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Vital Weekly 773 + 774

img  Tobias Fischer

If anything, Editions Mego sure knows how to surprise the listener. If that Bill Orcutt was strange, then so is Evil Madness. Announced as the Traveling Wilburys of electronic music from Island (and in case you don't know the Wilburys - praise to be - think old dinosaur rock guitarists cashing in). We have here Johann Johannsson, Helgi Thorsson, Sigtryggur Berg Sigmarsson (the latter of Stillupsteypa), Petur Eyvindsson and BJ Nilsen (oops, he's from Sweden). Actually they have been around since 2006 and 'Super Great love' is their fourth album. If you know what these boys when they are serious (and sober perhaps), then you might expect a mighty fine album of highly atmospheric drone music with a touch of classical music or, well, its Mego, and with this name, a whole bunch of piercing digital noise. But then you forgot that Johannsson was/is a member of Apparat and he brought his analogue synthesizers over for this hobby project. Lots of kitschy, cliche disco rhythms, arpeggio's working overtime and sequencer's burning through the floor and of course complete with a vocoder in 'Maxim's Goldfinger'. Let's have a party, with mean 70s disco's music. Not too smooth, but full of pumping machismo. Excellent stuff I'd say, but then I always have been a sucker (closet) admirer of cheesy disco. I wonder how many dedicated Mego followers are. (FdW) Address:


Although not very often in these pages, Stephen Vitiello was here only two weeks ago, with his Moss release/collaboration for 12K. Another collaboration this time, not in a live concert or physical working together, but one generated through mail, with Lawrence English. They have a strong passion for anything that has to do with field recordings and modular synthesis, so their 'Acute Inbetweens' is announced as a work between 'electricity and environment'. And probably anything 'inbetween' too. This work, these five pieces, are not some pieces of electronic music, nor the work of cut out of reality field recordings, but somehow meet up in between. Not really 'just' field recordings, not even 'just processed field recordings', but occasionally the field recordings are alive - and god knows what they recorded - just as much and as occasionally the electronics come alive. Microsound obviously, let there be no mistake about that. Stretched out pieces, drone like, atmospheric, ambient - any of those words apply to this release, and perhaps its a such that its also to be noted that this may not be the most innovative release in this scene, or something that would put this on a totally new level. Far from it. But that is not the point, I guess. The two gentlemen play gentle music. And they do so with great care and great style. They don't care about things being entirely new but rather explore the depths of what has their strongest interest and at doing so they set the highest quality standards for their music. And that's what makes this a strong album. (FdW) Address:


Despite having released albums on two high profile labels ('Possible Landscape' on Asphodel (2004) and 'Panorama' on Smalltown Supersound (2001)), the name Alexander Rishaug is not really a household name. Maybe its because the gap between releases is quite long? In any event his music still appears on high profile labels, as this third album is on Dekorder. Rishaug was once part of ARM (whose concert locally still ranks to one my favorites), a collective of computer musicians, and worked with Lasse Marhaug. In his solo work he is influenced by the works of Steve Reich/Terry Riley on one hand and on the other its the 90s electronics from Oval/Microstoria and the more obscure artists on Mille Plateaux/Ritornell. His music is 'developed from field recordings, instrument improvisation or live sampling. The processed and edited with the computer as the main tool. I've used sounds hailing from a dusty rhodes, a lovely guitar, a nervous radio and a lonely piano', he writes in the accompanying text. Everything on this release seems to be retro - the computer graphics, but also the music. It harks back to the Ritornell label, especially Stephan Mathieu's albums and anything that happened in ambient/microsound/drone since then - think Taylor Deupree, William Basinski, Machinefabriek, Richard Chartier; it all finds it way here. That makes this a highly unremarkable CD - unless, and I think that's the whole point of this exercise, it is meant to be retro, going back to those mid 90s roots of early computer/laptop music. If that is the case he succeeds well in doing so. If not, then I think he delivered quite a nice album actually, Unsurprising, but very well made. Nicely warm ambient computer music, which easily meets the work of Mathieu or Machinefabriek. Maybe it just continues a fine line in musical history. (FdW)


