. (from the notes to OVO)
@c's Ab OVO stems from their work for the soundtrack of OVO, a play by the puppet theater of Porto, developed in late 2011 and early 2012. Starting from an original idea by Eric de Sarria, OVO was created cooperatively during a series of rehearsals that involved all the participants in the play - actors, puppeteers, musicians and other creators - and premiered on February 10, 2012 at the São Bento da Vitória Monastery. The musical outcome of this process were 19 recorded compositions that constituted a majority of the play's sound.
Ab OVO results from the realization that a music so tailored to a particular context could not be easily detached from it. When considering how to publish this work and what it would become without the stage, actors, puppets and dramaturgy, Pedro Tudela and Miguel Carvalhais felt the need to rework all the pieces, opting for revisiting parts of the original soundtrack and for composing a series of six new pieces that are now presented in this CD.
The end result, although remaining close to the play's soundtrack, is an album that chiefly preserves traces of memories from the play and expands its creation process, thus rereading, reinterpreting and rediscovering OVO.
OVO was created by Edgard Fernandes, Eric de Sarria, Isabel Barros, Rui Queiroz de Matos, Sara Henriques and Shirley Resende, with puppets and scenic objects by Rui Pedro Rodrigues and Filipe Garcia, video by Albert Coma and costumes by Eugenia Piemontese. Photos by João Tuna © Tuna TNSJ.
The CD edition of Ab OVO was possible due to the support of Teatro Nacional de São João and the Teatro de Marionetas do Porto.
BJNILSEN - Eye of the Microphone
CD Touch # TO:95
Release date: December 16
Mastered By Denis Blackham at Skye Mastering
Artwork and photography by Jon Wozencroft
BJ Nilsen (*1975 Sweden) is a sound and recording artist. His work is based on the sound of nature and its effect on humans. He primarily uses field recordings and electronic composition as a working method. He has worked for film, television, theatre, dance and as sound designer. His newest album presented here is Eye Of The Microphone [Touch # TO:95, 2013] - a somewhat surreal audio rendition of the sounds of The City of London. Currently also working on The Acoustic City, a book publication with CD, co-edited with Matthew Gandy, [2014, JOVIS Verlag, Berlin].
Recorded and Mixed in London 2012 - 2013
++ To stroll properly, one should not have any particular plans ++
In 2012 I received a scholarship from the Leverhulme Trust for a one-year Artist in Residency at the UCL Urban Laboratory in London, to introduce sound as an art practice to urban scholars and students. As part of my research I decided to dérive the city.
I spent full days and sometimes nights sweeping the streets and its interiors for sound - walking and listening with no route or intention. A city without sound does not exist. Every location, passageway, alley, road, park, and pub contains its own world of isolated sound events and patterns - the sound of a shopping bag caught by the wind on the asphalt of a busy street when a bus passes by. What seems to be merely a bus is also a cacophony of sounds, a sound world in itself: hydraulics, breaks, interior noise, honking, public announcements, humans, rolling bottles, cell phones, mp3 players. The rattle of an air-conditioning unit in an old pub toilet gradually develops its broken down sound over many years, creating a raga for it own demise. Nobody seems to hear it. Is it there? The choice of sound varies; its a personal selection, some sounds made it into this composition, many hours of recording didn't.
Sound composition can alter space and time and transform a specific location and experience into an imaginary world.
Standing on Francis Street behind Victoria Station, it is a sunny spring afternoon and the air is crisp. For a location so central it is a quiet street, for about ten seconds & As the bells of a nearby church in the Diocese Of Westminster start to chime I press record. They merge into a vehicle and then into a woman on a bike, and as she breaks to make a turn, in the distance a cellphone rings. All the time a train engine has been idle.
London pulls you towards water. You are bound to reach the river at some point. On a grey and foggy afternoon, I reached the bank of the Thames during low tide. There, the sand, algae, mud, and brick buildings isolated the acoustics revealing great detail. An almost interior space, surrounded by old shoes, pieces of porcelain, half a chair, bones, bricks, wood structures, and washed up electronics, it felt like looking into the future as well as the past. To the left there were the distant smudged out towers of Canary Wharf, and to the right Tower Bridge completely shrouded in fog. The drones of the clippers on the river suddenly sounded electronic, the occasional vague beep of metal detectors belonging to coin hunters tracing our past. A chainsaw starts up from one of the workshops nearby. Back in the studio, listening, a surreal city begins to unfold.
2. Coins and Bones.
Without the multi-sensory impressions and visual synchronization at the very present moment of recording, certain memories and perceptions seem to grow stronger.
Maybe a pure field recording is not the most accurate representation of a place.
3. Twenty Four Seven.
Where does the city begin?
We took the East Anglia Line from London Liverpool Street only a 30 minute ride away and we arrived at Cheshunt Station and stepped into Lee Valley.
It is a vast area of water, grass, reed bed, and woodlands, and lots of wildlife. The weather is perfect, a clear and warm summer day. Here, the sound of distant trains going back into the city served as a backdrop together with overhead airplanes. As we are sitting on a small grass patch by a large pond, ducks, swans and coots suddenly notice us, expecting some food. We gave them some tiny pieces of bread. The swans took over and started to fight. After a long track we end up by Regents Canal and The Kingsland Basin Redevelopment site.
Twenty four seven doesn't exist here. It's a microclimate of nuances and the personal mind of getting up early to make some recordings.
A microphone is both a lark and a night owl.
Cover Photography: St. Paul's as seen from the London Eye. Cranes rebuilding the City - a highchair for birdsong...
COOLY G - Hold Me
12" Hyperdub HDB078
Release date: January 27
After her much lauded debut album Playin Me, Cooly G returns with an EP that switches from song writing mode to create extended, spaced out and rhythmic house tracks built for the dancefloor.
"Hold Me" starts with minor note stabs and Cooly's vocal "hold me" over a punchy bassline. The rhythm slowly builds as the vocal becomes more dubbed out and the atmosphere more smokey. "Oi Dirty" made with DVA is a piece of wonky, rhythmically lopsided house with a cavernous elasticized bassline and lots of micro detail destabilising the track then bringing it back, pitching drums and mini breakdowns.
"Molly" is a slow burning 4/4 house track built around a static grid that gradually builds up, getting stiffer and more intense, with wobbly acid-like synth lines and hissing static stabs, underpinned by a one note bass kick. It's a master class in creating tension with slight of hand production moves.
