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AMAZING SOUNDS No.122 / January 28, 2003
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AFTER THE TRILOGY : "SINE" , "PULSE" AND "RANDOM", JOSEPH LOIBANT
RELEASES "NUCLEUS" WITH AN APPROACH FULL OF COMPLEX SOUNDS, DENSE
AND WARM, WHICH GIVE HIS COMPOSITIONS AN AVANTGARDE AIR AND HAS US
PLEASANTLY SURPRISED IN EACH OF ITS TRACKS.
AVAILABLE IN THE VIRTUAL SHOP OF AMAZING SOUNDS:

http://www.amazings.com/mailorder.html

====================

CONTENTS:

JOHN LAKVEET (INTERVIEW) John Lakveet is an imaginative renovator
of Space Sequencer Music that became famous specially thanks to
his album "Sequentiagite". Energy, warmth and sensibility would
perhaps be the most adequate words to refer to his music.

REVIEWS:
DOM F. SCAB: "ANALOGICAL CONFESSIONS" Groove Unlimited
J.M. CIRIA: "YLEM" At-Mooss Records
JONN SERRIE: "LUMIA NIGHTS" Neuronium Records
SMOO: "TRAFFIC IN MY SOUL" Neuronium Records
VARIOUS: "SEQUENCES 27" Sequences Magazine
SYN: "SOUNDWAVE TRAVELLER" Spheric Music
VICTOR NUBLA: "SEVEN HARBOUR SCENES" Hronir
ARTEMIY ARTEMIEV & PHILLIP B. KLINGLER: "A MOMENT OF INFINITY"
Electroshock Records
ARTEMIY ARTEMIEV & KARDA ESTRA: "EQUILIBRIUM" Electroshock Records
ARTEMIY ARTEMIEV & CHRISTOPHER DE LAURENTI: "57 MINUTES TO
SILENCE" Electroshock Records

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JOHN LAKVEET (INTERVIEW)

John Lakveet is an imaginative renovator of Space Sequencer Music
that became famous specially thanks to his album "Sequentiagite".
Energy, warmth and sensibility would perhaps be the most adequate
words to refer to his music.

When did you discover electronic music?

"I cannot precisely pinpoint that because when I started liking
music, I couldn't discern whether it was electronic or otherwise,
but my oldest memory could go back to the seventies with bands of
the time."

How did your vocation as a composer begin?

"There was a piano at home, so that my sisters could study their
careers as performers. I used to spend the afternoons playing and
enjoying the combination of notes, their repetition, yet I missed
the fact of having further elements available to interrelate them,
that is to say, I noticed the lack of technology to do what
occurred to me, without being really aware of that."

What does electronic music have for you, as a listener and as a
composer, that acoustic music does not have?

"The search for different timbres, unreal, in strange shades, and
the possibility of experimentation without strictures."

Do you think that the electronic medium offers more freedom to the
artist than the acoustic one?

"Undoubtedly. The freedom of sound that electronics offers to the
artist is laudable, and the best thing is the fact that you can
have it in your studio at home and create there with no need of
depending on a person for each instrumental sound."

How do you see the debate between the defenders of analogic sound
as opposed to those in favor of digital sound? As a synthesist, do
you feel inclined towards either one of these trends? Do you think
that both can coexist in a quite complementary form under one same
artistic scheme?

"I am not interested in debates. I feel sound as something global.
Attending to Plato's ideas, every sound already exists, the
difference only depends on the element generating them. I don't
particularly care whether a sound is anlogic or digital, provided
I can manipulate it according to my needs and use it the moment I
choose to do so. Personally, analogic sound awakens in me memories
of the great historical moments of the music done with this kind
of synthesis, but no more than that. The co-existence is
undeniable, and enriching, and it is precisely there where the
freedom of the author lies, as he can enhance to a greater or
lesser extent each one of these systems of generation of sound.
The basic thing for me is the sound and the use I can do of it.."

In "Sequentiagite", your first solo album, there appears to be an
intense emotional weigh to be perceived by the listener. Do you
think that feelings play an important role in your music?

"Certainly! Yet more than feelings, we would rather refer to
perceptions."

Or do your creative processes respond to more cerebral approaches?

"Cerebral approaches appear when the language is already shaped,
when I can clearly see what I want to outline and how. It is then
when the intentional resources appear."

Do you mentally relate your music to stories or images?

"In some occasions, yes. But what I really am interested in is to
surprise myself with the music per se."

When you compose, do you try to describe an idea with music, one
that could be translated into a tale, a painting or perhaps even a
film?

"It also depends on the kind of style I execute."

