Vital Weekly #823

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* noted are in this week’s podcast. Feed at http://www.vitalweekly.net/podcast.xml
GOLDEN DISKO SHIP – PREHISTORIC GHOST PARTY (CD by Klangbad) *
OSVALDO COLUCCINO – ATTO (CD by Another Timbre) *
ANNETTE KREBS & ANTHEA CADDY & MAGDA KREBS – THREAD (CD by Another Timbre) *
JOKE LANZ – MUNSTER BERN (CD by Cubus Records) *
QUADRAT:SCH – STUBENMUSIC (2CD by Col Legno)
ANTHONY PATERAS – ERRORS OF THE HUMAN BODY OST (CD by Editions Mego) *
KJETIL MØSTER – BLOW JOB (CD by +3db Records) *
KASPER TOEPLITZ – ELIANE RADIGUE: ELEMENTAL II (CD by Recordings Of Sleaze Art) *
RLW & DAS SYNTHETISCHE MISCHGEWEBE – DIE EISENBUGLERIN (2CD by Auf Abwegen)
GUIDO DEL FABBRO – CTENOPHORA (CD by Et Records) *
SHALABI & ST-ONGE & COTE – JANE AND THE MAGIC BEANS (CD by Et Records) *
EX CONFUSION – EMBRACE (CD by N5MD) *
ASONAT – LIVE IN TIMES OF REPETITION (CD by N5MD) *
MIKE MOSS – COLD WORLD PLASTIC DREAM (CD by Goosenote)
HISATO HIGUCHI – BARA BARA NA BAMEN (CDR by Apollolaan) *
AKKE PHALLUS DUO – TERROIR/PISSOIR (CDR by Apollolaan) *
MECHA/ORGA – 31:56 (CDR by Kukuruku Recordings) *
NIKOS KYRIAZOPOULS & KORHAN EREL – LIVE ELECTRONICS (CDR by Kukuruku Recordings) *
DANIEL ALEXANDER HIGNELL – THE DICHOTOMY OF SELF/THE ATOMICISM OF SOUND (CDR, private) *
AALFANG MIT PFERDEKOPF – MUTATIS MUTANDIS (CDR by Attentuation Circuit) *
KRYNGE – SINGE BINGE (CDR by Attentuation Circuit) *
MYSTIFIED – LIFE IS A CARNIVAL (CDR by Attentuation Circuit) *
NATHAN MCLAUGHLIN – ECHOLOCATION #1 (cassette by Digitalis LTD)
NATHAN MCLAUGHLIN – ECHOLOCATION #4 (cassette by Sunshine LTD)
RESONAN – COMPOSITION REJECTS SILENCE (cassette by Res Dot Com)
DONNE & DESIREE – [B-SIDE] (cassette)
MESTA/MATTIA COLETTI – TAPE CRASH NO. 2 (cassette by BR)
BBBLOOD / TINNITUSTIMULUS SPLIT (cassette by BBBlood)
YOSHIHIRO KIKUCHI – ONE INTENSELY EATS UP ANOTHER ECONOMIC PRINCIPLE (cassette by Fragment Factory)

GOLDEN DISKO SHIP – PREHISTORIC GHOST PARTY (CD by Klangbad)

A one woman band, Theresa Stroetges, is Golden Disko Ship, who plays more instruments than someone could possible easy carry: guitars, voice, computer stuff, viola, glockenspiel, toys, casio, sampler, kaossilator, accordion, cymbals, and noises. I once had the pleasure of seeing her play live, on a sunday night, following a long saturday night, and while I don’t remember all of it, I do remember it as being quite pleasant. Golden Disko Ship plays pop music. At least that’s what I think. No doubt some people would call this rather folktronic and perhaps its indeed more folk like, and sometimes I wonder why we bother with all these words. Its strange music indeed, that defies description. Stroetges offers twelve pieces in which she sings and plays that variety of instruments, creating sometimes wildly orchestrated songs, with much layers, including many drums, but also more sad, melancholiac songs, in which she reduces herself to playing what seems a harmonium and singing – I wish I could say Nico like, but its less dramatic and Golden Disko Ship has more a voice of her own. Not always with the most clear cut voice, but that’s certainly the charm of this sometimes weird music and what seems sometimes utterly normal music. Ornamented with weird sounds of an electro-acoustic nature, some computer techniques (cut-up, glitch like), this is surely one of the more pleasant surprises of this week. (FdW)

Address: http://www.klangbad.de

OSVALDO COLUCCINO – ATTO (CD by Another Timbre)
ANNETTE KREBS & ANTHEA CADDY & MAGDA KREBS – THREAD (CD by Another Timbre)
Of these two new releases on Another Timbre, the first is by Osvaldo
Coluccino, of whom I never heard. He plays ‘various acoustic objects
but no musical instruments or electronic manipulation’. It mentions
‘mixed’ on the cover, so I assume Coluccino works with multi-tracks to
layer his sound events. Its an odd CD for a label of improvised music,
since this all sounds rather composed. Its not very loud music, and the
five pieces (called ‘Atto 1-5’ sound stylistically quite similar. Lots
of sustained scraping of objects, with occasionally too much use of
reverb. I assume this is to give to music more body, but as usual with
this sort of thing it also covers up matters a bit. Maybe some more
contrast between the various sounds would have been nice, for a change,
within pieces but also through these pieces. Its all ok, but not really
great.

