The quotes are mine. I count myself among those folks. I usually find it very difficult to relate to the solo piano. However, I understand and like this CD. Liz has a unique style on the piano. Her touch is deft, allowing her to reflect many different moods. While the soundscapes are completely acoustic, Liz is able to generate atmospheres that do, indeed, suggest night skies and their mystery.
Indeed, it seems that Liz is exploring the mysteries of the zodiac, perhaps even its mysticism. It is a bit more difficult with an array of acoustic instruments on hand. Suggesting such imagery with only an acoustic piano is a rare accomplishment, indeed. There might be a handful of artists capable of doing so.
Liz is one of them. This is a brilliant CD! Aptly titled, this music is in the moment and has no hard edges anywhere. More ambient than melodic, the music creates a peaceful mood that invites a slower, calmer pace both physically and mentally. Several tracks feature the piano with keyboard accompaniment, and some have an Asian influence. An infinite mind, body and spirit. It has Lucid feelings that are deep, and gentle but not emotional.
Let gentle compassion embrace and hug you, just be and feel. Tell me your meaning. I have no meaning except to allow that infinite sacred space to manifest through the creative expression of music. Listening to it actively takes you away from the stresses of everyday life and slows down that sense of urgency to run, run, run. Here instruments call for a lead in the play, and makes hitherto more intense music. Quite nice. Staying in the world of total improvisation we find Nagaog, with their release 'Yama Labam A', which are also the only two words on the cover.
So it might not be a Public Eyesore release? Drums, synths, guitar and voice, in a total improvising, free mode of expression. Nervous, hectic, no strings attached to eachother, it seems like the musicians of Nagaog play for each individual player, then for the greater good. But if I'm honest, I must say that this music has something nice to it. It's intense and raw, yet at the same time, it's also quite personal.
Especially the Jaap Blonk like vocalizations work quite well. Somewhere half way between free jazz and free punk. Although I must say, a bit more information would have been most welcome. They play together, but each side has the other one credited as main player. Both sides last no more than two and half minute each and it's hard to figure out what these boy play.
Guitar for sure, but perhaps also some electronics? Again, all in a sort of free improvisation play, but it has a mysterious character, of held back tension that makes this into a nice one. Eloine, Bryan Day's solo project, sent me also an older release, which falls out of the six minute period, but 'Green Stump' is worth mentioning in spirit of the Shelf Life release.
Here the band is reduced to one person, who plays his solo music spread out over a four track machine and mix the whole in a similar way as he does later on with Shelf Life. Day plays rhythm, flutes and guitar, with no particular emphasis on one of them.
As such this is an interesting forecast in the future sound of the band. It's my first encounter with somebody named Tasos Stamou, who delivers eight pieces on his CD as Absurd still puts these out too. Packed in a piece of hard cloth, this is a strange release. Five tracks appear to be recorded live and three are studio pieces. Stamou plays a variety of instruments, guitars, melodica and electronics and perhaps some toy instruments - titles as 'Toys Coming', 'Toy-waltz' and 'Toy-rock' certainly hint in that direction.
The music can best be compared with that of Klimperei, even when Stamou plays it all a bit more dark and edgier. It's all quite sparse material, and it's all highly obscure. What he does and why he does things this way. The material is played in a playful, almost childlike manner, hence, perhaps the title. Certainly the strangest release of this week, and easily an outsider of any kind. Whoever the Dead Traveller is, I also don't know, but a traveller travels, so much is clear.
The four pieces on his CDR are field recordings - unprocessed. The title tells us no tale: outside my window I hear this sound. Which can be machine like drones in 'The Drone', the town square in 'The March' and children and birds in the park in 'The park'. Nice as straight forward recordings but it could have used some editing.
Spoulos is a man who likes a bit of noise, playing his guitar and feeding the sounds through his bunch of feedbacks, waiting for feedback to occur.
The loops mentioned in the title are not really a present feature on this release. The noise element here is however kept to a minimum. It's there, one feels it lurking around the corner, this is all a bit held back and more creepy noise release, save for the last two pieces which are more noisy and break with the previous six pieces.
But throughout I thought this was a most enjoyable release, perhaps even the best I heard from this guy so far. Handmade covers, various types of releases, including LPs, CDRs but also cassettes and a total 'no planned strategy' behind it.