Or on the contrary, in your mind. do your compositions always have
a strictrly sonic stance?

"I have no strictures in that, therefore the ambivalence of both
options is compatible in my sounds and music."

What do you think of the current panorama of electronic music? Do
you think that the diversification of the new trends that appeared
in the 1960s and the 1970s has become a fake avantgarde thus
hindering the progress of the most innovative areas of electronic
music, sucha s for instance the one that tends to be labelled as
"Space Music"?

"Yes, it is sadly so. Although it also is true that in my quest in
search for my own language I am some kind of "anchorite", aside
from the newest, or the new trends, so I don't have clear criteria
about what happens outside. For me, all sounds and their structure
constitute an intimate experience, alien to the outside, which
introduces me to a vast world of connotations, at times colossal,
at other times intimate."

Tell us about "Epikus", your new album. In it you continue with a
line similar to that of "Sequentiagite". Do you think that your
solo style is well reflected in these two albums? Or are there any
aspects of yours which are little known in your solo work?

"When I started with "Epikus", I didn't know what I was in for. In
it I have learned a lot. The result will even appear to be rough
in some aspects, yet now, then, after the work, I believe I
succeeded in taking the helm and redress the route I was
mistakenly taking. In all senses, "Epikus" has been an epic task
for me in its composition, in the masterization and in the graphic
design: I want to thank Jaume Fuentes from Estudios Parsifal the
task of mastering the entire "Epikus" project. As I understand
this, he comprehended the sense and the essence of the project,
providing it with the ideal sonority: And I also owe a debt of
gratitude to Reivax, for the patience and professional skill shown
in the graphic design."

"I am already working on what could be defined as the end of
a stage, which in broad traits I would define as sequential.
My ambitious next project will try to culminate this cycle.,
which already began with my first works, with Technoayuda or
At-Mooss, flirting with various styles that have shaped my
musical language."

(Interview conducted by Jorge Munnshe)

More info here (official website):

http://www.johnlakveet.com/

====================

REVIEWS:

DOM F. SCAB:
"ANALOGICAL CONFESSIONS"
Groove Unlimited
Showing an uncanny ability to fusion rhythm and melody, already
known in his previous works, Dom F. Scab re-creates an epic
adventure, brimming with strong emotions. As the title of the
album suggests, the music gathers, in a way, the pioneering
impulse of Space Sequencer Music when, supported by analogic
synthesizers, it opened the doors to a new universe of sound and
music, in the 1970s. The technological evolution followed its
course, thus easing the task of electronic musicians more and
more, yet, in the opinion of many of the followers of this music,
the essence of that First Creative Impulse was lost with the
monopoly of digital sound. However, the pass of time has ended up
by having the artistic dimension of those heroic pioneering
machines grow. In many of those synthesizersr, such as for
instance the Yamaha CS-80 that Scab has been using, the
characteristics that mark its technical fragility are just the
ones that provide them with an expressivity typical of acoustic
instruments most representative of orchestral virtuosity.
Injecting new ideas to that old approach full of technological
romanticism and a vision of the future, the composer succeeds in
getting extraordinarily powerful sequencers, as well as intense,
lively melodies, vital, capable of evoking inner ghosts that
appear to re-create the most transcendental situations of human
existence.
JORGE MUNNSHE

More information on Groove Unlimited, here:

http://www.groove.nl

DOM F. SCAB
Synthesist Dom F. Scab is a member of the band At-Mooss. Born in
1965, he started taking piano lessons at age ten. Over the next
years, he worked toward acquiring the tools and the ability to
develop his own musical style. He began a solo career as a
composer in 1998. His music has gotten airplay on such famous
radio programs like Echoes (in the USA).Scab has composed some
soundtracks. He has collaborated with several musicians, among
them Albert Giménez (ex-member of Neuronium). He is also a skilled
sound engineer.
Essential recordings:
-INNERSEED
-COSMIC NI (& Albert Gimenez)
-SILENT MARS (& John Lakveet)
-BINARY SECRETS
-ANALOGICAL CONFESSIONS
-FACTA
With At-Mooss:
-MORPHING SYNTHESIZERS
-MORPHING SYNTHESIZERS-II
-MORPHING SYNTHESIZERS-III