The other release is however strictly from the world of improvised
music. Here we find three women from the scene: Annette Krebs (prepared
guitar, objects, tapes, mixing desk), Anthea Caddy (cello) and Magda
Mayas on piano. One ten minute piece from 2008 (which has only Caddy
and Krebs) and a twenty-six minute piece by all three from 2009.
Improvised music of some refined nature. Piano and cello stay natural,
scraping, scratching, plink and plonk, but its Krebs contributions that
lift this up into a more abstract work, with sounds from spoken word (I
assume from her tapes). The two pieces are vibrant, dwelling on
improvised pieces on their instruments, as well as electro-acoustic
sounds, bouncing from very soft to quiet loud, although its never noise
or full on immersive sound. The trio piece seems a bit ‘fuller’ to me,
and at the same time, at times, more empty, when it comes to silence.
There is however never a dull moment to be spotted around here. As a
listener you always stay focussed on the next happening. Great CD! (FdW)
Address: http://www.anothertimbre.com

JOKE LANZ – MUNSTER BERN (CD by Cubus Records)
There is a difference between Joke Lanz when he works as Sudden Infant
and under his own name. I wasn’t aware of that, until now. I only knew
him as Sudden Infant, an one man noise orchestra. As Joke Lanz however
he is apparently also a turntablist artist, working solo or in duo with
Ignaz Schick, the turntable quartet BETT4 and with The International
Turntable Orchestra, TITO. Perhaps this release of a solo concert from
October 22nd 2010 brings him out in the open as a turntable player. In
this work he is more interested in playing a collage of sound, rather
than using the turntable as an object, with objects but by using
records to create an abstract collage of sound. It stays away from the
more obvious plunderphonics works. He plays around with looped sounds
that form bits of rhythm, voice material, which mixes and distorts. It
stays away from his noise work and sounds rather good. I have no idea
if he also uses external sound effects, but at times it seems there is
quite some reverb used. I am not sure if this concert is a special one,
or just regarded as one of the better ones he did, deserving a release
by itself, but these twenty-seven minutes is a fine showcase of what he
can do. An interesting shift from his other work. (FdW)
Address: http://www.cubus-records.ch

QUADRAT:SCH – STUBENMUSIC (2CD by Col Legno)
A double cd with chamber music from the Alps, by a quartet from Austria
using traditional instruments like the zither. Also the title of the cd
refers to a traditional element: Stube is the living room in old farm
houses, where people sat together to talk, relax and make music. The
group is made up by Barbara Romen (hammered dulcimer) Christof Dienz
(zither), Gunter Schneider (guitars) and Alexandra Dienz (double bass).
Christof and Alexandra Dienz had some success in the past with The
Knodel, another project that tried to inject new impulses to
traditional Austrian music. Barbara Romen and Gunter Schneider work
mainly as performers of new music, besides their composing and
improvising work. One of their highlights is their interpretation of
Lachenmanns ‘Salut für Caudwell für zwei Gitarristen’. As Quadrat:sch
the four operate since 2009. Half of all the tracks on cd 1 are
composed by Christof Dienz, the other half by Romen and Schneider.
Their music has similarities with the Penguin Cafe Orchestra. Friendly
instrumentals and ballads based on traditional folk music, albeit not
so much on – recognizable – Austrian folk music as far as I know it.
Especially they give a new life to traditional instruments in their
fictious world music and soundscapes. With this same motive they choose
a more radical approach on cd 2. Everything here is composed by
Christof Dienz. Pieces are a bit more experimental now. More into
searching new sounds from the instruments and creating condensed
textures. They play in an extended line up, assisted by Zeena Parkins
(harp) and Herbert Pirker (percussion). Plus special mentioning for
Kassian Erhart from Tirol. An artist who makes sculptures that can be
used for creating sounds. Some of these sounds – like water – are
integrated into the music. I’m not convinced by the compositional
talents of this group. But they do offer a new life to traditional
instruments that is more than just interesting. (DM)
Address: http://www.col-legno.com

