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Vital Weekly 576

img  Tobias

A big questionmark came over my head when I saw the name Felipe Caramelos, but upon checking the website mentioned on the cover, there is no mistake: Felipe was once Lt. Caramel. But it wasn't the only questionmark: both CDs are packed in identical packages, same covers and different booklets, but they contain different music. Enter third questionmark: why? Both CDs have only three tracks, spanning each around eighteen minutes. Why not fit on one CD? Maybe I'm missing a point. The music is not far away from the original Lt. Caramel sound, which hardcore fans immediately recognize: many voices. Eleven different people's voices are used, many of them are French and English but also some are Russian - probably from the people of Waystyx Records. It adds that poetic feel to the music that is such a common (but nice and unique) place in the musique concrete of Lt. Caramel. I am told that the voices are inspired by slave songs, hence the title, which means 'forbidden song', although the texts do not relate directly to slavery. The instrumental part is a nice mixture of orchestral passages and field recordings, mainly street sounds. Lt. Caramel's music is poetic in approach, even when it's not always to grasp what his poetry is about and perhaps this is what makes the music so fascinating. It stands completely in the tradition of concrete music, but has a true and strong voice of his own. Despite the questionmarks raised! (FdW) Address:

Over the past few years we came across the name Burkhard Beins as the percussion player in various ensembles, most notably Perlonex and Trio Sowari, but also playing improvised music with people like Keith Rowe and Charlemagne Palestine. However I don't recall ever having reviewed something by him that was a solo production (I might very well wrong). Whatever I expected from a solo disc by a drummer, I was wrong. Actually come to think of it: was I expecting something at all then? Perhaps not. Many drummers and percussion players going solo or working with electronics play something that is far away from anything overtly rhythmic. Jason Kahn, Gert-Jan Prins or Jon Mueller are just three examples. Beins offers a bunch of pieces on this CD which are in some way probably being 'percussive' but at the same time also highly electronic. The cover lists per tracks what it is that he does, which makes an inspiring reading: there is talk of field recordings (water, heating system, electric gas igniter), analogue synthesizers, a 12 metre string, but also a cymbal and floortom and even, perhaps the biggest surprise, 'brief snippets from the very beginnings and endings' of Joy Division songs (in 'For Ian Curtis'). That makes this into a highly interesting release, even before hearing it. It's a bit of bummer that the linernotes don't match with the order of the songs on the CD. The CD print has a different order, which is not on the cover. When I was playing this CD, I kept thinking: can one hear that this is the work of a percussion player, and between the many layers of field recordings, clicks and hiss, my answer in the end was affirmative. One can. Probably as much as say Jason Kahn, it has that similar rhythmic quality, as even when not as ambient based as Kahn, Beins plays captivating pieces of drone like material. Unfortunately the only let down was the 'For Ian Curtis' piece, which had some faint remembering of Joy Division, but throughout this piece couldn't bother me very much. Otherwise: great CD. (FdW) Address:

If your knowledge of musical history is a bit up to date, than you know John cage was a big admirer of the work of Erik Satie, and even pulled out 'Vexations' out of a drawer. Some of the early Cage works for piano and voice remind the listener of Satie, whose piano works may have been instrumental, but on the CD here have lyrics, written by J.P. Contamine de Latour, C. Mendes and H. Pacory. Here a recital of piano and voice works are performed by Sabina Meyer (voice) and Marco Dalpane (piano). The 'real' modern classical music is hardly ever reviewed in Vital Weekly, but occasionally spun in the HQ, although it's likely to Satie and not Cage. Although I readily admit being wrong there: there is no reason to play early John Cage piano music as it has the same beautiful sensibility as Erik Satie. On this disc this is proven much further: even if you know which pieces are played (assuming for a moment that your knowledge of this kind of music is that far developed), the similarities between the compositions is striking. Subtle piano playing, a bit of prepared piano (in 'She Is Asleep'), the beautiful singing of Meyer: this is excellent music, and in true spirit to the humor of both composers, it's present as a cabaret, of course with different music, but with a similar light atmosphere. Great! (FdW)