DIRTY PURPLE TURTLE - Medicine & Madness
CD Spezialmaterial Records SM044CD025
Release date: January 31
Electronics, drums, visuals. The jam is the plan! As live, direct and lively as possible. That's how electronic music is supposed to be for the threesome Dirty Purple Turle. In its nature much closer to rock than electro, they say. In their live performances they create much thrill visually: On three screens projections accompany the sometimes winsome and catchy, sometimes dark and inaccessable songs. At times they work as a lightshow, at others the music takes a backseat. For such a precise and dynamic realisation to work, it takes the three men's gift of being true electro McGyvers. They always have the perfect do-it-yourself solution at hand. Oh, and the name. Well, it's just good on Google.
Harnessing some pretty rough and raw live energy is the key to DPT's sound, refusing as they do to allow overdubs, along with a completely uncompromising approach to song structure and making no concessions to what they or anyone else might consider fashionable.
Beginning with the unusually catchy "Count the Clock" - a pulsating motorik affair with offbeat electronic syncopations and dreamy synths - we quickly arrive at "Hiritoto Shikitsch" where a whole welter of other potential references and influences come to mind, with none of them coming close to capturing just what is going on here. At times we could be listening to some unholy mash of Add N to X, Cabaret Voltaire and Holy Fuck, with elements of Maurice Fulton's Syclops project thrown in for good measure. Super tight drums keep a handle on barely-contained synth overload & there is a lightness of touch, hard (and live, remember?!) internal edits, a broad palette of sounds being employed using a relatively constrained set of instruments.
The set continues with "Aber" - a broody chugging headnodder, all half-speed beats and crushing staccato doom riffs pinning the thing to the floor, before it unleashes a double, quadruple and octuple speed black metal-inflected live harmonic acid emulation. "God's Left Eye" seems to offer repose with soft pads and an almost Tortoise-like feel; another processed vocal waxes out a torrent of imagery leading the track into refined territory, opening further into thick layers of droning melodic guitar and feedback squall. "Sector G und D" sounds a note of genuine alarm, a grinding menace not entirely alien to Maurizio Bianchi's strange industrial universe - where a surprisingly soulful vocal carries a thread of mild sanity to hang onto amid the nauseating heat.
"I am the Brute" treads a fine line, one seeming bright and playful but permanently on the edge of major malfunction - a lost chorus from Beefheart set to a sort of skipalong live Atom!" jam, but halfway through - *suddenly* - we are in an 8-bit Bad Seeds disaster game with untethered libidinous vocals, perhaps thankfully just on the verge of audibility & who ARE these weirdos? "Henry Who" opens as some sort of unconventional space dub workout, with shimmering harmonics and bubbling delay trails; the synth takes centre stage and kicks off a dialogue with gentle guitar feedback & once again, about halfway in, when we think we have a handle on this, along comes the noxious breath of Satan to drag the melodic remnants into a funky gutter of drastic proportions, fading out to leave only Laibach-styled militaristic percussion ringing heavily in the ears.
FOR FANS OF: NINE INCH NAILS, MINISTRY, ZOMBIE ZOMBIE, ADD N TO X
EVOL - Something Inflatable
LP Alku 129
Red vinyl with purply blue & bluish purple labels in a 140 micron polished finish PVC sleeve.
Play at 33 1/3 RPM.
Written by Stephen Sharp and Roc Jiménez de Cisneros.
Cut by Andreas Kaufelt at Schnittstelle in Frankfurt.
Please note side A plays inside out.
File under: more annoying rave anthems.
Something Inflatable takes the Rotterdam Termination Source classic "Poing" (1992) as a starting point to create a 30 minute long piece of springy percussion, boingy kicks and dyschronometric gabber. This record contains no samples.
Roc Jiménez de Cisneros and Stephen Sharp produce what they call "computer music for hooligans." Their work is an aesthetic exploration of algorithmic composition and a metaphysical deconstruction of rave culture. Their music has been published on record labels like Entr'acte, Mego, Presto!?, fals.ch or their very own ALKU, and their work has been exhibited at numerous festivals, clubs, galleries and museums throughout the world. EVOL recordings, installations and performances display a radical and playful approach to audio synthesis, full of upward spirals, trance inducing patterns and challenging temporal structures, halfway between academia and psychedelia.
Some of their recent installations and hybrid pieces include: "Continuum Expanded" (in Sound Proof 4 3, London, 2011 and Sound Spill, Galerie West, Den Haag, 2012); Tetralemma + Tetrafluoroethane (Graham Foundation for Advanced Studies in the Fine Arts, Chicago, 2011); Rara Avis (Science Museum of Barcelona, CosmoCaixa, 2011); A very short proof of Forester's rigidity result (with Mark Fell, premiered at BIACS, Seville Biennial 2008, Istanbul Biennial 2010, Vienna 2011, and ZKM Media Museum, 2012-2013); Hands in the Air, reach for the Laser (Diapason Gallery, New York, 2010); Mentasmic Score for Wave Field Synthesis System (premiered in Barcelona, June 2012).
F.S. BLUMM - Up Up And Astray
CD Pingipung pp39
Release date: November 25
Frank Schültge aka F.S. BLUMM has released his melodic experiments around the acoustic guitar for over 15 years. In their contemplative reduction they miraculously always hit right in the heart. "The man makes some damn charming music," Pitchfork said about his last album.
With Up Up And Astray F.S. BLUMM proves that he doesn't opt for routine with his eighth full-length solo release: his unfailing arsenal of acoustic instruments and choice circuits frame the most energetic BLUMM sound we have lived to see so far.
The album title perfectly describes its energy. F.S. BLUMM returns from a six years hiatus as solo artist in which he has "rehearsed and learned, multiplied and lost track on purpose." F.S. BLUMM is many now, and he is absolutely present to us.
It all goes on, and always up, and from there into unknown dimensions. He goes astray in the word's finest meaning. And he goes up up, not as a sweaty HarderBetterFasterStronger, but with BLUMM's steady, heart-felt pling of the acoustic guitar. With his tin cookie box, through which he in fact plays back his sounds in order to re-record them, with his double bass, his keys and kalimba.
F.S. BLUMM is back from the musical travels of his collaborations. He took the roles of a bass player with the Quasi Dub Development, a classical guitarist with Old Splendifolia, a songwriter with Bobby And Blumm, a sonic researcher with Nils Frahm and a manic, extrovert Dub mash-up DJ as King Hobby. What he has experienced on these musical field trips he now returns to his solo rpoject. Here's the best bit: F.S. BLUMM sings! Through that very cookie box, which sounds in fact like an exquisite vintage amp.