ANTHONY PATERAS – ERRORS OF THE HUMAN BODY OST (CD by Editions Mego)
An interesting thought: can an improviser provide a soundtrack to a
feature film? Doesn’t one exclude the other? ‘Errors Of The Human Body’
is a feature film by Eron Sheean and stars, among others, Rik Mayall.
Sheean knows Anthony Pateras since the early part of this century, and
worked on some music before and this collaboration is their first full
scale collaboration. So we have here Pateras in a role of composer,
scoring this work for a multitude of instruments, such as violin,
viola, cello, bassoon, clarinet, horn and himself on piano, prepared
piano, organs and electronics. This means that the music here is more
‘composed’, I guess, than improvised. Maybe its a bit more difficult to
judge the music here if one doesn’t know the film. There are small
stills on the cover, which don’t mean much to me, and I couldn’t
possibly say what the film is about based on just the music. Its is,
stills and music, however a film I’d like to see. The music is
‘dramatic’, melancholic, modern classical and even rhythmic in places,
such as in ‘XIJ’ – is that to a scene taking place in a disco?
Certainly the most ‘unPateras’ track I ever heard, but one I really
like (as opposed to what the text writes: ‘no one can decide whether
they like it’. Other pieces, like ‘Milk & Mice’ sound purely
electronic, or drone like ‘Automatic 3’, modern classical. A pretty
varied disc altogether, with many different styles and moods, but that
makes a great CD. The best new Pateras direction he could take! (FdW)
Address: http://www.editionsmego.com

KJETIL MØSTER – BLOW JOB (CD by +3db Records)
Great title of course for someone whose job is to blow. The tenor
saxophone that is. Møster played accordion as a youngster, then the
bass in a trash/hardcore band and then the saxophone, which he brought
to bands like Ultrlyd, Zanussi Five and The Core, all of which were
jazz bands. Later on he played with the electro rock band Datarock and
the N Ensemble. This solo CD is his first work into the world of
improvised music. Six pieces, thirty-four minutes, of highly
concentrated playing. I am not the biggest lover of the saxophone – I
am sure I wrote this before – but there are exceptions. Evan Parker I
like, some of Lol Coxhill and a whole bunch of recent players, who use
their instrument in a different way. Møster doesn’t do this, or at
least not too often. Sometimes his saxophone sounds like a saxophone,
such as in ‘Partially Natural’, with its short repeating tones. I like
the repeated minimalism of it, which seems a rare thing in improvised
music. But mostly throughout it is what it is: a saxophone. And – I am
sure I wrote this before – I am not the biggest lover of that
instrument. Some of it I liked here, and perhaps much of it I didn’t.
(FdW)
Address: http://www.plus3db.net

KASPER TOEPLITZ – ELIANE RADIGUE: ELEMENTAL II (CD by Recordings Of Sleaze Art)
You could wonder if its really necessary. Kasper T. Toeplitz released
in 2004 his ‘Elemental II’, a composition for solo electric bass, which
Eliane Radigue composed for him. That CD is sold out (although I am
sure Toeplitz can sell you a CDR in the original digipack – he kindly
send me one), but to reprint that is ‘no fun’ he says. Since he has
performed the work more or less thirty times, so why not release a
newer version of it. Which I think is a valid point, even when the work
is not really different than the first version – the length is more or
less the same, and so is the structure (I compared both versions in a
multi-track program). The differences lie in the details. Its
interesting to know that the whole thing is played live, rather than
pre-recorded, and still it sounds more or less the same. Its alike
classical music in which ‘interpretation’ plays a big role, differences
and details. I think this new version has a somewhat lighter touch than
the 2004 version, less bass-like and less mildly distorted. It seems. A
somewhat gentler version I think. Its hard to recognize the bass in
here, but its a very fine piece of drone music. The bass rumbles below
and electronics do their thing on top.
Address: http://www.sleazeart.com/rosa

RLW & DAS SYNTHETISCHE MISCHGEWEBE – DIE EISENBUGLERIN (2CD by Auf Abwegen)
Now here’s two guys whose history goes back at least thirty years. Both
from Germany and both from the world of cassettes and industrial music,
but both having grown into something else, the world of academic music,
musique concrete. Ralf Wehowsky was the main man behind P16.D4, but
left that name behind to become RLW, while Guido Hubner always remained
Das Synthetische Mischgewebe. Especially that is perhaps a bit odd.
Hubner’s work is more than Wehowsky’s connected to the world of serious
composing, yet he maintains his old ‘band’ name. Both of these men also
know each other for a long period and there has always been talk of
doing something together, so after much discussion, this double CD ‘Die
Eisenbuglerin’ is the result of an extensive ‘music by mail’
collaboration. They both use conceptual angles to work from. ‘Ah, DSM
is always very fragmented, maybe I should work opposite’, ‘let’s use
mainly analogue, mechanical techniques to transform this material’.
Also in the final execution the results are not widely apart, which is
fine. It would be hard to say whose CD is who, if you didn’t look at
the label. Lots of microscopic detailed sounds – sometimes isolated,
sometimes like mass – are the very foundation of this music. A
fascinating ride, this is. Some close to fifty minutes by RLW and close
to sixty by DSM. As said differences are in the details with this.
Maybe DSM is at times a bit more fragmented and RLW a bit more ‘full’
at times. None of the sound sources mentioned on the cover (piano,
trombone by RLW) can be easily traced, if at all, in these pieces.
Excellent electro-acoustic music in the best tradition of  both
microsound and serious academia. (FdW)
Address: http://www.aufabwegen.com