One always has to wait and see. TBC is a name that returns a lot and that's hardly a surprise, it's the man that is behind the label. His side here is filled with just one long piece of deep end bass drones and apparently field recordings of a railroad - or perhaps he depicts one. Every now and then a high pitched sound comes in, like the cracking of a contact microphone under the iron wheels of a train. For whatever reason I was reminded of Jonathan Coleclough's 'Windlass' which should be re-issued me thinks!
TBC is a man who loves the low end quality of sound. I don't think I am not entirely sure here , that TBC has updated his technical things in more than fifteen years. Some low end sampler, sound effects and a mixing board - to that extent he goes. For the pieces on his side he uses the sound of stones, sampled and treated. Relatively short pieces of high minimal density going on here.
They are sampled in the casio SK 1 sampler and feed through a bunch of delay pedals. Things bump and collide in a pretty neat fashion. TBC is an outsider in the insider field to me.
A strange monomaniac maniac, doing whatever suits him best, and not caring about the past, the present, the future or others. At the same there is also a new issue of Odradek, a fanzine compiled by TBC and he's probably the only one who writes for it sounded familiar. If you are man enough to read German, then it's worthwhile to pick up a copy.
This is the moment when I'm happy that I was such a good boy in school and learned by German Grammer. Like said, everything from the house of TBC is totally unplanned, unhip and never fashionable. Perhaps the only good to reason to invest this.
After a while they are removed from the website and then the material is released as a CDR. The first one is a compilation of re-composed source material taken from found reel to reel recordings of Icelandic a cappella lament songs made in the late s or early 's.
Ten composers using this material and they all seem to be from the field of microsound, but they are by no means the least in the field. The lament song part is pushed to the back in the most part. The emphasis lies more on the ancient tape hiss and crackle, although some use the faint traces of voices. Most of the time it turns out to be shimmering, humming, crackling and hissing pieces of music. The noise collage played by Nobekazu Takemura is a bit out of place here, or it's certainly a break with the rest.
Some people add their own instruments such as guitars Fennesz and Josh Russell but they keep in spirit with the overall sombre and melancholic tone of this release. The Takemura piece is the longest and perhaps also the one that is a bit out of place here.
It perhaps breaks the mood but in this case it's not so great. Otherwise this is a more than excellent compilation with all equally great sorrowful pieces of music, which could have as easily been on a real CD. Logoplasm, a duo of Paolo and Laura, every once in a while dig their vaults and pick out a work and make a small edition for friends. One of these releases. Logoplasm works with field recordings and electronics and make highly personal music. The shimmering of voices, the careful drone on an organ or the simple plucking of a stringed instrument: this is a great mixture of instruments and field recordings.
There are links to the music of Ora and Mirror, certainly towards the end when big time drones and rain covered field recordings emerge, but especially in the first half Logoplasm show a much more personal approach. Their vaults should be opened more! He has had a couple of releases already over the past few years on labels such as Mystery Sea, Taalem and Thisco as well as a collaborative works with Paul Bradley, Maurizio Bianchi and Sparkle In Grey, here he has a new solo work.
The title apparently means something like 'before throats of fire' in German, which I didn't know, and it has two long pieces. It seems to me that field recordings play an all important part, but they are not easy to detect, except perhaps for the frog choir in the opening minutes of 'Blutgebell'. Apparently there is also somewhere the sound of cicadas, gas, frogs and water, but with Maggi everything is thrown in the mighty blender called the computer. In 'Blutgebell' the frogs leap over into slow cascading wave like sounds - perhaps the processed sound of water - and could easily pass for a somewhat simplified version of The Hafler Trio, mixing their previous interest in surround sound and the recent drone material.
When the drones fade out slowly, and water runs in, it's almost like a cover of 'Brain Song'. The title piece, which opens the CD, is a similar piece, even when field recordings are harder to recognize. It might statically charged electricity or escaping gas, which at first moves on the higher end of the sound spectrum, but later on it arrives on various other levels, and things grow towards eachother. From that point onwards things grow like a howling beast until it reaches it peak and in a rather quick fashion it vanishes as mysterious as it appears.
Two great tracks of drone music meeting field recordings and microsound, when not innovative, it makes surely a great listening. Perhaps this is due to the fact that it's released on more ambient labels that don't reach out for Vital Weekly. Interesting enough from the little that is reviewed of his work, this is the second release he did with one Thomas Weiss, following the somewhat religious inspired 'Conscience' on Nextera see Vital Weekly Wether this new release is also inspired by God, I don't know, but somehow I think it is.
