Also, if you unravel all of the tape from the inside you can spool it around clothing and make very interesting tassels for your outerwear. Hanging many strands of magnetic tape in a consecutive row off of your hat is a great way to show your individuality and style. Labels: ensemble , mister fuckhead , review. The "company" in question is a huge series of collaborators he recruited to produce these 90 minutes. The tape consists of six live recordings and two recorded in a meat locker and the line-up ranges from Arvo and one other to like eight people, all huffing away on brass instruments, manipulating tapes and electronics or just plain out banging on shit.
It's one of the most monstrous 90 minutes I've come across, and perhaps a bit too much to take in in one sitting but taken a few performances at a time it's pretty enjoyable. The tape starts off with one of the strongest performances. It's a live recording from featuring a quartet on drums, tape loops, guitar, scrap metal and electronics.
Anyway, so you got someone messing with samples meanwhile the world is basically collapsing. The rest of the crew gets really heavy and moves like a fucking juggernaut, splintering everything in its path. The drummer hits them like a bastard and the guitar gives it a steady rock n roll underpinning that really ties the jam together with a sludgy bow on top.
The quartet builds to such a relentless, unholy racket it's quite staggering. It's phenomenal really. The second piece, recorded in , switches gears with a duo formation on scrap metal, electronics, glass and vacuum. Rather than the monolithic skull crushing of the previous piece, it moves along somewhere in between mild harsh noise and free-percussion crews like Albero Rovesciato.
The piece is navigated through jangling percussion, sharp blasts of feedback, synth filter sweeps and electronic rumble. It's a good track, well-paced and the duo definitely have a handle the rhythm of the piece. I'd be curious to see what else this duo formation would come up with. The final piece of the side was recorded under a year ago and it expands the ensemble to 7 people.
One or more people are credited to all of these things: baritone sax, electronics, guitar, electric drill, scrap metal, saxophone, modified trumpet, bass, cymbals, blood, coronet and vocals which is pretty insane.
Looking at a line-up like that I was expecting another noise assault a la the first track but they actually deliver something much more unsettling. Someone's crooning about temptation against brass and reed squeals, metallic clinks and clangs and fearsome power drill work. There's way more space in this piece than previous tracks making it feel a lot more ominous and disjointed.
The second half of it finds lilting brass met with shrieks from a modulated power drill and its real disconcerting. The second side houses five pieces. The first two are shorter and were recorded by a wind ensemble in a meat locker. Five people play baritone sax, coronet, saxophone and trumpet. The first piece somehow manages to recreate some of power drill-like grind from the last piece. Maybe I accredited it incorrectly before.
The piece flowers or wilts into polyphonic disharmony. The next piece finds Mr. Fuckhead layering various recordings from the meat locker on top of one another, creating a much more unyielding, dissonant plate of sound than the previous track. Both are cool pieces particularly the second one and they show another facet to the Fuckhead and Co.
The third piece of the side is another live performance that expands the ensemble to eight, now including trombone, tuba and french horn! It's awesome, a throbbing, swollen mass of resonance. There are nearly imperceptible melodies hidden deep within the swampy brass drones. It's a pretty brilliant piece of creepy horn-blowing. The next track finds the group in a seven piece formation still with many horns in tow but with the addition of electronics and kazoo. A couple minutes in, after establishing some core drone waves, a few trumpets and possibly coronet start soloing and it's pretty fucking cool!
It's odd because out of nowhere on this rather dark and noisy tape there's a fascinating centerpiece of beauty. Around halfway through a really bassy sound starts wiggling around and a few filter sweeps worm their way in as well. That horn melody continues but it's slowly dro w ned out by jittery electronics but makes occasional resurgences before the track splinters and slowly sputters to a halt. It's a fantastic 15 minutes, quite possibly the best work of the whole tape.
The final piece features three people with tapes, electronics and field recordings at their disposal, kicking off with classical music in a cloud of noise. It's a weird track cause there's this pervasive prickly static but occasional intimations of melodies underneath the white noise.
I think the piece suffers from following the previous one because the majority of it comes off as significantly less dynamic. I really like the final five minutes of it though, lots of weird loops intermingle freely with a little melodic undercurrent before bringing the tape to a close.
The thing I like most about the tape is that Zylo has assembled a burgeoning group of individuals with an even larger tool chest to explore the many sonic products possible from their collaboration while simultaneously creating a unified aesthetic over the course of 90 minutes and a couple years.