GUIDO DEL FABBRO – CTENOPHORA (CD by Et Records)
SHALABI & ST-ONGE & COTE – JANE AND THE MAGIC BEANS (CD by Et Records)
The picture of Guido Del Fabbro shows a young man with a violin, which
in the opening seconds/minutes of his ‘Ctenophora’ release shows. But
it quickly moves into something else, and that something else is not
easy to define. At first it seems that it’s all electronic manipulation
of those first few violin sounds, but the cover also lists ‘flutes a
bec’ and ‘electroniques’ as well as ‘synthetiseurs’, but these
instruments are also presented as they are. That makes an odd result of
improvisation, composition, analogue and electronic music. Quite
interesting music I must say, perhaps because its so difficult to
define. At times very modern classical, but then with all those
microscopic pulses, gliding electronic scales, crackles, also very much
the work of improvised electro-acoustic music. Fascinating collision of
styles and ideas in some gorgeous sounding set of five pieces. Could
have been seven as far as I’m concerned, as every time I play it, I
regret its over.99

The other release is by at least two musicians by whom we hear more
music on the same label: Alexandre St-Onge on bass and electronics and
Michel F. Cote on amplified drums, along with Sam Shalabi on electric
guitar. All three known from their experiment in improvised music, and
here they do the same, but with a slight twist. It seems to me they are
using the ‘no wave/no new york’ format of a slightly more pop-like
character, sans any vocals of course. Nervous hectic playing on all
three instruments, but occasionally leaping into a bit of a rock mode,
all in a very free reign of play. Jazzy also times, but not as much as
one could all too easily think. Quite a vibrant and energetic release.
Exactly the right Ultra spirit, but then from Montreal. (FdW)
Address: http://www.etrecords.net

EX CONFUSION – EMBRACE (CD by N5MD)
ASONAT – LIVE IN TIMES OF REPETITION (CD by N5MD)
MIKE MOSS – COLD WORLD PLASTIC DREAM (CD by Goosenote)
Two new names, and the first is an one-man project by Atsuhito Omori,
who works by the name of Ex Confusion. His debut album was on U-Cover,
this might be his second release. He plays guitar and piano, which is
something I learned from the press text, rather than judging from what
I heard. Maybe guitar; but then guitar with a lot of sound effects,
until in ‘Sketches For The Truth’ the piano plays a big role, along
with some tacky string like sound. Ten pieces of music ranging
somewhere from three to six minutes. Ambient music with the big ‘A’. I
must admit I was sitting back, enjoying a good book, and I had put this
on repeat, simply because on a lazy sunday afternoon I am not bothered
to get up easily. I thought it was great music, but then if it wasn’t
for Ex Confusion, I might have as easily stuck a whole bunch of Brian
Eno music on, or maybe go back to the entire catalogue of Stars Of The
Lid. You get my drift? While I think this is all pretty much alright,
it does sound like a lot of other ambient music, and that is perhaps
the downside of this. Its wonderfully fine ambient music for sure, but
it doesn’t seem to add much to what we already know from that specific
world. Ignore your wish for something new and you’ll find this a great
release.

Something completely different is the music from Icelandic duo Fannar
Asgrimsson and Jonas Thor Guomundsson, also known as Asonat. They get
help from Japanese singer Chichiro, French singer Olena Simon plus a
bit on instruments from Kjartan Olafsson. Asgrimsson and Guomundsson
are also members of Plastik Joy and Ruxpin, both bands of which I never
heard, but it seems all to be dealing with downtempo IDM, but as Asonat
it seems to be more involved with vocals then with their other
projects. Melodic, spacious pop music, and perhaps in Vital Weekly I am
not the biggest lover of pop music, but privately I might enjoy it. I
thought this was quite nice, if perhaps nothing much for Vital Weekly.
It sounds like Bjork at times, or Portishead, but all a bit more
electronic and less trip-hop like. Asonat also uses a bit of guitar,
feeding through chorus pedals so a bit of shoegazing is never far away.
On this grey monday morning this dramatic pop works well to start up
perhaps a slow day.