Together with his various guest musicians (most notably Ella Blixt "Bobby Baby" on vocals), F.S. BLUMM achieves to further define his subtle and unique sonic identity between classical guitar and electronic production. F.S. BLUMM: "I wouldn't call my decisions in the studio canny or strategic, they are entirely led by the music. Thereby my sound remains fresh, maybe slightly naïve too, because it unfolds its own life - ignorant of trends or markets."
FAMILY FODDER - Monkey Banana Kitchen
LP/CD Staubgold 130
Release date: January 31
"Family Fodder exude an exhilarating sense that everything was possible, that there weren't any limits to imagination and humour. The scope of their musical range remains as dizzying and exciting as it once was." (Time Out New York)
Staubgold proudly presents the legendary first album from 1980 by UK underground heroes Family Fodder, for the first time reissued on CD and vinyl. The CD version comes as a lovingly assembled compilation (total running time: 79:52 min !). It features the complete "Monkey Banana Kitchen" LP, the 12" EP "Schizophrenia Party" (1981) and the 7" singles "Film Music" (1981) and "The Big Dig" (1982), all originally released on Fresh Records. Guest musicians include This Heat's Charles Bullen on drums, guitar, vocals, percussion and viola.
The Wire magazine listed "Monkey Banana Kitchen" among their "100 Records That Set The World On Fire (While No One Was Listening)" and wrote: "A loose collection of friends and, more often than not, wanderers, Family Fodder reached their apex (or at least one of them) with Monkey Banana Kitchen. The music took the ferocity of contemporaneous British punk and scaled it way back. They also eschewed the giant pop hook, replacing it with the hoop jumping of songs in three languages, instruments played for only four seconds, harmonic call-and-response motifs and opaque but symbolic political lyrics. Multiple reprises of phrases and fragments result in a much more subtle and effective memory-tickle. I can't count how many instruments finally made it onto the album, though piano (providing much of the rhythm), melodica, sax, synth and cowbell dominate. Their integrated eclecticism is actually layer after thin layer of dub, jazz and New Wave - peering down into this multi-ply music, you detect traces of structural complexity, and the pop that's there blurs. Lesson No 537 from Fodder members: participate only when absolutely necessary - knowing when to pare down makes it easier to transcend."
Family Fodder was originally formed in 1979 by Alig Pearce - with a cast of thousands over three decades. They emerged from the melting-pot of 70s/80s London alongside This Heat, The Flying Lizards, The Pop Group, Slits and many others. The original formula consisted of psychedelic and new wave influences, incisive song-writing, improvisation, experiment and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on-stage, but completed several European tours as well as cherished performances in their native London.
The group released a series of compelling, now collectable singles and albums between 1979 and 1983. Described as "entertaining idiosyncratic experimentalism with pop sensibilities", they were best known for indie-chart hits such as "Debbie Harry", "Playing Golf (With My Flesh Crawling)" and "Savoir Faire". More recently, Family Fodder songs have been covered by Zion Train and Unrest, and they've been hailed as "unsung heroes" in The Wire.
Family Fodder also appear on the infamous Nurse With Wound list. "Their music was generally playful, a hint of dub and reggae mixed with absurd, blissful pop, with synthpunk and sometimes experimental instrumentation. Most of the lyrics were also sung in French, courtesy of original vocalist Dominique Levillain, a combination rumored to be of some significant influence over Stereolab." (Systems of Romance)
FELIX KUBIN mit MITCH & MITCH - Bakterien & Batterien
LP/CD Lado ABC/Gagarin Records LadoA/12/GR2030
Produced by Tobias Levin, Felix Kubin & Mitchiz
In the autumn 2013, the formaldehyd elektronaut Felix Kubin and the incredibly flanging big band Mitch & Mitch meets, mixes and mingles in their studios in Warsaw and Hamburg conducting an electro-acoustic experiment: the production of an avant-garde pop library record. To reach this goal they invited German producer legend Tobias Levin to be their electric conduit. With their faces turned to the dark side of the moon and their hearts charged with the alluring moods of Gesamtkunstwerk, they will descend into the cellar of human fear and entartete Rhythmik, sharpen their lenses and look right into the eye of electric voodoo. Upon completion of the delta phase, documented by the underground (but fully legal) laboratories of Lado ABC and Gagarin Records on stereophonic sound carriers, Felix Kubin and Mitch & Mitch will enter the next phase, called "sonic presentations" or "science's litmus paper." At the turn of 2013 and 2014 this Big Band X-ray music will arrive in some cities of Europe as a 10-person combo, aided by a sophisticated selection of instruments. Apart from the aforementioned material, they will also present special arrangements of previous exploits of both sets.
Influences: BBC radiophonic workshop, Czech and Polish film music, Stockhausen, Stockholm, Stroboscope, KPM library music, Raymond Scott, Daphne Oram, Jerzy Wozniak, Philips Research Labs, Electric Voodoo, Medical Disasters, The Final Flu, EKG machines, X-Rays, Silencer, Reverse Wagner, Mambo Mortale, Sequencer Music, Musique Concréte, Buildings of Concrete, Underwater Dishes, Explosions, Earthquakes, Maximum Capacities, Elevator Muzak, Electric Tootbrushes, Electric Shavers, Electric Chairs, Hairy Animals, Phase Extinction, Hörspiel, Sinister Reverberation, Pluto Solidarnosc...
01.12 / Berlin (D) - HKW Worldtronics Festival
02.12 / Bremen (D) - Schwankhalle
03.12 / Hamburg (D) - Ubel and Gefahrlich
04.12 / Brussels (BE) - Les Birgittnes
05.12 / Leipzig (D) - UT Connewitz
07.12 / Ljubliana (SI) - Kino Siska
08.12 / Faenza (IT) - Clandestino
12.12 / Tours (FR) - Le Temps Machine
13.12 / Esselingen (D) - Komma
14.12 / Rotterdam (NL) - Worm
G*PARK - Sub
2CD 23five 018
The most enigmatic of the Schimpfluch-Gruppe, MARC ZEIER in the man behind G*Park; and here, he presents his first album since the acclaimed album of cryptic electro-acoustics entitled Reuters. Many years in the making, Sub is a sprawling masterpiece of modern day musique concrete, reflecting the early pioneers' use of razor cut tape with a grandiose revelation of an existential horror. Zeier describes this album as the manifestation of amorphous conditions that lead to (or interfere with) representational forms or states of being. His examples of the shifting patterns from clouds of blackbirds or the clinging masses from algae blooms are rudimentary entry points for his rhizomatic, chimerical work.
