I can't say I particularly this piece; it wasn't bad in a sort of lo-fi noisy electronic way, but quite formless also, without much composition. The CDR was sent to me by Joe, also known as Posset, who closes this release, and perhaps the man to contact if you want a copy.
He has two parts of 'King Of The Kickboxers', of which the first is dealing with loops of dictaphone sounds, on top of which he improvises more dictaphones. It has a nice minimal feel to it, but then somewhere it gets a bit lost, unless we call this a long fade-out. The second part seems a bit more noisier than the first with a similar fade out. Also without much head or tail, but then perhaps such is the nature of improvisation of such lo-fi instruments?
Not the best of compilations, but serving as a fine introduction. Together they are Veyou, who had a very short cassette on the same label, reviewed in Vital Weekly This new release is a bit longer, clocking in at just under thirty minutes and is one piece of lo-fi sonic rumble on a bunch of ancient technology. Improvised and noise based, with loops, cheap electronics, stomp boxes and throughout quite a New-Zealand feel to it. Slowly developing, but going through a bunch of stages this is actually quite a nice release, just like the previous tape, but in what seems a bit of a different direction.
The label calls his first solo a 'strange new offering in the world of trumpet solos', but I beg to offer. None of this playing is strictly of the kind of a trumpet you'd normally expect, but this fits very well in the whole scene of 'instrument as a sound object'. Stephenson uses a variety of techniques to play, occasionally leaping into noise like patterns.
Maybe Axel Dorner's young nephew using similar techniques, but all of it unmistakably louder. The trumpet as a noise box: it happens here. Richard Kamerman was already present with various releases in Vital Weekly, mainly with a more improvised angle, although there has been also the odd noise release see Vital Weekly He is a percussionist, but we rarely hear him bang the drums.
This tape has two pieces, each lasting five minutes. Distorted, but with rapid changes and indeed it has a percussive feel to it. Maybe too short to make up my mind? Neil H aka Terror is drums and this is the fourth album, recorded at the Opium Den 'on their grandfather's tape machine. They are influenced by simple shapes such as circle, square, triangle and some others'.
Its hardly punk, and probably not very trance like either. The tape has quite an amount of hiss, but one can hear the reverb on the guitar, and quite simplistic drumming. Rather 'simple' music without much depth, both in playing skills and recording technique.
Jliat and Luke Emmett. Each side is named after one or the other, referring to Theodor Adorno and dialectical double reconstruction and Martin Heidegger aesthetic theories of destruction.
Maybe Jliat and Emmett are each responsible for mixing one side of this? Luke Emmett is more interested in time stretching and in general applies a more collage like approach to his music. Looping around heavy blocks of rhythmic sounds, along with distorted sounds, bits of spoken word, and, perhaps, indeed time stretched larger segments of noise.
Musically perhaps the more interesting side, whereas Jliat delivers his own unique insight in the world of noise. In that sense the current wave of cassettes doesn't exactly reflect the 80s, when a lot more was done with packaging milk carton, pyramids, oversized print work, sponge. These three tapes ignoring the six month rule hail from Indonesia and look great. The music, all from and , is all made with a Korg MS, electronics and tapes.
Now one could easily think that all of these sound similar given these limitations, but its not. The 'in between' release of 'In The Cave' is on the other hand more an old fashioned industrial release, with a grittier sound and louder sustaining music. A bit more industrial sounding, but done in a very delicate way. No harsh noise walls here, but a cold clinical mechanical sound, producing some hypnotic trance like music.
Three excellent tapes - a great surprise. Owen uses an 'image processing system', developed by one David Jones in the mid seventies. I am not sure what these are, but it has, apparently, a 'set of keyers, a multi-input syncable sequencer and a bank of oscillators'.
These two pieces last over 45 minutes each, and of the one on the b-side I can be short: its a monolithic wash of sound that doesn't seem to have much variation from the entire duration.
Diego Morelli. Inner Danmons. En Ex. Warren Jacobs. Spleen Cringe. Koheleth's Breath. John Doree. Graeme Barden. Richard Y. David Howarth. Constantine Horizon. Jan Zychlinski. Dave Michuda. R L Raymond. Jean-Paul DuQuette. From your site and your stunning artwork, I've discerned that you have an interest in the blending of sounds with visuals as the complete package.
Do you see this crossing of mediums becoming more of a focus in future label releases? How do you feel about visual accompaniment during musical performance? As much as I feel strong connections between the visual and sound aspects, that can complement each other for an enriched perspective, I've also my doubts about a forced or sometimes weak cohabitation I've always done the artworks with much respect for the music, the artist, trying to be as close as possible to the mood in which the work has seen the daylight, or its emotional resonance in me I hope it shows For the reasons evoked in previous lines, and also financial ones, I haven't planned any DVDs so far You are centered in Belgium and have released work from artists all over the world.
In your opinion where are some of the more interesting contemporary musical regions and why? Can you provide a written playlist of some of the music you've been into lately? I'm a bulimic music lover, and so my collection is always expanding, and I find myself often only listening to the latest things just in : currently spinning, and springing spontaneously to mind a lot of usual suspects!