Following which I played the CD by Mike Moss, ‘an anomaly in the modern
world of manufactured pop’ – something I have no expertise on,
manufactured or otherwise. This is also dramatic pop music, but firmly
pop, and one of the kind I really don’t dig, and for which Vital Weekly
is not really a home. Too normal, way too normal new wave like. I have
no idea what I am doing with this. (FdW)
Address: http://www.n5md.com
Address: http://www.mikemoss.co.uk

HISATO HIGUCHI – BARA BARA NA BAMEN (CDR by Apollolaan)
AKKE PHALLUS DUO – TERROIR/PISSOIR (CDR by Apollolaan)
Two new names on Apollolaan for me. Although, I could have known Hisato
Higuchi from Tokyo. Originally he was a puppeteer, but now plays music
from his home in Tokyo. He has had a couple of Family Vineyard, which I
don’t know. He plays electric guitar and ‘sings’, sometimes. The title
translates as ‘scattered scenes’ and its quite desolate music. Its for
a start ‘far away’: there is quite some space between the position of
the singer/guitarplayer and the microphone picking his signal up. He
doesn’t play chords it seems, but strums very occasionally and it seems
irregular on his strings and does some sort of singing. Music that is
not unlike some artists did on Black Petal, or perhaps even John Fahey,
or highly experimental blues music. Thirteen pieces in just over thirty
minutes, which don’t leave the listener jumping and stamping for joy,
but rather a bit depressed and desolate. Not bad, but just long enough
I’d say.

Jon Marshall (of The Hunter Gracchus, Le Drapeua Noise, Singing Knives
Records, Vampire Blues) and Ben Morris (of Chora and Le Drapeau Noir)
met for the first time in 2005, but since last year they are Akke
Phallus Duo together. They are not a band in a strict sense of the
word, but this is one of those exchange by mail music projects, or, as
they put it, ‘a process of exchange and abandonment of authorship’.
They exchanged recordings and the other was free to do whatever he
wanted to do it. There are no instruments mentioned on the cover, but
hearing these eight pieces, it could be anything really from acoustic
instruments to electronics and field recordings. Its not easy to say
either what it is that they done, or who is responsible for what. In
some cases it seems to be that they use various layers of acoustic
playing of objects and wind instruments, but in other instances it also
seems that these instruments are fed through some electronics. Here
they arrive too easily at noise and it doesn’t sound too great.
Sometimes they use crude field recordings, such water running and
insect sounds. There is an interesting ‘anything goes’ aspect about
this release, which I enjoyed. It brings an amount of variation to the
table, which is nice. Not every moment is great, but throughout a most
enjoyable debut release. (FdW)
Address: http://www.apollolaan.co.uk

MECHA/ORGA – 31:56 (CDR by Kukuruku Recordings)
NIKOS KYRIAZOPOULS & KORHAN EREL – LIVE ELECTRONICS (CDR by Kukuruku Recordings)

‘Computer feedback generated with the ‘audiomulch’ application’ it says
on the cover of the new Mecha/orga release. Now, we could easily think,
this leads to a bunch of noise, but not so in the capable hands of
Yiorgis Sakellariou. This work was already recorded five years ago and
the title is also the duration of the music. One piece of excellent
drone music of a modern kind. Music that sounds much more like modern
electronic music from the sixties, think Philips’ ‘Silver Series’,
David Berhman and Planet Of The Apes, than a lulling piece of ambient
drone music. Mecha/orga’s music is upfront, present, loud even in some
of the later parts of the music, which is where some of my interest
waned a bit. But throughout I thought this was an excellent work of a
sadly underrated voice in our world.

The other new release by this label is by two people I never heard of,
one Korhan Erel and Nikos Kyriazopoulos. The latter gets credit for
‘DIY oscillators, analogue filters and spring reverbs’ and the first
‘Omnibus (computer instruments, touch-interfaces and controllers).
Their recording is from March last year and I assume it comes in an
unedited form, taped with a microphone. This thing is less controlled
than the Mecha/orga release, and comes across like a piece for circuit
bending. It has a fine improvised texture, which occasionally sounds
like a bunch of wind instruments driven by motors, but also moves into
more electro-acoustic and electronic variations. In these twenty-nine
minutes we move along various of textures and it makes an interesting
and varied disc of improvised music. Excellent covers too: white on
black, giving that serious avant-garde look. (FdW)
Address: http://www.kukurukurecordings.com