For every malignant drone and turgid thrumming, Zeier will puncture his fluttering, frozen methane surfaces with jagged incisions, pneumatic hammerings, and decompressed gasps. This fragmented punctuation is a signature to the G*Park aesthetic, used highly effectively in mapping his clinical situations turned septic. The titles to the tracks on Sub address the physical attributes of the source material that went into each track, with some decidedly specific ("Swine", "Wasp", "Stone") and others nebulously abstract ("Purge", "Glow", "Pulse"). For Zeier, the exact nature of the sound object is informed more by a shadowy deconstruction than by a direct representation, thrust into an absurd existence as an abomination, a violation, a monster.
Sub locates itself near the psychological minefields of Luc Ferrari, Steven Stapleton's prediliction for windows, and the cruel x-ray visions from fellow Swiss aktionists Sudden Infant & Dave Phillips.
Founded in 1993, 23five Incorporated is a nonprofit organization dedicated to the development and increased awareness of sound works in the public arena, and to the support and education of artists working with and discussing the medium of sound. 23five Incorporated has remained at the forefront in bringing the most adventurous elements of sound art to the San Francisco Bay area. 23five has served as an important benefactor to artists such as John Duncan, Christina Kubisch, Francisco Lopez, Achim Wollscheid, Matt Heckert, Zbigniew Karkowski, Phill Niblock, and many more.
GELBART - Vermin
12"LP Gagarin Records GR2029
Close Encounter of the Third Mind!
ADI GELBART unleashes the dark side of the brain on this energetic Gagarin Records debut. Bearing the title of his homonymous film, "Vermin" is a playful and voracious pop collage album bursting with complex compositions, wild arpeggios and 3-dimensional sound FX. Since 15 years, Gelbart has developed a unique musical language which is loved and celebrated by the fauns of the digital doom. This album compiles the essence and diversity of his electronic cosmos. Most tracks are enhanced by the use of acoustic instruments played by the master himself: organ, synthesizers, bass guitar, drums, drum machines, saxophones, trumpets and violins. On the track "Meloda" he is joined by clarinet player Benautik.
Side A is a winding progression of wild and vivacious melodies saturated with references to prog-rock, noise, 70's library music and spiral space punk. Like an alchemist, Gelbart mixes these ingredients to a cocktail that exudes the odour of glamour, modernity and hallucination. Its energy and complexity stands out of the dull sea of conformity.
The actual movie soundtrack "Vermin" can be found on side B. In the elegance of a perfect 1960's sci-fi motion picture, dreamy melodies joined by fluctuating bleeping patterns and sound effects set on a mental journey to an eerie and sexy planet. Here, alternating themes of rhythmic and abstract form recall the spirit of the BBC Radiophonic Workshop.
Multi-instrumentalist and electro-scientist Adi Gelbart relocated in 2006 from Tel Aviv to Berlin. His music combines the signals of absurd home-made instruments to collage-like sounds. He loves to disassemble electronic toys, manipulating them for his own purposes. His creativity is inspired, among other things, by the concept of 'circuit bending'. Using only analogue equipment and avoiding the addition of samples, he dives into the mysterious realms of his apparatuses, giving birth to something that is entirely new and unique. His passion for experimentation displays a madcap mixture of musique concrète, film music, TV educational programs, new wave and many other forms which push the listeners to the edge of musical psychosis. Gelbart has multiple releases behind him (including splits with Dan Deacon and Frederik Schikowski, and a complete remake of the Beatles first album!) on different labels such as LoAF, and his own Defekt Records. His live shows are a psychedelic exploration of synthesized modulations and space-age-pop inspired melodies, played with hands-on mastery on analog gear and home-made devices. His shows are as much a celebration of nonsensical musical ideas, as they are a submissive prayer to alien gods of superior intelligence. Each of his live concerts converts new diehard fans who just can't wait to see what will happen next.
HATI - Wild Temple
CD Monotype Records mono062
HATI "Wild Temple" - new studio album recorded by RAFAL IWANSKI and RAFAL KOLACKI with special guest SLAWOMIR CIESIELSKI - great percussionist and drummer of legendary Polish rock band Republika (in 80. Republika was one of the most original European bands - thanks to their specific anti-mainstream rock & roll songs, with new wave-inspired music and lyrics). HATI forms a link between a personal interest in modern improvised and acoustic music with ritual and meditation. They worked together in 2010 on several tracks presented on the album and finally all material was recorded in big military objects in Torun from XIX century called Fort I. After the recording session the trio played one concert in Centre of Contemporary Art in Torun.
"Wild Temple" is new studio album of HATI, previous one was CD titled "Ka" (published in 2009 by Eter Records - R. Iwaski's label).
HATI is an audio project based on sound of ethnic instruments as well as hand-made instruments or found objects. HATI forms a link between a personal interest in modern improvised and acoustic music with ritual and meditation. Since 2003 the band has performed many times in Poland, USA, Germany, Spain, Netherlands, Belgium, Ireland, Northern Ireland, England, France, Hungary, Austria, Denmark and Lithuania.
The band was founded in 2001 by Rafal Iwanski and Dariusz Wojta [, since 2006 they have played as trio with Rafal Kolacki. Since 2007 the band has performed as a duo: R. Iwanski and R. Kolacki and occasionally with other musicians: Dariusz Brzostek - 2008-2010, Slawomir Ciesielski - 2010, Robert Darowski - 2011-2012. HATI's recordings were published in Requiem Records ("Enter the Dragon, 2012), Drone Records ("Recycled Magick Drones", 2007), Beast Of Prey ("Die Mechanik, Die!", 2008), Eter ("Works for Scrap Metal", 2007, "KA", 2009, "Genius Loci", 2004, "Music for Metal Idiophones", 2004), Nefryt ("Zero Coma Zero", 2005 and "Recycled Magick Emissions", 2006).
Cooperation with: Z'EV (+ full length albums HATI vs. Z'EV "#1", 2006; Ars Benevola Mater and Z'EV & HATI "Heart of a Wolf", 2011, Zoharum Records; HATI & Z'EV "Collusion", 2013, Idiosyncratics Records), PAS (+ full length album PAS/HATI present P.H.A.S.T.I., 2011, PAS Records), John Zorn (live), PURE (live & studio - project of HATI and PURE called PRSZR, full length album "Equilirium", 2012, Hinterzimmer Records), LAL (HATI vs. LAL "The Journey Like Never Before...", 2008, Requiem Records), Steve Buchanan & Heike Fiedler, Robert Curgenven, WEREJU, Phil Maggi, Patrick Mcginley & Maksims Shentelevs, Raymond Salvatore Harmon and many others. Musicians of HATI are also members of group INNERCITY ENSEMBLE (together with R. Dziubek, W. Jachna, A. Makowiak, K. Ziolek i T. Popowski - album "Katahdin, 2012, Wet Music Records).