Well done. The c93 is limited to 93 copies, it's a lot of bang for six bucks and the tape looks really nice, with matching labels and matching red shells and cases; you can tell a lot care went into the packaging just as well as the music.
There's also a special edition triple cassette version with handmade art and whatnot available as well. Check here or record stores around Chicago for copies. There are a couple of copies at Reckless Records. I suspect revolves around the DIY ideas in the noise genre, which I suppose I should say something about. The ideological processes that gave the left field avant improv is no longer active, which is proclaimed by the current practitioners, but that perhaps is the whole point - an ironic positing of the no longer theory laden intellectualism of the new wave, more an oily swell of pollution and dead seabirds.
Interesting, poignant even and ultimately nice. Mastered by Clayton Counts, it will be a c66 with a double sided 3 panel j card. Edition of Here is a crop from the collage art: Please feel free to get in touch if you're interested in ordering or carrying this release. Wholesale will be available. You can stream it online at U of Washington's student-run station, Rainydawg Radio.
Also, you can stream the radio from the Rainydawg Myspace. Here's the playlist , and another older one we were played on. Thanks for the support! Newer Posts Older Posts Home. Subscribe to: Posts Atom. Subscribe Posts Atom. All Comments Atom. All Comments. Subscribe to our mailing list. Follow by Email. The initial aim of the label is to release products of active imagination, rather than attention-starved gimmicks, and generally focuses on the work of conceptually isolated, visionary individuals.
Thirteen Hurts - "UVB". Arvo Zylo - "Hello Walls". About Me Arvo View my complete profile. Zylo started out having no previous knowledge about experimental music, with a primitive sequencer, where he'd destroy presets and cause malfunctions as a primary source of compositional inspiration. Previous group incarnations started off being based around the concept of playing layers of live brass instruments in a drone fashion with as many live players as possible, but it evolved to incorporate junk metal, prepared guitar, tape loops, power tools, and synthesizers.
People have remarked that Zylo's releases are always very different, but his most representative solo release is "". There are now over copies in existence, and it took 6 years for him to complete it. Some select quotes about "":. Arvo Zylo's work is often the product of literal years of toil, the potent result of countless hours refining, perfecting, and focusing wild energies. Projects like his "" and "Assembly" feel more like they've been finished in a metal refinery than a mastering house, their labyrinthine vertical layers chosen and fixed in place with firm force.
Posted by Arvo at AM No comments:. Thursday, December 2, 'Hello Walls' aired on Wm. Listen to Wm. Posted by Arvo at PM No comments:. Newer Posts Older Posts Home. Subscribe to: Posts Atom. Subscribe Posts Atom. All Comments Atom. All Comments. Subscribe to our mailing list. Follow by Email. The initial aim of the label is to release products of active imagination, rather than attention-starved gimmicks, and generally focuses on the work of conceptually isolated, visionary individuals.
Thirteen Hurts - "UVB". And perhaps this package proofs that it is in fact marketing. Would you buy something by someone named Toth Pal, of whom you may not have heard? I love sitting with a bunch of sound material from somebody and have my way with it. But this is a review, and thinking as a consumer of music. Again, too many words have been said about it, distracting from the matter at hand: the actual remixes.
Colin Potter doesn't seem to be taking it any new direction but carves matters a bit deeper, while Liles moves through the work and adds a silly piano loop to it, going up and down scales.
James Cargill starts out with something really noisy and ends with something quiet, which was very nice. Sculpture, being one Dan Hayhurst, keeps matters on the louder side of things, even a bit distorted whereas Jonathan Coleclough doesn't seem to expand anything, but does whatever does best.
Nice record, I was thinking, but indeed to what end? The next one is quite a bundle of music! I must admit I am not Faust's biggest fan, even when I value it a lot. In Peron went to Budapest to play a concert with Sores and Theme once from the UK, now mainly from Poland , which resulted in a troubled concert thanks to double booking and a record of them together see Vital Weekly But those days also saw Sores and Peron recording together, using a wide array of instruments.
Peron on bass, acoustic guitar, trumpet, cavaquinho, psalterion, loops, samples, oil barrel, thermix chainsaw, hammerdrill, effects and Sores overseeing viola, circuit bent toys, home mades, lo-fi synthesizers, crackle box, Korg DS, theremin, dictaphone tapes, percussions, sonorous objects, voice and effects - that's indeed a whole lot for two guys. Their improvisations aren't easy to categorize - no doubt a good thing - but it's certainly never traditionally linked to free jazz, free improvisation, noise rock or electronic music.