DANIEL ALEXANDER HIGNELL – THE DICHOTOMY OF SELF/THE ATOMICISM OF SOUND (CDR, private)
Following ‘Soundscape Study 001’, reviewed in Vital Weekly 758, this is
the second release by Daniel Alexander Hignell. He graduated from the
Dartington College of the Arts in 2010 in contemporary composition and
currently studying a masters in music and sonic media. In this new work
he works with a variety of dichotomies – analogue/digital,
foreground/background, improvised/composed, electric/acoustic,
individual/society. Layering all of this together at the same time, it
makes up for a minimal music, but through dense layers also not easy to
grasp, as a lot is happening at the same time. Also in using a
multitude of sound sources it works quite strange. There is a bunch of
acoustic instruments, primarily violin and cello, but also harmonium,
guitar, saxophone, clarinet, violin. On the other side we find field
recordings, found sounds and manipulated samples. The music is quite
different from his previous release, which was all about (pure?) field
recordings. This new one is all about – it seems – modern classical
music. Although not, perhaps, always strictly composed, it also
involves improvisation, electronics and field recordings. Three fairly
long pieces and three a bit shorter. I think the longer pieces could
have been a bit shorter, because after a while you know what the idea
of a piece is and there isn’t too much room for further development.
Maybe some of these pieces should have been chopped down into shorter
pieces with a more fixed beginning and end? I am not sure. Throughout
however I must say I quite enjoyed this work of modern classical music
(mainly), improvisation (also), acoustic (a lot it seems) and
electronic (that too). (FdW)
Address: http://www.danielalexanderhignell.bandcamp.com

AALFANG MIT PFERDEKOPF – MUTATIS MUTANDIS (CDR by Attentuation Circuit)
KRYNGE – SINGE BINGE (CDR by Attentuation Circuit)
MYSTIFIED – LIFE IS A CARNIVAL (CDR by Attentuation Circuit)
Of course I am not the right person to say anything about Aalfang Mit
Pferdekopf’s ‘Mutatis Mutandis’, since a little silly thing from me as
Freiband was the basis of this. An one minute piece released on a
cassette, which people could use to remix, preferably using a four
track cassette. There is an unreleased piece by Z’EV, but only Mirko
Uhlig has spend a lot of time with it. He’s back to using his old
bandname, Aalfang Mit Pferdekopf, and there are three pieces here. One
seems a straight remix of the original, followed by the title piece,
which takes up thirty eight minutes. Here Uhlig takes the hiss of the
original apart, adds sound effects, time stretches bits into long form
drones, making an absolute great piece, ending a nice up in your face
drone bit and even a short noise bit at the end – but hey of course I
am not the right person to write such things. Close to the fire and
such things. But to know such a short and hissy piece of loosely formed
sounds can make such a great piece, I didn’t know. Excellent, but of
course I am not etc. And, best coup about it, its also released on
cassette. Now there is something to bring to your four track machine. I
know I will!

Even when I know Zan Hoffman for a long time, his music always seems a
bit far away from me. Maybe we didn’t trade enough tapes in those days.
So the whole existence of Krynge escaped me, apparently some sort of
musical company where people mailed in their basic sounds mixed
together. Lots of talking here, especially in the (too) long middle
part. Its bookend by a more musical piece of distorted rhythm and
guitars on both sides. I am not sure what to make of this. Its
‘interesting’ rather than ‘good’. It shows how such things worked in
the golden age of cassette, a very free work, which was less based, if
at all, on musical ideas. Attentuation Circuit will release more of it,
and I am not sure if that’s good idea.

Mystified returns to the same label, following ‘Coming Days’ (see Vital
Weekly 811). Its bit unclear what we should think of when we hear
‘carnival instruments’, but maybe Thomas Park did some recordings in
some carnival surrounding but he has most surely processed them around
a lot to make his more familiar drone scapes. His previous albums were
usually mixed affairs of drone like soundscapes, mild noise and rhythm
bits. This new album is a bit different. The five pieces here sound
alike but aren’t the same. Soft gliding and sustaining sounds, all
drone like, no rhythm and no mild noise. Rather pleasant mild drone
music actually. Coherent, which is good, although the variety of his
previous works was always nice too. Hard to say what is exactly used
here, but the labels thinks a Hohner harmonica has been used, which
might very well be the case – airy music. I think this is one of the
best albums I heard from Park so far. (FdW)
Address: http://www.attenuationcircuit.de