HENRY VEGA - Stream Machines
CD ARTEksounds ART002
Stream Machines, the latest release from Henry Vega, is the culmination of several years of chamber works where Vega mixes his blend of micro-minimal electronica with chamber ensembles edging towards new trends in modern music. The impressionable sound of the music and its grand orchestration of sine waves, glitch and instrumental combinations sets the tone for the CD as Vega violently clashes tradition with his own minimal aesthetics.
The works range from electronic duos with percussion (Electronic Hammer Trio) to live-laptop with string quartet (The Ragazze Quartet). In Slow Slower, the opening track of the CD, baroque instruments and electronics fuse bass sine waves with viola da gamba parts as a harpsichord and a recorder mingle with distorted bell sounds in the upper registers. These sound worlds make up the style in which Vega's music exists, feeding off of the musicians he collaborates with to create streamlined compositions that dodge the typical branding and labeling.
The themes inspiring each of the works on the CD reflects Vega's fascination with technology and the clash of ubiquitous computing from a futurist perspective.
JASON GRIER - Unbekannte
LP/CD Human Ear Music HEMK033
Release date: December 17
For his first major studio album Jason Grier assembles a bewildering musical vocabulary acquired during his tenure as director of Human Ear Music. After working the better part of a decade as a curator moving freely between pop and experimental circles, Grier sought to put his curatorial ethos into a singular artistic statement. Within Unbekannte's dense 35 minutes, allusions to Michael Pisaro, James Tenney, Alvin Lucier, Pan Sonic, Giancinto Scelsi, Phill Niblock, Jodeci, Woo, etc, are deployed in a sprawling post-studio framework. As albums go, Unbekannte is quite simply a tour-de-force, as intellectually stimulating as it is emotionally captivating.
Unbekannte - German for "unknown" or "unknown quantity" - comprises a series of lyrical settings, assembled from a year of assiduous, yet decidedly aleatoric studio sessions. Grier would offer to his engineer, his band, and himself, little more direction than "just play something melancholic while I put on this meditation record", or "what does it sound like to cut this wire here? then here! then here!!" He commissioned hour-long cymbal solos, spun psychoacoustic tone-webs from thousands of guitar harmonics, used rewired guitar amps as sub-bass microphones, and recorded the spontaneous sizzling of snare drums placed in a sealed room beside bass oscillators set at extreme volume levels. But this was, in fact, Grier's "grand" theme: to squint right back, with a half-smile, at pop music's faustian promise to transform introspection into self-affirming sound objects. As such, Unbekannte is a searching critique of the studio's alchemical powers, as much as it is an ostentatious display of those powers.
But if Unbekannte is a challenging listen, that's not just because of its extravagant, sometimes brutalist sonic pallette. Unbekannte's real challenge is its wry exploration of the limits of certainty in love, identity, and ontology. Inspired by the concrete poetry of Helmut Heißenbüttel and Haroldo de Campos, Grier's hyper-minimalist lyric style stretches terse, brutally ambivalent fragments of dialogue across an entire vocal track.
All songs written and produced by Jason Grier in Beirut, Berlin, and Warsaw, 2012-2013
Jason Grier: Tenor and Bass Vocals, Ungrounded Turntables, Brushed Stones, Vibes, Oberheim Expander, Drums, Danelectro Bass, Fender Mustang, Psaltery, Schlittenglocken.
Lucrecia Dalt: Vocals, Spoken W ord, Guitar Treatments.
Alain: Acoustic Guitar, Flea Bass, Fender Telecaster, Oscillators, Cords & Cables, Cymbal Solos, Percussion.
Jana Papenbroock: Clarinets, Acoustic Guitar, Waldorf Harp.
Laena Myers-Ionita: Violins.
Front Cover: Catalina Pérez López
Mastered by Alain at One Million Mangos Berlin
JASON VAN GULICK - Entelechy
CD Idiosyncratics idcd008
Anyone who's seen him performing either solo, sharing the bill with Stephen O'Malley (Sunn O)))), Chris Corsano, N.U. Unruh (Einstürzende Neubauten), or along with Carla Bozulich / Evangelista, Y.E.R.M.O. or french based collective DEGA! will confirm: Jason Van Gulick definitely counts among the most inventive and talented drummers in the music scene nowadays.
His dynamite loaded though subtle and masterfully executed performances, mixtures of wild rhythms and abstract soundscapes made him a quite a name in the last years and it was about time for Jason to release his first solo album.
Entelechy combines electroacoustic textures with more musical, "free" drumming passages.
Formerly trained as an architect, Van Gulick puts an important focus on natural resonance and often performs in locations chosen for their acoustic specificities. Therefore, Entelechy has been entirely recorded in resonant spaces such in Brussels as a squat called RTT and young but already legendary underground concert venue HS63.
The album has been mixed by RIPIT and mastered by Frederic Alstadt at Angstrom, Brussels.
Original artwork by our long time partners in crime Gast Bouschet & Nadine Hilbert.
LUBOMYR MELNYK - Windmills
CD Hinterzimmer Records HINT19
Release date: December 2013
Windmills is Lubomyr Melnyk's latest major work in the last 15 years. It is a tour de force of pianistic excellence, and shows the many sides of Continuous Music, both as pattern music and as melody.
It was begun in 2009 and took 3 years to complete, with the addition of the final song of farewell from windmill's ghost. The music contains a story based on a very early Walt Disney animation, The Old Windmill. In Lubomyr Melnyk's version, the windmill is of the old European type, made of heavy stone and wood, standing alone on the top of a hill, facing the onslaught of nature, with wind and rain and storms and everything that it has to face in its 300 year old life. For Lubomyr, the windmill represents a human being, facing so many hardships and trials, standing alone at the top of a hill, we hear the massive but worn gears begin to toil as the wind wakes the windmill from sleep, far away, a terrible storm is brewing, and eventually descends upon windmill with horrendous force, destroying poor windmill... In the music, windmill rises up to heaven, with its wings carrying it up higher and higher... and as it rises, windmill sings its song of farewell, a plaintive melodic theme, its song to mankind, reminding us of the beauties of life and to be grateful to god for all that we have...
The Song Of Windmill's Ghost was worked on in many versions, until it was finalised in 2013. It is the synthesis of all the melodic elements which Lubomyr had envisioned for this Song...