AREV KONN - NOSPELT (CD by Humming Conch)
Antony Harrison is Arev Konn, and if I'm to believe the press text he is best known as Konntinent, which had releases on Home Normal, Sonic Pieces, Sweet Lodge Guro and such labels, but which I never heard. Harrison choose a new name for more abstract and abrasive work, which is what Arev Konn is all about. Its however not really the sort of noise that is, well, 'real noise', but using guitars, synthesizers, field recordings, piano and violin are used to create something that is indeed quite abstract. Part of that is due to the analogue cassette techniques he uses and also a 60s reel-to-reel machine. Things burst and bubble, scratch the surface and bounce up and down. Quite an interesting album, I'd say, and one that fits the current wave of noise musicians which opt for a more intelligent sound, adding such things as dynamics. Arev Konn can be loud, although never really loud, but also very soft and introspective. No instruments can be really detected (except for the piano on 'False Starts') as they are all transformed beyond recognition. The six pieces are fine mixtures of electro-acoustic processing, noise based outbursts, drone patterns and together make up a damn fine album. Certainly a name to watch out for in the future. (FdW) Address:


Exactly three years after their debut as The Magic I.D. (see Vital Weekly 619) this quartet returns. An odd quartet, of Kai Fagaschinski  and Marcel Thieke, both playing the clarinet, Margareth Kammerer on vocals and guitars and Kurzmann on vocals, laptop and lloop. Maybe by reputation of these people you could easily think that this is a quartet of improvisers, and henceforth they play improvised music. Things are not that simple however. The Magic I.D. play short pieces and pieces that could qualify perhaps as popmusic, but set within the limitations (?) of improvised music. How does that work? Easy, the band improvises, find a way to create a tune and then set vocals to it. Especially the latter makes this poplike. Alternating between male and female voice, which sing nice songs this is great. When Kammerer sings it seems a bit more jazz like. The guitar adds a lot, whereas the clarinets have a more free role in what they play. Sometimes they plat unison, but at other times totally contradicting lines. An excellent release once again. On paper it may seem like a totally strange marriage, but combining improvisation and popmusic works quite well, again. An excellent CD. A pity I missed their concert, but let's hope there will be some more touring on the back of this album. (FdW) Address:


Originally Angelic Castello is from Mexico, but via Montreal and Amsterdam she landed in Vienna in 1999, where she still lives and teaches. Her main instrument is the recorder, which she plays with or without electronics. She plays this solo as well as with various groups, such as the Low Frequency Orchestra, Los Autodisparadores, Frufru, Cilantro, Subshrubs and Chesterfield. On her solo CD she uses Paetzold contrabass and subgreatbass recorders, piano, ukulele, toys, field recordings and voice. Perhaps due to her study of electro-acoustic and computer music, this release turns out to be a great one, I think. Where I perhaps expected some improvised music, this is actually thoroughly composed music. The flute is perhaps indeed the main instrument, but its very unclear what she does with it. Are these recordings fed through some kind of analogue or digital processing device, heavily layered or as dry as possible? Its hard to say and probably its useless to think about this, since what counts is the outcome, and that is great, I think. Seven pieces of musique concrete, electro-acoustic and an excellent montage of sounds, with the necessary field recordings to go along, sizzling electronics. Music that evokes images and could easily be used as a great soundtrack. Evocative stuff that is just excellent. (FdW) Address:


Of course you should read the complete entry on Wikipedia on Samuel Beckett, but I quote the beginning: "Samuel Barclay Beckett (13 April 1906 - 22 December 1989) was an Irish avant-garde writer, dramatist and poet, writing in English and French. Beckett's work offers a bleak outlook on human culture and both formally and philosophically became increasingly minimalist in his later career." I must admit I never read much of his work, but here's three artists who probably read lots of Beckett. Its the for me unknown Bryce Beverlin II, the well-known Eric Lunde and Peter J. Woods, whose LP was reviewed here two week ago. Each has a long piece inspired by the dramas written by Beckett. In Wood's piece things start with talking for quite some time, and after a while injected by loud bursts of noise, which towards the end get longer and longer. The text is not always clear to hear. Lunde used three cassette players for his piece, which has Lunde stamped all over it. Largely, or more accurate, all spoken word in Lunde's clear voice, but with treatments made with his cassettes, eroding the speech effectively. Occasional silence separates the various texts. Extremely loud is the keyword for the final piece, by Bryce Beverlin II, who also speaks his text in the middle of a noise racket of distortion and feedback, also with occasional silence. Its the least convincing piece in my opinion, but it takes minimalism probably to another level. Quite an interesting release, which prompts the listener to listen, but probably also to read more, which is always good, I think. (FdW) Address:


TOMASZ KRAKOWIAK - A/P (7" by Bocian Records)
Two 7"s on Poland's Bocian Records. The first one has a live recording from May 2005, a trio collaboration between Kevin Drumm (analog synthesizer, electronics), Jerome Noetinger (electronics) and Robert Piotrowicz (analog synthesizer, guitar). Two furious slabs of improvised noise here. Side A (perhaps called 'Wrestling') has a battle of sounds, wrestling of analogue sound creators, trying to make out who is the strongest here, machismo in music, perhaps? The B-side (perhaps called 'Rest') start out in a similar loud mood, but here things are getting more and more quiet as the piece evolves and end with something of a machine being switched off. Nice one.
One Tomas Krakowiak uses a cymbal and a stereo microphone on his 7". Both sides last exactly four minutes fifty-nine seconds, and one piece is called 'A' and the other is called 'P'. He plays the cymbal by using objects to create rotating sounds, to lift up the cymbal make it sing in overtones. Somehow I think these pieces are layered from various recordings, but of course I might be wrong. 'P' is the more droney version of the two, 'A', the more acoustic one. Both pieces aren't flawless, one hears small 'mistakes' of whatever it is to sets the cymbal to vibrate, which adds, me thinks, a nice human touch to it. Maybe all a bit too short for the format of a 7", and a 10" would have been more in place. But nice it is for sure. (FdW) Address:


PLANK! - PIG SICK/SELF HARM (7" by Static Caravan)
Via a rather obscure release we were, back in Vital Weekly 752, introduced to the music of Dark Sky Singers. Seven folk like songs in just fourteen minutes. Last saturday we have an intimate pop-quiz with friends, and me admitting to like Simon & Garfunkel a lot sure a few eyebrows. But I do. Therefore music like that made by Dark Sky Singers is absolutely nothing for Vital Weekly, but I am very glad I can write about it. 'The Harrowing' has an accordion, piano, guitar, sparse percussion and a dark voice (not matching that of Paul & Art) makes a really great track. A bit dark, but so lovely. A duet, male and female on the b-side, along with piano and a bit of percussion and some strings. Hauntingly beautiful. 'Quintain' is a short third track with a melody going round and round and has bird sounds. Spring has indeed arrived. Excellent.
I don't know anything about Plank! Maybe also not very Vital like, but definitely not folk like either. Plank! seems to me a modern rock/pop hybrid. 'Self Harm' has rocky guitars, funky bass, fat synth lines and furious drumming. Quite an uplifting track actually, all instrumental, and quite retro. Oh, and quite a surprise I think for Static Caravan. With vocals it could have been an alternative hit actually. A big kitsch, but, now, that I happen to like as well. 'Pig Sick (remix)' is a likewise uplifting piece of instrumental music, but it seems a bit more electronic than the other side. It lists somebody who does the vocals, but either they are heavily vocoderized or remixed out, but I don't hear them. Another excellent 7" on one of my favorite labels. (FdW)


This is the first of four 7" releases, the first vinyl for Unsounds, and its overall thematic approach is 'transition and transportation', with on the a-side factual information and on the b-side fictional. In this first case information on the French Foreign Office website about safety and current political climate in every country and longitudinal and latitudinal coordinates from Travel Around The World In 80 Days by Jules Verne. The texts are read by Anne-James Chaton in a low voice, looped around, along with a vibrant guitar improvisation by Andy Moor (of The Ex fame) and a bit of electronic rhythm. The rhythm is quite present on 'D'Ouest En Est', the b-side, which is almost an effective piece of dance music, save of course for the quite clinical reading of the text. Basically like reading a list out loud. Deep bass lines almost like dubstep. Here the element of improvisation is almost gone. A great 7", and one that made me very curious about the next three 7"s. Great fold out poster as a cover, reminding me of the old punk days. (FdW) Address:


Picture a fifteen year old FdW saving pennies and going to a record shop to buy 7" records - LPs were out of his league. Thus getting 'Are Friends Electric' by Tubeway Army, 'Adrenalin' by Throbbing Gristle, 'Electricity' by OMD and 'No One Driving' by John Foxx. Since then hooked on things with synthesizers, rhythm boxes, vocals and general a good electronic popsong. An interest that never waned, and in all of these cases, the rest of the history of each of the artists has been explored (and not always deemed good, actually). John Foxx was perhaps the one I was least into, after 'Europe After The Rain', which as song I liked, but the not the album it came from. Later works were better, but never as good as his first one, 'Metamatic'. Now Foxx is back with 'Interplay', which he recorded with The Maths, which is effectively one man: Benge. And as you should know Benge is the master of analogue synthesizers, which he explored so well on his 'Twenty Systems' CD (see Vital Weekly 653). Its safe to say this is a return to form for Foxx. It has nothing to do with Benge's more abstract ambient compositions, but it has strong electronic rhythms, sequencer based synthesizers and Foxx' deep and dark voice to go along. The music from Foxx is hardly uplifting or pleasantly pop; John Foxx plays pop-noir. Its hard to say what his lyrics are about, but his world-view, or look at the future might not be the most pleasant one. But the music, ah, the music is great. Clear synthesizers, no other instruments to distract from that pure electro pleasure, bouncing rhythms and just exactly what I want. Still after thirty years. Still a sucker for synth pop - noir or otherwise. 'Interplay' is indeed a great CD!
Picture a slightly older FdW craving for information and having a subscription to the Dutch magazine Vinyl. Every month new information and, through the flexi disc, two new bands. Sometimes something you'd know, like say Cabaret Voltaire of Five Or Six, but then, say Number 14, a flexi disc by Die Partei and Schleimer K. Two new names, two great tracks. The uplifting electronics of Die Partei and the dark, gothic synthesizers of Schleimer K. They have a LP says the article, but unavailable at the local record shop. Schleimer K is a mystery for the next twenty-five years. But internet arrives and information can be sourced. It turns out they made two LPs, one 12" and a handful of tracks on compilations. That was it. But as these things go, and due to the invaluable kindness of Infrastition, another piece of history is now committed to CD (replacing crackly free downloads) bringing out the full power of Schleimer K. 'Wounded Wood' is their swan song, when the original duo had expanded into a quartet (vocals, synthesizers, guitar, sax percussion) and an occasional guest vocal.  I wonder why no double CD with their entire output, but let's hope another CD with the rest will follow (I think all of that is from the time when they were a duo). As said Schleimer K is a dark band, the keys are in minor, and Micheal Wolfen's voice is dark, in despair but also decadent and never uplifting or funny. A streak of sunlight is not permitted in this music. The music is somewhat expanded over the years, following their self-titled debut, with leaned exclusively on synth and drum machine, besides the dark howl of Wolfsen. Here on 'Wounded Wood' the guitar wails along, seemingly never playing a chord of its own. An excellent album of music that is thank god no longer forgotten. (FdW)


LARS AKERLUND - XENON (CD by Firework Edition Records)
Once a member of the Lucky People Center and originally a guitarist, but since the 90s more and more into electronic music, with releases alternating between Fylkingen Records and Firework Edition Records. 'Xenon' is his second released on the latter. For this album he recorded machinery and activities of everyday life. These recordings have been 'analyzed, treated and reconstructed; building a new framework'. The title relates to some of properties of xenon which are anaesthesia, transposition and levitation. The music, which spans five lengthy pieces here, is probably exactly what would you would expect from the world of serious electronic in Sweden (or anywhere else for that matter): blocks of sustaining white noise, repeating blocks of mechanical sounds, feeding through a bunch of oscillators, reflecting electric sparks. You can imagine yourself trapped in a large factory with no human interference, which acts by itself, or you are tied to a machinery buzzing straight in your head: these five pieces go all over the place. At times a chilling science fiction soundtrack, an industrial music nightmare and then a mild work of field recordings. Throughout a work of great music, a fascinating journey through sound. (FdW) Address:


It is a long time ago since I last heard from Ron Geesin. I had to go upstairs , searching in my vinyl collection for 'Right Through' an LP from 1977. Yes, from this you may conclude that his careers spans a long time.  In fact his musical career started in the 60s. He is known for his work with Pink Floyd ('Atom Heart Mother'). But in the end Geesin is a true solo artist, who is still on the map as this new release proves. I remember I enjoyed 'Right Through' because of the tape work Geesin was an expert in. But of course later technological developments were embraced by Geesin. Here on 'Roncycle 1: The Journey of a Melody'  the Fairlight computer plays a dominant role,  besides the voices (of John Peel and others) and several other instruments and sounds. The composition is a construction of 16 individual pieces that can be listened to however as one continuous and fluent piece of music. This project was started in 1986 (!). "The reason that it has taken so long is that, as it grew, it frightened me so much that I had to walk away for long periods", Geesin explains.  Geesin had to concur many problems in transferring analogue elements into digital ones.  Because of this choice the music works very reduced in some aspects. This is especially the case in tracks like track 9. A very jazzy piece of music evoking a complete band. But all sounds come from the same source and taste very much the same. Alas. But above all this is a true tour de force . A suite that took some 25 years to complete. Musically it breaths more of the 70s then of recent  musical developments.  In those days one would call it a concept album. The suite incorporates  many influences and references: jazz, pop, soundcollage, etc.  At moments it works as a soundtrack for an old silent movie. My respect for completing this job. The cd ends where it all started for Geesin with a fragment on banjo, the first instrument he learned to play. (Dolf Mulder)


PETERLICKER - NICHT (LP by Editions Mego)
Apparently there has been a band, twenty years ago, called Peterlicker. Or more accurate, inactive for twenty years, but since 2010 active again. Three members I never heard of: F. Hergovich (vocals), C. Schachinger (guitar) and G. Weissegger (bass, electronics, edits, production), but the fourth member is of course someone we know very well: Peter Rehberg (electronics, edits).  As you may have guessed by looking at this line-up, this is not another work of computerized noise improvisation, but perhaps 'rock'? If it is 'rock', then we should add the word 'electronic' to it. Five long, heavy slabs of electronic rock. At times I was reminded of what Whitehouse could sound if they had a more conventional line up, or Skullflower when they had less guitars and no drums. One could think this is a joke project for Rehberg, but somehow I don't think it is. This is all bloody serious stuff.  Loud, vicious and dirty electronic rock. Sometimes 'introspective' as in 'Tunnel 47503', but don't let that deceive you in a way. Vaguely to be noted as songs, but equally as well we might say 'lengthy excursions in madness'. Must be a wreckage on stage. Do they play live anyway?
Russell Haswell supported Autechre during their 2010 European tour and played thirty concerts in fifteen countries. He recorded as many as possible on a surround sound recorder and excerpts are scattered on vinyl and DVD. I have no surround sound set up, but it plays well in stereo too. Haswell might be well-known to play the laptop, but according to the liner notes he got tired 'of 'artists' using the space-bar as a 'play' button and pretending to do something', so he packed up a contact microphone, crystal mic, electronics with light sensors, effect pedals, SOS whistle and various multicolor headlamps with flashing modes. The liner notes also detail about it worked technically, which I won't repeat here. The music, which last ninety minutes in total, is exactly what we expect from a) Russel Haswell and b) the limitation of his equipment: harsh noise. In total free improvised mode, he plays his furious noise in front of a bewildered audience, which given the various excerpts from encores, must have liked what was going on, which is indeed a surprise (or perhaps I didn't expect Autechre fans so open-minded). A bit more lo-fi than his previous laptop work, obviously, but curiously enough it has gained also a lot more depth and is in nice free form shape. (FdW) Address:

FABRIC - A SORT OF RADIANCE (LP by Spectrum Spools)
Spectrum Spools seems to be a new off-shoot from Editions Mego, and I couldn't find what it was all about actually. Behind Fabric is Matthew Mullane from Chicago. He plays synthesizers, although none such is mentioned. And Spectrum Spools is also very clever not to brand the music in anyway (no 'file under' here), but the music is all about cosmic synthesizers. Lots of arpeggios wailing about, with a faint trace of rhythm underneath. Like I said, ambient house may do a return. Apparently people are fed up with loud stomping music and return to glitchy beats and analogue synthesizers. No glitchy beats for Fabric however, as this is mostly synthesizer heavy. Drawn heavily from the songbook of Tangerine Dream and Klaus Schulze, mid to late seventies. No epic, side-long pieces but somewhat shorter, and highly minimal and melodic. Its music I like actually, very much. A fine work to launch a new label!
The second LP on Spectrum Spools was already released last year by Gift Tapes, and the title roughly translates as 'songs from the laboratory of cosmic silence', which suspects me that Spectrum Spools is indeed a cosmic music label. Bee Mask is Chris Madak, who describes himself as 'one man, a synth and a looper pedal'. He's been going since 2005 or so, and has had many obscure releases. This LP might change things. Although they are elements in this work of cosmic music, it also a bit more than just that, but its not always as spacious and floating as the genre wants, but it mixes up with the more serious avant-garde electronics of Philips Silver Series and Lovely Music. Bee Mask seems to take a likewise inspiration of say David Behrman and Gordon Mumma as from Tangerine Dream or Cluster. His music, here epic with a 'song' per side, has more nasty angels and is throughout a bit more experimental than Fabric, which is more pleasing throughout. That is of course fine too, as you can't have pleasing things all the time. A chilling soundtrack to a fictious science fiction movie, a fine narrative. Twice a great start a new label. (FdW) Address:


When you announce your record as of interest for people with an interest in Rough Trade, Sky or Recommended Records, and call it 'early techno, auteur pop productions and experimental music', then you have my full attention right away, even if I never heard of Rude Pravo. They had their last 7" five years ago (see Vital Weekly 450) and now return with a revised line up. I really enjoyed that first 7" which me think of Cherry Red and Les Disques Du Crepuscule. Still there is the core duo of Luke Fowler (synthesizer, sampler, amplified objects and vocals) and Stevie Jones (bass, electric guitar and moog) and these days Cara Tomlie on vocals, oboe and moog. Their interest lies in making 'electronic music in their bedrooms-mixing 'rock' instrumentation with computer sequencing'. That succeeds wonderfully well, I must say, in these six songs. It makes everything come true. This is indeed, in some way, a bit techno like (but then only a bit), pop like for sure, but also with that addition of things that can be classified as experimental music. Maybe a bit along the lines of The Magic I.D. which I reviewed last week, but Rude Pravo are even more poplike, especially due to their use of sequencer based sounds. They walk a fine line between experiment and pop, electronics and acoustics, ultimately to create six great pieces of 'music', for the lack of any clearer definition. That's something this music doesn't need. Its fine as such. Gettit. (FdW) Address:


Ini.itu releases music that deals with Indonesia, but on this new release expands its horizon to India. It combines the wind instruments of Werner Durand (who also gets credit for sine waves, phase shifters and digital delays) with the voice of Amelia Cuni, who also plays on two pieces (out of three) bamboo resonator. On the same two pieces David Trasoff plays sarod. Durand started out with the 13th Tribe, who played ethnic music on self-built instruments, while Cuni is a trained singer of Dhrupid music, which she has studied for ten years in North India. This album, one track on side A, two on side B, is one of utter minimalism. The singing seems wordless to me, while the sarod slides every now and then, and Duran waves a bed of tones to go along. To say not much is happening is probably an understatement. On the surface the music is almost like a stand-still. The most active component is the voice, and then probably only in 'Morning Surge', which sounds like an improvised tone poem, embedded however in the slow moving sine waves from Durand. Yet, I think this is a record of great beauty. Very austere, very minimal, but full of captivating beauty. An excellent example of Indian music that is connected well to the history of Western minimal music. No rhythms, but an excellent tone poem. Music with great style. (FdW)