NATHAN MCLAUGHLIN – ECHOLOCATION #1 (cassette by Digitalis LTD)
NATHAN MCLAUGHLIN – ECHOLOCATION #4 (cassette by Sunshine LTD)
More ‘Echolocation’ by Nathan McLaughlin (see also Vital Weekly 760 and
775), and I may have missed out on one. Which is, to be precise,
‘Echolocation #1’. This is only now released and the only one to have
some information. It says that the series was recorded late 2009 and
early 2010 and that these tracks are largely improvised, with some
“common themes or are based on preconceived melodies but they are
performed live to a stereo feed with an absolute minimum amount of post
processing or editing (and no post effects of any kind)”. The
chronology of the series is not really of importance, hence we now see
Volume 1, along with number 4 I guess. Number 4 has not a lot of
information, except that Sunshine says its an “homage to the mid day
meal… a sign of togetherness and humanity” and also that it is based on
tape-loops. But I think I figured that one out already. Crude, old
tape-loops I should think which are decaying all around, or perhaps dug
up from his backyard like  that shark from beaches on Iceland
after six months, ready for consumption. Which is pretty much what one
can say about both releases. Number 1 is apparently not split up in
different tracks, but two lengthy pieces while number four has set of
seven songs sound a bit more crude than before, meaning perhaps less
influenced by Basinski and Asher and maybe more Jason Zeh. Who knows?
Its great stuff, I thin, either in long form or short form. Its exactly
that kind of low grade sound I like, a bit noise like on the first
pieces, but even a bit ambient in ‘4.5’, but also very spooky in ‘4.6’.
In ‘Echolocation #1′ things remain on the ambient side, bearing even
more resemblance to Basinski and Asher than with the work of Jason Zeh.
I still have no idea what McLaughlin does actually – that is still
clouded with some mystery. Maybe its all very simple and easy, but it
sounds excellent to me. Of these two “#1’ was for me the better tapes –
a name from the past I kept thinking of were the very early cassette
releases by Dutch label Kubus and De Muziekkamer – who hey, who
remembers that? Still a name to watch out for, as I wonder what he will
do next. (FdW)
Address: http://sunshineltd.info/
Address: http://www.digitalisindustries.com

RESONAN – COMPOSITION REJECTS SILENCE (cassette by Res Dot Com)
DONNE & DESIREE – [B-SIDE] (cassette)
The name Resonan I connect to noise, but maybe I am not fully informed.
Resonan on this tape works with found cassettes (audio and video) in
the trash and flea markets and except for some use in reverse no other
effects were used to transform this material. Basically this material
has been re-edited and layered, and nothing much else. Maybe I should
have reviewed this in my Ultra special of last week. Not because this
is very ultra or post punk, but quite a fine example of the do it
yourself spirit of that time. Even when you have instruments, you can
still produce some excellent music. Perhaps in its day it would have
been rejected as ‘too simple’, but, after thirty years of
plunderphonics, I beg to differ. This is an excellent tape of ‘media
manipulated music’ and these guys have a fine sense of composition.
None of these pieces lasts too long or too short and in all its
minimalism and repetition this could have been released in 1985 instead
of 2011. Spoken word cut up, a synth like piece in ‘compose #1’ and
‘compose #2’, some noise in ‘No Visual #4’: its quite varied material
and as said, this time around actually thoughts went it before gearing
up in action.

The other Dutch release on cassette – spray painted! – is by Donné
& Desirée, a duo from Arnhem, playing drums, guitar and vocals.
Their ‘[b-side]’ tape I got handed last week at the local Ultra event,
where they played last, doing something we hadn’t heard all night: a
free jazz/free rock/much noise battle that was simply the best closing
down concert we could imagine after such a long night (wait for the CD
release of it!). Does music like that survive on a medium as ‘low’ as a
cassette? Well, it does, but it doesn’t beat the original experience of
the concert – or any concert by them, as I saw various. The fury of the
music shares a punk sensibility, loud, aggressive, short, but then with
the free spirit of no wave, free jazz and noise. They claim to be
inspired by the music of No New York, and yes, that’s it. Its the
direction left of anything leftfield, going into a field where few
others went before. Just as with Resonan this could have been released
25 years ago, and it makes the overall great impression now as it would
have then. (FdW)
Address: http://www.resonan.com
Address: http://www.donne-et-desiree.nl

MESTA/MATTIA COLETTI – TAPE CRASH NO. 2 (cassette by BR)
The note that came with this is rather cryptic: ‘a meeting, two parts
between the mediterranean Sea, the Adriatic. Music that goes under
skin, music for the long winter and for the wake up of something that
was sleeping. In the middle a place were meets and crash each other, a
Barchessone like a gravity center, were find things, sure and faithful
things. I can be short about Mesta: a guy and a guitar, singing. Not
powerful, but tormented. The word sad, I am sad, and my music is sad.
Yeah alright. The other side has music by Mattia Coletti, also a man,
and also a guitar, but this time no words. In stead he uses a looper
pedal and he plays four nice melodic pieces, of which the final one is
a bit more fuzzy. Its nice, its alright and its not great. What more
can I say about this? (FdW)
Address: <mattiacoletti@libero.it>