Lubomyr Melnyk (*1948) is a Canadian composer and pianist of Ukrainian origins. During the 1970's he began developing his own unique language for the piano - called Continuous Music - and with it, a stupendous physical and mental technique that is totally unprecedented in the history of the piano. Melnyk, without regard for fame or fortune, has steadfastly devoted his life to the pursuit of pianistic love and excellence, only releasing a few pieces (piano solo or in combination with strings or horns) on vinyl and later on CD-Rs in very small runs.
Lubomyr Melnyk, while finding the contemporary classical music of the time to be far too based on the spectacle, began creating his Continuous Music by rapidly projecting pure chordal sounds (sometime broken) through time, by maintaining a continuous and unbroken stream of tones that build a chain of patterned links, seamless and effervescent, usually with the pedal sustained non-stop. Melnyk has shown a remarkable, almost religious devotion to the piano, always striving to discover new horizons in the physical process of playing the instrument. And as a result, he has carried the art of the piano to unknown and uncharted territories where the mental and physical activities of the piano blend into a meditative and metaphysical dimension.
Melnyk was undoubtedly inspired by the music of Terry Riley and Steve Reich, who had, in turn, been inspired by the Gamelan music of Bali as many of the Minimalists were. Although his music is generally classified as Minimalism, Melnyk strongly refuses that term preferring to call his music Maximalism, much like Charlemagne Palestine, since the player has to generate so many notes to create these fourth dimensions of sound.
MAILE COLBERT - Come Kingdom Come
CD Two Acrons 2A03
Come Kingdom Come is an experimental opera concerning millennialism and apocalyptic thought and theory; an exploratory comparison of this past turn of the millennium to its prior. The opera uses The Book of Revelations as a score and launching point, mixing the poetry of Ian Colbert with medieval chant, sung with the sublime voice of classically trained soprano, Gabriela Crowe under the direction of Maile Colbert. The work was then shaped and molded by Maile towards a tapestry of rapturous desire, a desperate and beautiful search of meaning, and a whirlwind ecstatic joy and fear.
Come Kingdom Come is available in a custom 6-panel sleeve, and a glass-mastered CD.
Maile Colbert is an intermedia artist with a concentration on sound and video, relocated from Los Angeles and living and working between New York and Lisbon, Portugal, and teaching at Faculdade de Belas Artes da Universidade do Porto. She spent the last three years collaborating with the art organization Binaural (www.binauralmedia.org), is currently director of Cross the Pond, an organization based on arts and cultural exchange between the U.S. and Portugal, and is an ongoing contributor of articles on Acoustic Ecology and Sound Studies at "Sounding Out", the award winning sound studies journal (soundstudiesblog.com). She holds a BFA in The Studio for Interrelated Media from Massachusetts College of Art, and a MFA in Integrated Media/Film and Video from the California Institute of the Arts.
MARSEN JULES - Beautyfear
CD Oktaf 07
Release date: January 27
File under: Neo-Classical | Modern Ambient | Soundpoetry
With Beautyfear on Oktaf Records the German electronic musician Marsen Jules (CCO, 12K, Kompakt) delivers one of his most outstanding albums so far. Mastered by no one else than 12K-labelboss Taylor Deupree and with a coverpicture taken by the highly acclaimed photographer Erik Madigan Heck from NYC, the best conditions are laid for a lasting experience of abstract musical poetry and touching soundscapeism. Jules has never been this dense, subtile and fragile before. All twelve tracks on Beautyfear were created during a week stay in a theatre workspace on one of the hills of Lisbon. The panoramic view over the dusty city in spring seemed to have been the perfect surrounding for this cloudy soundscapes, which at some points remind of Angelo Bandalamenti's work for David Lynch's Mullholland Drive. "It's an album on the fragility of beauty", as Jules describes briefly. Music that can neither be described as ambient music or experimental sound art, but more likely delivers a poetic approach to music, live and sound itself. With Beautyfear Marsen Jules makes a great start into 2014 and with the already announced cooperation with Swedish filmmaker Anders Weberg and an upcoming release of his works from a residence at the legendary GRM studios in Paris, one should definitely keep an eye on what is coming next.
MAX EILBACHER - Red Anxiety Tracers
LP Spectrum Spools SP031
Release date: December 16
Max Elibacher's Red Anxiety Tracers is the debut long player from the multi-talented Baltimore, Maryland stalwart. Elibacher has performed with various projects such as Matmos, Horse Lords, and the mind-altering underground Needle Gun aktionist unit. Despite years of busy touring and recording, Red Anxiety Tracers is the first vinyl artifact from this young mastermind.
Crafted over the course of a year, Tracers is a labyrinth of shapes and sounds which glide through a complex and arcane environment of found sounds and synthesis. An expertly crafted maze of deja-vu, audio hallucinations, and dislocating atmospheric forms an audio obstacle course for the listener. Complex editing techniques and sound structures recalls the works of J.D. Robb or Owl Records era Tod Dockstader albeit witha radically fresh perspective and educated hindsight.
Red Anxiety Tracers exhumes impeccable flow and careful attention to dynamic range, with it's surgical placement of sound events challenging the deep listening abilities of it's audience. Raw and manic tension overloads are cut with alien dloat and abstract aether transmissions with a constantly shifting palette of sounds spun from blasted modular electronics, vocoded terrestrial-speak, and glowing mellotron clouds. Eilbacher communicates a strange and beautiful dialect conceived through disciplined compositional structure and an intuitive improvisational style unparalleled in the current landscape. Red Anxiety Tracers breathes new life into modern electronic composition.
Spectrum Spools released in association with Editions Mego
MIA ZABELKA, ZAHRA MANI & LYDIA LUNCH - Medusa's Bed
CD Monotype Records mono067
Medusa's Bed fuses Mia Zabelka's Avant violin stylings to Zahra Mani's psychoambient soundscapes creating an other about Medusa's Bed worldly surround, the perfect illustration for the nocturnal vocals of Lydia Lunch.
Medusa's Bed is reminiscent of a murder mystery or hypnotic late night radio drama. Evocative and suspenseful, a threat of something devious, sneaking up out of the dark and whispering an invitation to your shadow.
Linked due to their ability to physically affect the subject, desire and rage, two of those most feral of urges, exist deep in the limitless free-flow of the unconscious. These may be the very excess of all emotions, when all else has been articulated and temporarily spent these twin urges can still spit forth; they exceed simple containment. Instead they demand like an incessant, raw itch to be scratched again and again, until finally, even under dirty bitten-uneven-nails, the surface gives way, the skin breaks and along the thin trails blood blossoms. But no adequate crust can form; any scab will be picked away. Rather, these urges demand unending physical satisfaction; they work through the body, manifest on and across it: "Bloodlust and Oblivion."