His musical prowess takes shape in the form of an unrelenting six-string, where Mr. Mexico has honed the technique of tactfully guiding his trusted ebow over a prepared guitar to actualize his sinister musical vision. Elongated tones and psychedelic squall fill these muscular arrangements, as if harkening to a dreamed up collaboration between Yoshi Wada, Tony Conrad and Broken Flag-era Matthew Bower.
Fans of either three will find a lot to like in Poisson. Mexico, Roger Poisson, C Released August Edition of 30 cassettes. Labels: Vacant Tapes. Daniel Crokaert is the man behind the decade standing Mystery Sea cdr label and has recently started a new label under the name Unfathomless.
He currently resides in Brussels, Belgium and at my request was kind enough to indulge upon a few of my inquiries. No comments:. Daniel Crokaert started his U imprint in late and with 4 publications to date already, it's obvious that Mr. Crokaert is serious about this new endeavor. The Unfathomless releases are printed on cd rather than cdr and Crokaert has opted for a sleeker, slimmer aesthetic, trading in his jewel cases for clear poly plastic ones and opaque inner sleeves.
Nicer prints as well, my photos do not do these justice. DONATE If you are in a generous mood today and want to support a labour of love, and sound art, consider making a donation Search for:.
Blog at WordPress. Post to Cancel. Post was not sent - check your email addresses! If you do that, it will reveal some great beauty. Another new name for me is Havard Volden, who plays string guitar and objects. He played two concerts in Norway in with Toshimaru Nakamura and his no-input mixing board.
I am not sure if these were edited, or if these twenty-two minutes are the complete recordings. Not that it matters that much of course. There is some great powerful playing going on here. Nakamaru is a drift here with his no input mixer, layering a firm foundation of buzzing, ringing and crackling sounds. Volden plays his guitar with the objects, subtracting an interesting range of odd tones from the 12 strings.
Bowing, plucking and hitting become a steady stream here that goes along fine with the stream of consciousness sounds from Nakamaru. Or perhaps Volden leads and Nakamaru follows? I don't know, but its surely a great flow and fine interaction. The final release is Ap'strophe, the only release here, which has a bandname attached to it. Its a duo of one Dimitra Lazaridou Chatzigoga on zither and the more known Ferran Fages on acoustic guitar.
Its also the only one which was recorded in a studio, and probably mixed from various microphone recordings. I'm not sure, but there seems to be some form of amplification, as things buzz around at times. But its the acoustic playing that prevails here. Both the zither and the guitar are plucked, bowed, hit. Most of the time with loving care, but at some occasions also with brutal force, and things start ringing and buzzing around.
A release that covers the whole territory of loud vs quiet, noise vs silent, carefulness and brute force. Quite a demanding release too, which requires ones full attention before giving its beauty.
Three excellent releases. And see how its made me spell madness. It would make an excellent anthem for the so called United Nations. But it is not creapy, but presented in a doomy mood and it is a conforming presentation of the musical work. But it is hardly to find information about the drone project Sujo. The man behind Sujo runs Inam records label, based on Bloomington, Indiana. The small information-sheet tells me that the CDR Dahma has a limited edition of 49 copies and that the music is scratchy, pensive and heavy.
And I can tell you that is right. The four tracks with the titles Cypress, Zephyr, Dahma and Zero King are filled with slowly drum patterns, heavy guitarlayers, some synthesizersounds, screaming voices and a pulsing bass. The compositions are slow, heavy, mean, melancholic, noisy and composed with metal-riffs. Sometimes the guitar is too high mixed, what disturbs the drony atmosphere of the album.
But I like this album a lot, I advice you to repeat this album, of unfortunately 19 minutes, many times, because these compositions need to grow and expand the space. These eight people who are active in the field of electro-acoustic music and free-jazz stay for two days in an abandoned building in Leipzig and record what has happened during the improvisations of music without any borders.
It could have been a mess without any structure and going wild into nothing. But that doesn't happen. The musicians listen very close to each other and they are building up fragile walls of sound and afterwards it is time for demolition of this wall. The atmosphere of the release is pure, calm, open, quick, silent, slow, harsh, wild and many more. Sometimes it is just free-jazz, sometimes it is just improvisation of sound, sometimes it is funny, sometimes it is melancholic.
Anyhow it is organic. Heu s-K Ach is another project with the very active musician d'incise, but it is more drony, slow and atmospheric than Diatribes. He plays with Marcel Chargin guitar and bass-drum. In July the duo did an concert at Tivoli16 in Geneva and the four improvisation pieces are released as a netrelease at Test Tube and in a beautiful package at Mitenand. The album starts with sounds of crushing objects, cymbals and tones of an electric guitar.
The stringsounds roll closely with the ongoing sounds of these instruments. The last track "Quatre" ends also with a great diversity of sounds and atmospheres created by for example slide guitar, high bell tones.
I like the calm atmosphere which he created with Marcel Chargin and the exploration of the most intense combination of soundwaves and rhythms.field recording, audible silence, quietudes. Sunday, 30 October