BBBLOOD / TINNITUSTIMULUS SPLIT (cassette by BBBlood)
Paul Watson’s (BBBLOOD ) material is created by manipulation of junk
metal and a step-ladder, ‘field recordings’ which are cut up –
re-assembled and layered. Through use of looping, notably on the second
track the resultant ‘image’ though a construct could itself be a field
recording- it sounds very like a goods train. It might be argued that
this then is a ‘representational’ work – albeit accidentally, but then
the sound of a goods train could be equally an accidental
re-representation of a BBBLOOD track. Tomas Bennett’s side uses found
sound with the addition of electronic feedback loops resembling old
shortwave data signals which are pushed and distorted into harsh
“walls” of noise, especially in the second track where these are pushed
and folded dis-continuously into dense blocks, one of the “best” HNW
I’ve heard in awhile. A track which demonstrates the solution to the
problem of representation in noise, be it human or accidental only
“works” under a total erasure, of sense, method, meaning, value,
structure etc.  otherwise we are left with a “brutalism” lite,
which can only work with a sense of humor as in Cementimental.  A
process / work I can best “describe” by an extensive / [adapted!] quote
from John Mullarkey’s essay on Henry… “Affects [here the “blocks”] are
as much like points, therefore, as they are like passages. But this is
not to concede everything to some kind of mathematical punctualism [or
integer arithmeticalization] or ‘misplaced concreteness’ (at least not
yet). The puncta in question are felt, and are much closer to Ronald
Barthe’s use of ‘puctum’ – the shocking point in an image, the pathetic
suffering of thought – than mathematical points on a line. They are
monads of experience…” and so in this work of Bennett’s the problem of
Henry’s representation – like that of Watson’s is  sufficiently
‘overwritten’- or as Henry says the image (of thought / sound / idea)
is projected into the milieu of exteriority. (jliat)
Address: http://bbblood.blogspot.com/

YOSHIHIRO KIKUCHI – ONE INTENSELY EATS UP ANOTHER ECONOMIC PRINCIPLE (cassette by Fragment Factory)
Kikuchi’s recordings were made in response to glitches and errors in
software on an Apple computer in reading or converting between audio
stored in .WAV format and .AIFF format, the two being (almost) the
standard audio file format for Microsoft and Apple respectively.
Kikuchi doesn’t say which software or precisely the actual details of
the files, for both formats can store sound in various sample rates and
formats. Details of these are found in the files (header) from which
software can detect the number of channels, sample rate and sample
size. This is a labyrinthine world of technical and so techie delight,
but one with both philosophy, metaphysics, and surreal

humor. For instance a likely source of the error could be Apple’s
changing its format from big-endian to little-endian. In simple terms
which end of an address (here its data I know) is the most important.
So yourname@hotmail.com is little-end (ian) because you are smaller
than hotmail, or wonderfully child’s myname, my street, my town, my
country, the world, the solar system , the galaxy the universe. Compare
that to the Big endian 1,000,000 – where the 1 is Big, though wiki says
that in big endian the first byte, lowest in address is the biggest,
and gives Arabic numerals as an example, because I assume 1,000,000 is
where we address memory 1,2,3,4,5,6,7, so 1 is in position 1, this is
confusing because one might assume the end is position 7 and not 1. The
article goes on to explain this has caused bugs!* And just before
anyone goes completely insane, the terms little and big endian – wait
for it- come from Gulliver’s travels where the two nations (Lilliput
and Blefuscu) go to war over which end of the egg goes into the egg
cup, the big end or little, or is it which end sticks up… I think I
should get back to the review but with Kikuchi’s help I’ve established
that the world of so called logic and computer science is far more
otiose –  ontologically (love it!) than anything those French
post-modernists could dream up – well, maybe not, but certainly someone
is giving someone a run for their money. *For my part rather than
“think” I tend to try each end (when programming!) and listen to the
result, see I’m an Englishman and at heart an empiricist, even if I try
my hardest I cant go metaphysical for love or money. Perhaps the
Japanese share the English sense of empiricism, Gulliver was you see
written by an Irishman, as was Finnegan’s wake, though I’m enamored of
Deleuze’s transcendental (or is it transcendent- :-)  Ha! There’s
a BIG difference ….. empiricism…. And so infinite virtualities… but
empirically an audio sample (which is a two byte signed integer) say
+303 would be stored as 2F 01, or 47 256 (2F is hex 2×16 + 15) or
0101111 00000001 which is 47 + 256  = 303. The 2F is the least
significant byte, the 01 the most significant… in binary
1,2,4,8,16,32,64,128 in the first byte 256,512,1024… in the second
byte, so 1 x 256 (from the second byte) +   32+8+4+2+1 = 47
(from the first)  =  256 + 47 = 303 so empirically we know
that if 303 is stored as 2F 01 then the system is using little endian.
Obviously we need to know a priori that our number is 303, then the
endian format becomes obvious or “visible”, tangible and no more a
theoretic object. And this is no more irrelevant than a review of
classical music which uses such terms as C sharp, as in “what does C
sharp sound like?” – what does this cassette sound like, sounds like a
possible endian conversion error in PCM data. And as such a review
exceeds any subjective impression in giving an empirical fact,
representation of the work, could then be criticized as, and this is
true, saying nothing at all, but being a mere doubling, as if I am
nothing more than a cassette recorder. Surly (even) any realist can see
a mistake here? (jliat)
Address: http://fragmentfactory.com/

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