Jack Sargeant Mia Zabelka, sound artist, violinist and vocalist from Vienna. She has developed a unique language based on the de- and reconstruction of the violin's sonic possibilities, expanding the instrument using live electronic devices and innovative performance techniques. Thus she constructs and explores the limits of sound and music in a language entirely her own. The violin, voice and her own body transform into sound bodies, which are at once organic and primal, screaming, lyrical, composed and explosive.
Zahra Mani lives in Austria and Croatia. As a composer and multi-instrumentalist, she creates pulsing, shifting soundscapes derived from her burgeoning archive of instrumental and found sound that she has been recording and developing since 2002. Her work focuses on spaces between, where field recordings, voices, instruments, machines, the sea, the wind, animals and landscapes provide the acoustic basis for auditory worlds.
Lydia Lunch is a restless nomad forever traveling the globe in search of new collaborators. An independent artist prolific in music, literature, spoken word, film and photography, she was voted by Timeout New York as one of the most influential performers originating from NYC. She has performed as well as taught workshops at numerous Universities, Museums and Art Festivals for three decades and continues to explore new mediums in which to express her passion and creativity.
MONNO - Cheval Ouvert
CD Idiosyncratics IDCD007
"MONNO is one of Europe's most interesting and innovative avant-garde band at the moment" CRYPTIC MADNESS
"A new record by MONNO is always a tectonic event in the world of avant rock. ( &) They have left their marks on many music fanatics skin by being unpredictable, consequential and without compromise" MONOCHROME
"The band butter their sandwiches with blood, replenish their thermos with Black-Death whiskey and set out on a trudge through the muddy swamps of sludge, doom and drone." TOKAFI
Recorded by Roli Mossiman, former Swans drummer and mastermind producer (Young Gods, The The, Celtic Frost, New Order, Skinny Puppy...), during some bleak and cold December days in a Polish farm, and mastered by James Plotkin, CHEVAL OUVERT is probably MONNO's most accomplished achievement to date as well as their most adventurous and challenging opus.
After sharing the bill with fellow musicians like Knut, Isis, Jesu, Lightning Blot, Melt Banana, Zu, Asva, Todd, Shit & Shine, Marduk or Tony Conrad on the occasion of the 150+ concerts given over the last years, Drummer MARC FANTINI, bassist DEREK SHIRLEY, Electronic musician & vocalist GILLES AUBRY and electrified tenor sax maestro ANTOINE CHESSEX felt the need to come back to studio work. Results a powerful though dark and introspective piece of pure sonic radicalism. CHEVAL OUVERT immerses the listener into a brutal typhoon of intense abstraction. A wild ride on a furiously galloping horse that finds itself torn into pieces by human destruction. Monolithic stabs of distorted saxophone, infinite loops of electronic madness and the devastating pairing of a melting low-end bass and mammoth-like drums resulting in a rock solid wall of ancestral evoking frequencies. The noise of the end of the world and the silence which follows.
The CD comes with a special digipack brilliantly designed by Barcelona based visual artist and allied Marc O'Callaghan. Stricly limited to 300 copies.
REINALDO LADDAGA (ed.) / V.A. - Things that a Mutant needs to Know, more Short and Amazing Stories
Book + 2CD Unsounds 38U
Release date: December 1
Things that a Mutant needs to Know, more Short and Amazing Stories is a collection of fifty-five short tales and fifty-five brief musical works composed by a momentary collective of eighteen musicians. It is published by Unsounds in the form of a book with two CDs, but also as an iBook, in English and Spanish.
The text was conceived by Reinaldo Laddaga as an imaginary second volume of an anthology published in 1956 by Jorge Luis Borges and Adolfo Bioy Casares called Short and Amazing Stories. Much like theirs, the anthology comprises an assortment of tales written or compiled by the most varied of authors (from Lucian of Samosata to Virginia Woolf, Emanuel Swedenborg to Blaise Cendrars): a diverse parade of walking trees, burning dresses, illnesses mysteriously cured, and deaths surprisingly reversed.
The music consists of sonic readings and reactions to the stories, composed by Christine Abdelnour, Claudio Baroni, Justin Bennett, Sylvia Borzelli, John Butcher, Alan Courtis, DJ Sniff (Takuro Mizuta), Barbara Ellison, Ron Ford, Yannis Kyriakides, Anne La Berge, Reinaldo Laddaga, Francisco López, Machinefabriek (Rutger Zuydervelt), Andy Moor, Gabriel Paiuk, Santiago Santero, and Felipe Waller. They are fragments offered to the incidental, mutant reader to be listened to as s/he peruses the texts - soundtracks to the little films that they suggest, musical puzzles and mirrors that reflect the elusive events in the tales as if in placid or turbulent waters.
REINALDO LADDAGA is the author of eight books and the scripts for two music theater pieces. His latest books (in Spanish) are A Prologue to My Father's Books, Aesthetics of Laboratory, and Three Secret Lives: John D. Rockefeller, Walt Disney, Osama bin Laden. His latest piece for the stage is Summer Maneuvers (with C. Baroni and F. Marcaccio). He teaches at the University of Pennsylvania and lives in New York.
Based in Amsterdam, Netherlands, UNSOUNDS was created in 2001 by guitarist Andy Moor, composer/sound artist Yannis Kyriakides, and designer/visual artist Isabelle Vigier. As well as releasing some of their own projects, the output of the label includes contemporary composition, improvisation and sound art by artists such as Anne-James Chaton, Francisco Lopez, Christine Abdelnour, Magda Mayas and Peter Adriaansz.
RLW & SRMEIXNER - Just Like a Flower When Winter Begins
CD Monotype Records mono060
Release date: November 4
Recorded by RLW (RALF L. WEHOWSKY of P16.D4) and SRMeixner (Stephen Meixner of CONTRASTATE) between 2010 and 2013. The first emanation of the project came up with two versions of one mutual piece (Sunglasses & by RLW, Wishing & by SRM). The core structural elements of the release can be seen in srm's meditation on sentiment (Old Hearts...) and RLW's text-based pieces (Prachtjunge, Alle, Definition). More instrumentally based are Gummidorf (SRM) and Spaßbremse (RLW). Beyond this a signment both artists have touched all pieces in various ways, as indicated indirectly by the following pandects & interpolations: RLW (Dec 2010) & Some weeks ago I did a horrible dj-set for a 75th birthday celebration, including Heino and other German schlager cruelties. It was so terrible! Maybe I'll go back to the pieces I used for this event some day. This stuff is awful enough to make another use of it. SRM (Jan 2011): I have been thinking about your description of German schlager cruelties and how horrible it was and awful enough to do something with. Maybe there is a possible project there?