Right from the opening track 'In', with it's choir like chanting, it's in a heavenly mode. From then on it's in full spirit excuse le mot : tracks run into eachother and a more rhythmically then on 'Consience'. Long sustaining sounds played on synthesizers, backed with a driving rhythm in 'Circles', following by the deep end drones of 'Whole Pulse' without a pulse really and going through phases of slow chimes in 'Language Of Silence' to end with chirping insect like sounds of 'Sights', although they are probably more electronically induced than true field recordings.
This is another big A ambient album that is even better than 'Conscience' partly because the five pieces nicely flow into eachother, yet each with a different character. More like a seventies conceptual album, but even when the concept may not directly appeal to me, it's still makes great late night atmospheric music.
Like Grassow, Danny Kreutzfeldt is a busy man. Here too, I believe I review not all of his work, but most likely more than of Grassow. On 'Numberground' he has six tracks, of which four are quite long and two are short. Also unlike Grassow, Kreutzfeldt moves in various musical areas. He has given us noise, ambient and even techno like music, but here he returns to the noisy variations of ambient music. Unfortunately he does that through the extensive use of reverb, which is something I am not particular fond of.
It's a big of a cheap drug to create 'atmosphere' just by putting the reverb to 20 miliseconds - everything will sound great as such. Adding some delay effects, and the whole thing is smeared together in this cloud of sound. Rhythmic particles fly about in this big 'hall'. The tracks are too long to hold the interest, and there is simply not enough interesting developments happening. I heard him do better before. Bor Media On the for me unknown label Slo. Bor Media we come across a new name and an old one, with a big surprise.
The label is run by Matt Borghi and Jason Sloan since and focuses on various types of media, design and conceptual art. The new name here is Manitou who is from Detroit. Manitou plays spacious music, perhaps on a guitar and a long line of sound effects, or perhaps on a bunch of ancient synthesizers. Monday 21 September Tuesday 22 September Wednesday 23 September Thursday 24 September Friday 25 September Saturday 26 September Sunday 27 September Monday 28 September Tuesday 29 September Wednesday 30 September Thursday 1 October Friday 2 October Saturday 3 October Sunday 4 October Monday 5 October Tuesday 6 October Wednesday 7 October Thursday 8 October Friday 9 October Saturday 10 October Sunday 11 October Monday 12 October Tuesday 13 October Wednesday 14 October Thursday 15 October Friday 16 October Saturday 17 October Sunday 18 October Monday 19 October Tuesday 20 October Wednesday 21 October Thursday 22 October Friday 23 October Saturday 24 October Sunday 25 October Monday 26 October Tuesday 27 October Wednesday 28 October Thursday 29 October Monday 2 November Tuesday 3 November Wednesday 4 November Thursday 5 November Friday 6 November Saturday 7 November Sunday 8 November Monday 9 November Tuesday 10 November Wednesday 11 November Thursday 12 November Friday 13 November Saturday 14 November Sunday 15 November Monday 16 November Tuesday 17 November Wednesday 18 November Thursday 19 November Friday 20 November Saturday 21 November Sunday 22 November Monday 23 November Tuesday 24 November Wednesday 25 November Thursday 26 November Friday 27 November Saturday 28 November Sunday 29 November Monday 30 November Tuesday 1 December Wednesday 2 December
Alpine Summer - Gareth Walters - Harmonica (Vinyl, LP), Erinys - Zu - Carboniferous (Vinyl, LP, Album), Superman Inside - Eric Clapton - Reptile (CD, Album), Wieder Gut - Various - Abschied Aus Berne (Cassette), Sandy, Split Down The Middle - Stanley Myers - The Original Motion Picture Soundtrack To Douglas Hickoxs Si, O Thou That Tellest Good Tidings to Zion - Aria (Mezzo-Soprano) - O Thou That Tellest Good Tidings t, War Of Attrition - Joolz - 1983 - 1985 (CD), Eleni - Johannes Linstead - Zabuca (CD, Album), Sun Valley Jump - The Glenn Miller Orchestra - The Best Of Glenn Miller Orchestra: Volume Two (CD, A, Alex Megane - Summer Of Our Life (Remixes) (CDr), Simulacres - Art Zoyd - Symphonie Pour Le Jour Ou Bruleront Les Cites / Musique Pour LOdyssee / Gene, It Is A Good Day To Die - Robbie Robertson & The Red Road Ensemble - Music For The Native Americans, Soul Sauce (Remix By Fila Brazillia) (Snippet Version) - Various - Live Your Life With Verve (Un Ja ??????[Snowing] - TAKT (2) - ???????[Shizuka Ni Kuwaeru Onna] (CD, Album)