I guess, in a way, it's a bit of everything. It also seems heavy on the use of effects though. That's their joint way of working. Especially there is quite an amount of delay on this record. It seems that every bit of voice, viola, electronic bit or thumb on bass gets a delay treatment.
That makes the album quite 'full' and there is very little room to hold back, turn down and introspection. At the same time it also adds a particular private flavour to this record - it's indeed their style as it were. Peron recites occasionally something in German, and Sores adds scratches of violin, distorted electronics and the whole thing is pleasantly nice. At times the music very noisy, which is great because: only at times , sometimes a bit rock like and most of the times very direct, very weird and with a fine naive charm.
The DVD is very short, seven minutes, but we get an impression of how they work - opposite each other with their instruments in front of them - and had a fine arty touch. Topped off with a cover by Babs Santini and you could wonder: what more do you want? It's not something that I easily can make my mind up about. A bit folk noir, shoegazing like, perhaps. On the more recent works it all was a bit more experimental, with electronics, field recordings and a bit noisy.
The recordings on this album are from a couple of years ago, , partly recorded on the road in Belgium and Bloomington and in a studio in Reykjavik. That piece was from a 3"CDR in an edition of 20 copies, for his Iceland tour; Iceland is not that big it seems. The piece from Belgium contains the singing of Annelies Monsere.
So far the facts. There is an interesting psychedelic element to the music, of a sustaining nature. It seems as things go on and on, but it never gets to a point of being boring. One keeps on playing this and hearing new configurations move forward or backward. The drum machine of 'Tarwestraat 52' ticking away with a nocturnal hum around it is a great piece.
This is all rather informal music with all the 'mistakes' carefully left rather that meticulously edited out. This makes this record rather warm and human and an excellent one at that. I know Drekka is in Europe from time to time - next time I should not miss out on it. Ten tracks will take you to the raw fields where the heat goes on.
Sometimes the actors can stand the heat and relax in the sun, other times the sun shines too bright and it is painful for your eyes and skin. The diversity in atmospheres and musical approach creates different scenes in your head.
The album is a debut of Masters that was released in in a very limited edition. Masters consists of Christos Fanaras and M.
Hauser aka Miklos Kemecsi who are living in London — U. Both members played before in Agaskodo Teliverek.
This band played also with bands like Foetus and as support of Siouxsie Sioux. The label releases different styles of music like experimental electronic, breakcore and noise related genres. Anyhow, this album takes back to guitar music with nice licks, riffs and variation in rhythm. Some brass instruments, organ and drums guide the clear guitar tones. Elements of the music of Ennio Morricone in combination with mariachi, post rock and some psychedelic space rock are maybe the best description of the music.
The album develops more and more into a psychedelic mood and ends with an epic track in which all elements of the album are passing by. Great album for a hot sunny day with a long sizzling evening. When Static Caravan releases something electronic, I am more than delighted. It's always close to the world of pop tunes, and yet it always seem to have it's own alternative niche. The 10" starts with the latter, which is an absolute great song. The 'solo' piece has a slightly more commanding tune to it, with sampled voices counting - maybe a bit like a military march, but also very gentle.
Behind Grantby we find Dan Grigson, who recorded for Mo'wax, before moving to Creation Records and then stopping for some time. Together they fill up the B-side of this lovely record, with an other take of 'As I Walked Over Salisbury Plain' which was also on the previous Memory Band CD, see Vital Weekly , which is now rebuild into a lovely trippy piece with a great rhythm, sampled violins and a melancholic piano tune.
Excellent songs, topping an excellent record. Although no one ever really paid attention to those involuntary artworks, I thought on several occasions about how unfortunate it was that such a creatively erratic machine was used for the production of those foolish, polluting wrapping plastics, and that it should instead be dedicated merely to the production of those strange shapes.
That factory has relocated since then, and that whole episode feels like another life now. But the track remains, and it is, as the Erema was, mechanical yet unpredictable.THOMAS BEL - TO DYE EVERY NIGHT (CDR by Invisible Birds) * TUNNELBLIND (CDR compilation, private) Yannick Franck has been more active recently, but in the past already played with K11, Alan Trench (Temple Music), Ester Venrooy and here renews working with Craig Hilton, who is an electronic musician, but also a metal guitarist.