STEVE MOORE - Pangaea Ultima
2LP Spectrum Spools SP032
Release date: December 16
myth is the internalising of natural phenomena through explicable narratives
fantasy is the stepping outside of history in order to make narratives explicable
Mastered and cut by Rashad Becker August 2013
Artwork and design by Robert Beatty
How can we imagine the future of the world, away from the standards of time that we have insisted upon giving it? How to conceive of the movements of a world in its arcs and sweeps of continents and oceans across ages without reducing it to cheap historical humanisations? Does a past, present or future even matter to the yet-to-exist events of ungraspable and fundamental ecological time?
Pangaea Ultima, Steve Moore's debut record on Spectrum Spools, is an epic musical achievement, not simply for its sonic sophistication and compositional mastery, but also because Moore has crafted here an album that has gone as close to any in transcending the boxed human logic of time and place. The album title refers to the name which geologists have given to the future super-continent that is suggested may form on earth in the next quarter-of-a-billion years. Over the course of the 9 pieces on Pangaea Ultima, Moore meditates upon the realisation of this new land mass in an uncharted part of the world's moment. How will this continent come to be formed? What forces and what processes create it? What is this continent's terrain of Endless Mountains and Endless Caverns, and on what kind of planet will it be? These are all speculative questions that alight the listener as they are subsumed into Steve Moore's synthscapes which unfurl with equal amounts of delicacy and meticulous detail.
In some respects, the attitude and ambition of Pangaea Ultima places this work in a similar canon as the mythic territory of Tangerine Dream's Phaedra or the cosmic imaginations of Michael Stearns' Planetary Unfolding, and yet it evades both comparisons as easily. There is something mysteriously self-contained, urgent that pervades these assemblages of tracks. Logotone exhibits Moore's ability to stretch the sensibilities of melodic and chordal phrasing to limits that Schulze or Alan Hawkshaw wouldn't have gone. The compositions on Pangaea Ultima, like Planetwalk and Nemesis are more tightly coiled even in their constant straining to explode outwards to the stars beyond. And when Moore plays with rhythms, they resemble the idiosyncratic mould of his releases for Long Island Electrical Systems, Future Times and Kompakt, and yet seem to push even further towards an eerie sparseness yet to be fully tapped. If there are 4/4 kicks on Pangaea Ultima, like on Deep Time and the title track, its for a world skewed on a bent axis. Musically, this is a record of both microscopic and macroscopic reward, an absorbing listen that betrays the albums 60 minutes of length.
Which again returns us to the question of time and how so expertly Moore has managed to avoid it. Or more so, how he has managed to find a fold in time - an atemporal space - where this album anomalously nestles by itself. Moore reaches out to the moment of genesis of Pangaea Ultima and slips into its imaginary logic of time and place. He does not intrude or indulge there. Nor are there any "retro" homages or "sci-fi" tropes/ambitions on Pangaea - we can not even be sure whether humans have a history they can call a future on this continent. Yet just as easily, as geologists concede, this future super-continent may never end up eventuating, which would mean this imminently possible reality will melt into fantasy. But this too, is not a bad place for Steve Moore's masterpiece to end up either.
Spectrum Spools released in association with Editions Mego
TROPHIES - You Wait To Publish
CD Monotype Records mono068
ALESSANDRO BOSETTI, TONY BUCK, KENTA NAGAI
You Wait To Publish is the third release of the powerful voice and electronics, fretless guitar, drums trio led by Italian (via Berlin) speech musician Alessandro Bosetti with Tony Buck (The Necks) from Australia and Japanese, based in the USA, Kenta Nagai (Shelley Hirsch, Tatsuya Nakatani). This album sticks to the band's original core approach based on obsessively repeated speech-melodies, while it opens up to a wide spectrum of post jazz, post pop, post minimalist solutions and colors, enhanced by Hilary Jeffrey (Zeitkratzer, C.Christer Hennix) on trombone and Els Vandeweyer (Fred Van Hove, Ken Vandermark) on vibes on several tracks. References range from Henry Threadgill's Zooid to the early Talking Heads, via Scott Walker and Red Crayola, ultimately summing up to an absolutely unique sound. As in the previous Bosetti's Monotype releases Royals it features the artwork of the German artist Kati Heck on the cover.
ANDY MOOR ABOUT TROPHIES:
First time I heard this trio was after 3 days of no sleep at the Konfrontationen Festival in Nickelsdorf... gave me a CD and we gave it a spin on hour 7 of our 18-hour drive home to Amsterdam. This is a good state in which to listen to music & tired, happy and ears saturated by three days and nights of music & listened with Terrie Ex and Valentina and we all agreed it was good driving music and also something we'd never heard before &. it was very hard to figure out what the hell was going on & I was sure Alessandro's voice was triggering some kind of midi device that made guitar sounds that would follow the rhythm and melody of his voice & but at other times it sounded like guitarist Kenta Nagai was actually playing along ... which seemed almost impossible. In fact it was the latter and I still believe it's impossible which is why I like this trio so much... what better drummer to accompany this bizarre music than Tony Buck, who has an unmistakable and instantly recognizable language when he plays and one that seems to get better and better every time I hear him. It's also an inspired choice because Tony plays the same way he speaks: fast, funny, with surprises and lots of words and sentences that take unusual corners. Kenta's guitar sound has many more textures and variations that recall early Keith Levine (P.I.L) and Roland Howard (Birthday Party) especially on the opening track "You Wait to Publish". Guitar and voice in unison for me has always been a challenge to listen to... we know the guilty parties without mentioning names & but here it works because it's done with incredible, detailed care & Alessandro continues his bizarre texts ... similar to Morton Feldman's musical phrases... the same sentence over and over yet each one sounding different. Somehow he manages to sound dead serious and very funny at the same time &. "Matta Clark" made me laugh... is following whom?? but that isn't really the point... music demonstrates the musicality of spoken word ... and seems to be mocking it and celebrating it at the same time... Tony's drums are clearer, better recorded and more present than on the previous two releases and this gives the whole sound a brighter, more dynamic, exciting element. On some pieces, maybe due to the addition of Hilary Jeffrey's trombone and Els Vandeweyer's vibraphone, they accidentally venture into Beefheart territory ... but it sounds so great because it does seem to be accidental. I also listened to this CD while driving ... and for me it seems to be the best way to listen to Trophies... its ideas and tempo seem very similar to a car moving at about 130 km an hour, but it doesn't feel fast or rushed... just full of moving energy and constant change.
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