A Eagla (6:33)
B Juste De Passage (6:00)
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samedi 8 août 2009
Spear - Not Two (Drone Records, 1999)
A Not Two (6:20)
B1 The Names - Low Frequency Silence (5:30)
B2 Equilibrium (4:10)
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The Blithe Sons - Rooms (Chocolate Monk, 2004)
| 1 | Room One (27:38) | |
| 2 | Room Two (2:58) |
The third Blithe Sons album is a CDR released by Chocolate Monk. It's largely a single live recording from a performance in Sacramento, CA. The live track, "Room One," is just over 27 minutes long. It begins with a buzzing drone, which gives way after 10 minutes to the shimmery pluck of a stringed instrument (bouzouki perhaps?), only to succumb to screeches and bowed hums. In the last few minutes an electric guitar comes in, meandering between two chords. Glenn's voice soon joins in and the drones fade for a few minutes. In the background, Loren Chasse plays very subtle percussion on a cymbal before building up a minimal droning pulse. The CD is rounded out by a 3-minute song, "Rooms Two," which was recorded someplace called "The Sun Room." It's a nice folk song with fuzzy acoustic guitar and organ, which plays well off of the epic and largely blissed-out first track.
FakeJazz
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jeudi 6 août 2009
Christoph Heemann / Andrew Chalk - Cassia Fistula (IDEA, 2002)
A Christoph Heemann Cassia Fistula (3:11)
B Andrew Chalk Cassia Fistula (3:21)
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mercredi 5 août 2009
John Duncan - Phantom Broadcast (Allquestions, 2002)
1 Phantom Broadcast (47:08)
At one point in an artist's life there's a sort of revelation, something telling him all the routes took so far have finally fused in a single course, lightened by a "north star" indicating all his next choices and moves. In John Duncan's case, I feel his continuing exploration of frequencies' manifestations has lately yielded a music that reaches a calm detachment, even when emotionally charged at its most. Now, what do I hear in the 47 minutes of "PHANTOM BROADCAST"? The answer is: powerful harmony (both in musical and "inner self" sense), shifting orchestral chordal streams, a stretching tubular bell sound, male and female voices, a trembling cello in the realm of low notes, a couple of jet engines during a slow transit towards somewhere I could not figure out, a pumping, massive breathing by all human beings remaining alive despite ongoing tragedies; all in all, I felt wrapped in sound and protected. Were all these things really there? Of course not, as this record was made with modestly treated shortwaves only - just like that, but it's maybe one of the best, if not THE best among Duncan's "static" releases. I'm afraid I'm forever trapped in your radio frequency, John - but please don't show me the way out.
Massimo Ricci, Touching Extremes
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mardi 4 août 2009
Ellende - No Talent For Living (Stridulum Recordings, 2004)
1 Am I A Coward When I Fear Death? (8:05)
2 Hell Is The Other And The Other Is Me (8:02)
3 In Life There Is Nothing I Fear More Than Death (6:46)
4 No Talent For Living (24:24)
The collective led by a Dutch man in Japan, under the banner 'Ellende' have exchanged enough material to offer a new release, on again a topheavy thematic approach. Going for no less than some insights on 'life, death and fear'. For those who love a good popsong this is not the place to be. Ellende finds themselves in pretty much the same corner as Temperature Within, but are less sophistacted. Four lenghty pieces of dark drones, with in the background a slow rhythmic sample or some stretched out sounds. Way more minimal than the other one, but nevertheless with a moody impact.
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lundi 3 août 2009
Michael Prime - One Hour As Peyote (Mycophile Records, 2005)
1 One Hour As Peyote (57:57)
All sounds derived from bioelectrical recordings of Lophophora williamsii. Originally broadcast on Resonance FM.
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dimanche 2 août 2009
Giuseppe Ielasi & Howard Stelzer - Night Life (Korm Plastics, 2005)
1 Ruin 1 (7:22)
2 Ruin 2 (7:12)
3 Ruin 3 (4:54)
4 Losing Our Taste For The Nightlife (10:42)
Korm Plastics is proud to present the eigth release in the Brombron series. Originally a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize.
Korm Plastics
"I was introduced to Giuseppe Ielasi over email in 1999 or 2000 (I don't remember presicely), by a guy who ran a music magazine in Italy called BlowUp. He was writing about CDs on my label, Intransitive, and suggested that I get in contact with his friend Giuseppe, who was starting a label called Fringes in Milan. Giuseppe and I exchanged some CDs of our music, corresponded for awhile, and discovered that we had much in common.
Giuseppe came to the US to promote his "Right After" album with Domenico Sciajno, and we got along immediately. We're about the same age, have a similar temperament, play a similar sort of music, are from a similar kind of background, are excited about records, we love to eat, we're both kinda nerdy... yeah, Giuseppe is my kind of guy! We had spoken about collaborating at a few points over the years, but somehow it just never happened, probably because we're so busy with our various projects and labels. So when I was offered a Brombron residency, I thought it would a perfect opportunity to spend some time hanging out and playing music with Giuseppe.