KLIMPEREI - LOVE YOU (CD by Jardin Au Fou)
Through then almost twelve years of Vital Weekly the name Klimperei pops up with a high irregularity. 'On The Lily Lawn' was a neat 3" CD that released not so long ago (see Vital Weekly 549) and here we are served a full length album. Klimperei moves entirely outside any music scene. They are a two piece band, consisting of Christophe Petchanatz and Francoise Lefebvre. They can sound like a rock band, like a chamber orchestra and like a singer songwriter. Their pieces aren't always finished tracks, but rather sketches, ideas or notions. A piano melody, a looped rhythm of a toy xylophone, a guitar tinkling. All recorded direct in y'r face, like their present in your living room. They refuse to play any game at the real music industry and that's their big power. Like a sunday painter, like a child they play their own version of musique brut: friendly music. No less than twenty-six tracks and I must admit: that is a bit much. At a certain point it starts to work the nerves. You have fully grasped the idea of Klimperei. It's a full album, but you can easily get a full satisfying forty minute version (do it yourself here) together and have a great album. (FdW)

KEEF BAKER -  (CD by Hymen Records)
British composer Keith Baker has done quite a nice job on his fourth album after the two opening albums on American label "n5MD" and the third album, "Pure Language", released in 2006 on German label Ad Noiseam. As was the case with the previous album, Keef Baker concentrates on warm sound spheres of electronica with melodic and tranquilizing ambience floating in and out of rhythm-based parts. Casually the expression on the album moves into more acoustic instrumental territories, reminding us that Keith Baker opened his musical career as an acoustic musician. His primary instrument was a bass-guitar, a fact that especially comes clear on the track titled "Tombola thrill killer" that contains some quite cool bass-lines. A great album thanks to Mr. Bakers catchy blend of acoustic and electronic sound expressions.
Being an ex-member of legendary industrial-profile Haujobb, German composer Daniel Myer is back with his fourth releases under the project known as "Architect". Compared to the album "I went out shopping to get some noise" (reviewed in Vital Weekly in 2004) the expression on this latest album titled "Lower lip interface" is quite harsher with a bit more emphasis on distorted noisy beats. But the excellent soundscapes of drifting ambience remains in the work. Architect first of all works in the hybrid between breakbeats and ambience, but there are also elements of heavy pounding industrial-beats in a quite few of the works.
Nice album. If Architect's "Lower lip interface" should be branded as more experimental and demanding than Keep Baker's "Redeye", then American composer Terminal 11 goes even further. Be warned! This is not easy listening music. But it is definitely a great album if you are ready for some freaking breakbeats. The headline of this debut album by Terminal 11 titled "Fractured sunshine" is rhythmic hyper-complexity. It is quite impressive the way that Mike Castaneda (aka Terminal 11) manages to create some subtle textures in the vast jungle of rhythmic chaos. And it is done in a humorous and a clever way. Jason Forrest, founder of the Cock Rock Disco-label once described Terminal 11's style as sounds that roam in an accelerated twilight zone where music turns to data and data turns into music. That description says it all. Abstract electronics from a world beyond, - a masterwork in sonic complexity! (Niels Mark)

Since much of the work of Carl Micheal von Hauswolff deals with urban cites, it's perhaps strange to think that much of his output doesn't involve film. So far I only know of a book with pictures. Here how this is made with two films shot by Thomas Nordanstad with music of Hauswolff. The first film shows us the Battleship Island off the coast of Nagasaki. Here once 5000 people who work in the mines on the same island. All very small and since 1974 empty. The island and buildings are there but in decay, beautiful decay that is. Nature takes over. The other film is about nature, an oasis in Egypt. Here there is sign of human activity, but it's mainly about the desert. In the Japan film Hauswolff's music is a very deep sonic, almost unearthly rumble, whereas in the Egypt film it starts with a present drone, to which found songs are added. This may seem an odd ball for the new Hauswolff fans but in fact hark back to the early days of Phauss. Two quite contrasting films: the austerity of Hashima and the sunlight covered Al Qasr, with two contrasting pieces of music by Hauswolff. As two interesting extra's there is a small documentary on Hashima, about a guy who wants to turn it into a museum. A pity that the music behind this documentary is a bit kitschy documentary like, which sort of breaks with the Hauswolff pieces. The other is the two artists talking about these films and how they were made, intentions and what else about these locations, which is quite nice. It's great to see Hauswolff going into this direction. (FdW) Address:

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