VERY FRIENDLY #2 (book + 7" by Komplott)
When I eat my dinner I play regular music, nothing weird, and I read something. The newspaper, a book, or a comic. I don't have that many comics, Tin Tin still a favorite, but sometimes I grab Very Friendly #1 (see Vital Weekly 675). The second issue was just released, slipped out quietly as they call it, but Ronnie Sundin send me one, along with the zero number (which I believe is a must-do if you release comics). 'Very Friendly' is an extension of Sundin's 'The History Of Electronic Music', in which Sundin drew portraits of important players from that world. In 'Very Friendly' he tells stories. In the zero issue all about his own trip to Los Angeles, where he has most curious encounter with Steve Roden and Erik Hoffman. In the second issue about a travel he made to Barcelona, on invitation of Francisco Lopez and he draws the story to the film 'Decoder' (which I believe is available on DVD and a must-see if you are into industrial music, manipulation and muzak) and a one page about German electronic music. Sundin draws with his naive style, and if you some of the persons then you might even vaguely recognize them. The zero issue has no music as an added bonus, but the second comes with a 7" by Francisco Lopez. Its been a while since I saw a record from him, but this piece (spread over two sides I assume) continues his interest in using static from vinyl, hiss, pops and clicks into a composition. On the first side it seems there is hardly any information, but the b-side reveals better (?) what it is all about. Mister Sundin has strange friends and its great to see them depicted in the adventures of mister Sundin. Can't wait for the next issue. (FdW) Address:


ROBOL - MUSICA METAPHYSICA (CD by Telekinett Records)
Mauricio Reyes is born in 1969 in Mexico and composes music under the name Robol. Musica Metaphysica is his debut album. When he was 14 years old he started to create music with dual tape recorders,  two turntables and experiments with different records playing simultaneously or play them in reverse. Later he collected rare samples of early electronic music and started to study the wide range of electronic music. One year ago he started to create this album and used sound samples that were recorded during seances and other paranormal events. He sees himself as an architect who constructs the time-scheme and the layers in the music. Mauricio takes the listener to different environments and dimensions in sound and also in experience. After four pieces of electro-acoustic abstract music the track Clairaudience starts with a knock on the door. The door opens and a mix of talking people, continuous sounds and filtered layers are connected with each other. In the last track "Radiesthesia" a sample of Jouko Linjama's Kalevala Suite? "Toisin tiesin, toisin luulin?" has been used and programmed, encoded, disformed and formed. Electronics and analogue recordings are melted together harmony and disharmony. And that is where this album all about. An exploration of dissonance and similar soundwaves in sound. About abstraction and realism. About the use of filters and electronics and the lack of it. This album includes a lot of concepts, but nevertheless the album has no academic atmosphere, but is strong because of it's purity. A great album, highly recommended. (Jan-Kees Helms)


NICK HENNIES - OBJECTS (CDR by Kendra Steiner Editions)
VENISON WHIRLED - XIBALBA (3"CDR by Kendra Steiner Editions)
In 'the psychoanalytic theory known as Object Relations in which it's believed that human beings are not pleasure seeking but instead have, above all else, an innate desire to form and maintain relationships', we read on the cover of the new Nick Hennies CDR. Hennies plays objects and by doing so there is a better understanding of the objects. Alternatively, if this is a bit too 'soft' for you, you can also 'just' like the music, me thinks. I happen to like the music of Hennies a lot. Its very simply: a steady pulse is played, on end, in this case on congas, woodblocks, claves and a bit of vibraphone. That's it, but Hennies does that with great care and style, and lots of dynamics. Half way through the piece he plays something of a beat on a low resonating object, before returning to his 'simple' playing on woodblocks in all sorts of variations. Very concentrated, very minimal, yet very rich. Once more an excellent release.
Lisa Cameron is Venison Whirled. I heard her music before, but don't remember it very well. On this 3"CDR there are two tracks, both recorded live. One is for 'lapsteel and tibetan bowl and the other for amplified space/time membrane. Its not easy to spot the difference between both tracks, but it seems she has an interest in sustaining sounds, Alvin Lucier like and how they travel through space. Not music to be listened with headphones, I should think (I tried). Of the two 'Dark Drift' (with the Tibetan bowl, howl is more right), things are particular noise based and a bit too heavy for my taste, but in 'Vortex Compression' there is a nice sine wave like texture to it, which, if played at a moderate volume will work nicely in your space. Brutal minimalism. (FdW)


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