The method we chose was to first proceed to the closest coffee shop for a breakfast of cheese and meat sandwiches (me) and cookies (Giuseppe), then we'd record improvisations for a few hours until lunchtime. I primarily used cassette tapes and Giuseppe used a guitar, but we also both played synths and electronic doodads and microphones, and I made some tape recordings around the city that I brought back in to our improvisations. Our minds were open, and we experimented without deciding in advance what sort of album we might be making. We'd then take a long walk, go to the Nijmegen record shops (where Plurex records are still cheap!), have some lunch, maybe also a snack, and then start to edit out the good bits from the morning. We'd also add some effects and change some parts, use the recordings as source material in a small way. Then we'd return to the record shops to buy the records we hesitated on in the afternoon, have some dinner and relax. The next day, we'd wake up, have coffee, and do it again. Our pace of working and comfort matched quite well. For the final few days of the residency, we started to piece together our bits until they worked as compositions. Then we edited some more until the album emerged.
About the title.... we gave a duo concert at Extrapool as part of the requirements of our residency. There was an art opening happening at the same time, so the gallery was packed with people. It was a lot of fun, but it also made us both feel a bit strange; we're somewhat awkward in social situations, and didn't know anyone at the Extrapool party except for Frans and Roel Meelkop, who drove out from Rotterdam. After our set, we split to go get more fried Dutch snacks. Along the walk, we talked about how we used to go out to parties more often when we were younger, but now we aren't even so old and we generally enjoy staying at home where it's quiet, listening to records and reading. Giuseppe was reminded on the song by Arthur Russell, "Losing My Taste for the Nightlife". Maybe we are. Or, maybe that's just how we felt on that evening. It doesn't matter, really, I suppose."
- Howard Stelzer. Cambridge, MA (USA)December 2005
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samedi 1 août 2009
Peter Cusack & Max Eastley - Day For Night (Paradigm Discs, 2000)
1 Peep Show (9:37)
2 Day For Night (8:05)
3 Zero Day To Zero Night (4:54)
4 Cast (5:05)
5 Roomshine (4:52)
6 Arc Light (1:42)
7 Shade 1 (3:12)
8 Shade 2 (3:33)
9 Nest Of Wasps (6:23)
Day For Night is the culmination of 25 years of recording work by Cusack & Eastley, who have assembled a tapestry of recycled sounds and an archive of environmental recordings for this remarkable disc. While Cusack has spent his career in the studio and in performance groups, sound artist Max Eastley is probably best known for his collaborations with David Toop and Thomas Koner. Much of Eastley’s work is in making audio documents of his kinetic sculptures, meaning that amongst the atmospheric location recordings on this album, there are elements generated by motorised sound installations that give the listener an eerie sense of displacement: the vaporous cymbal drone of the title track gives way to the looped field recordings of campfires and distant squawking birds of its counterpart, ‘Zero Day To Zero Night’. The album closes on the actually rather terrifying ‘Nest of Wasps’, sounding very much informed by early musique concrete. The close-up recording of the wasps’ buzzing and rasping is modulated to the point where they seem to become saw wave synthesizer drones. Unnerving stuff, but a fittingly effective end to a powerful collection of electroacoustic works.
Boomkat
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Mandible Chatter - The Drone EP (Drone Records, 1999)
A1 The Myth Of Progress (5:26)
A2 Intraference (3:18)
B1 Palm Sunday (4:03)
B2 Barnyard (2:25)
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Aglaia - Three Organic Experiences (Hic Sunt Leones, 2003)
1 The Mysterious Fish Named Kun (23:32)
2 The Tribe Of The Flying Monkeys (16:31)
3 Seven Ancient Glaciers (27:25)
Yet another remarkable find on Hic Sunt Leones. Drifting and peaceful Ambient music from Italy, in which evokes watery images with discreet ethnic elements.
EQM
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Uton - XXX (Gold Soundz, 2004)
1 Untitled (8:10)
2 Untitled (8:24)
3 Untitled (8:00)
4 Untitled (10:19)
5 Untitled (7:59)
As someone who regularly talks about the forests and green aspects of Tampere, Finland, I also acknowledge that there's another side to the city. Industrial spires rise in the cold blue air and spew black smoke into the skies. This cold, sterile part of the city is a major aspect to its functionality as a Finnish meteropolis. However, most of the music coming out of Tampere that I know and love focuses on the other side - the mystical forest gnome dances. Bands like Avarus, Kemialliset Yst?v?t, Master Qsh, and others, all embody this; it's engrained in their bones. And then there is Uton. I have long admired the cryptic sounds coming from the Haamumaa HQ, and Uton has never failed to explore a variety of landscapes with his music.
"xxx" burns down the forests and passes out on the charred ground. This is desolate music. In these glacial explorations, Uton reminds us of the industrial districts of his home city. The first track isolates the wail of machines and stretches it to infinity. Harsh edges are sanded off to minimize the damage done to your eardrums. Feedback scrawls are looped around and pulled tight, making this a greasy, cohesive mess.
Within this black goop arises an interconnected beauty. By the time the gurgling glow of the third track emerges from the burning steam, you are completely drawn in. Underneath this high frequency hum is chaos, always looming, always present. But it never overtakes the piece. The glossy finish is always at the center of your attention; keep your focus there, you won't be lost or destroyed. Magic happens here, but in a different, manmade way. Inside these massive factories, creation is taking place. Each hand that works each machine, putting parts together, is like its very own god of creation. Instead of seven days, this process lasts forver.
Uton's "xxx" is a subtle reminder that within every place, there are dichotomies at work. In order for these forests to thrive and exist in Tampere, it needs the industrial complexes to produce the goods that fund the parks. It's a modern circle of life, and without it we would no doubt be lost. These archaic drones show another side of Uton, and prove that he is capable of performing at high level within any context. This is perfect for those cold winter nights as it aurally depicts everything that they are.
Foxy Digitalis
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