You can find more information here:

http://www.domfscab.com

If you wish to purchase any recordings by Dom F. Scab you only
have to use this link:

http://www.amazings.com/mailorder.html

J.M. CIRIA:
"YLEM"
At-Mooss Records
This album constitutes, in many aspects, a refreshing breeze
within the current panorama of electronic music. Aside from
the patterns that shape the structure of diverse genres grouped
under the label of "electronic music", J.M. Ciria succeeds in
impressing us with his music. The album is full of unusual
approaches to these currents within "electronic music", The
composer does not deal with just topics, nor does he lose himself
in purposeless, useless experimentation. The themes flow around
Synth-Pop in a natural, spontaneous way, with touches of Jazz, New
Instrumental Music, Techno, Space Sequencer Music and Ambient.
Although the stylistic spectrum involved is quite wide, the
musical personality of the author throughout the entire CD can be
clearly appreciated. The pieces are usually agile, dynamic, with
sustained rhythms in sequencers and percussion. The melodies are
intense, lucid, direct. In several passages, the melodies are
developed by the rhythmic sequences themselves, something that in
the background of J.M. Ciria as a drummer has no doubt turned out
to be fundamental. Much of the music suggests exciting adventures,
Other parts, such as for instance the theme "Sirius" show a highly
successful romantic character. There also are passages that evoke
the mystery of the indescribable, or the loneliness of deep space.
In short, "Ylem" is an album that will not leave those who enjoy
innovation in music indifferent.
JORGE MUNNSHE

If you wish to purchase this recording you only have to use this
link:

http://www.amazings.com/mailorder.html

J. M. CIRIA
José María Ciria has a wide artistic trajectory, whose beginnings
go back to the seventies, Well known, among other aspects, for
his work in the band Program@, he has participated in several
avantgarde bands, and has shaped a very personal style. Apart from
his work as an electronic composer, he also is a famous as a
percussionist who has taken part in albums by well-known artists
and bands, such as for example, Neuronium. His live performances
constitute another important aspect in his career.
Essential discography:
YLEM
In Program@:
ACROPOLIS
ASHES

If you wish to purchase any recordings by J.M. Ciria you only have
to use this link:

http://www.amazings.com/mailorder.html

JONN SERRIE:
"LUMIA NIGHTS"
Neuronium Records
With his personal cosmic style, Jonn Serrie takes us to a new
voyage among the galaxies. He uses his skills intertwining warm
melodies of a romantic quality, with the capacity of synthesizers
to evoke the immensity of space. Throughout nine tracks, Serrie
re-creates the sensations that we can experience when we watch the
sky on a cleat night. Nightly textures,.misty brush-strokes, light
melodies like a soft breeze, ingravid timbres, these are some of
the identity signs of this music. With a more electronic, space
approach than other albums, the Jonn Serrie we can listen to in
"Lumia Nights" is the poet of the stars, the bard that tells us of
cosmic epics brimming with majesty and romanticism.
JORGE MUNNSHE

SMOO:
"TRAFFIC IN MY SOUL"
Neuronium Records
Taking Atmospheric Pop as a starting point, Smoo weaves a dozen
cottony themes, hypnotic, ingravid. Working with great skill the
combination of synthesizer textures and layers of sounds,, Smoo
succeeds in making the fact of listening to his music into an
experience like watching a first-class pirotechnic spectacle. The
themes usually have a rather slow rhythm, yet it is powerful and
constant. The melodies are warm, sensual, ethereal. The vocals
appearing in some of the tracks have been electronically
manipulated to a greater or lesser extent, thus underlining their
most atmospheric traits, and interwining themselves with the other
sounds in a magic way.
ALEJANDRO HINOJOSA

VARIOUS:
"SEQUENCES 27"
Sequences Magazine
The audiozine "Sequences 27", that since its issue number 14 has
consisted in a printed zine accompanied by a CD with pieces from
different artists featured in it, celebrates its ten years of
existence. To do that, this issue includes a double CD with a
wonderful selection of electronic compositions: Steve Roach:
"1992". Rainbow Serpent: "Desert Move". Cosmic Hoffman: "The Gate
Of Bihar". Ron Boots & Kees Aerts: "Sequences Piece". Keller &
Schonwalder: "Virtual World". Airsculpture: "Cement". Vidna
Obmana: "Recoils (Prologue)" Syndromeda: "Intermezzo". Artemiy
Artemiev: "Beyond The Bounds Of Reality". Waveworld: "Sunrise At
Yacekla". Paul Ellis: "Slowly Boating Wings". Mark Jenkins:
"Ekranoplan". Bjorn Lynne: "The Alchemist". Rudy Adrian:
"Stargarden". Michael Shipway & Steve Smith: "The Nova Towers -
Pt3". Thought Guild: "Semiotic Sequence". Transceive: "Evolver".
Gert Emmens: "Gasphar". Ron Boots, Alquimia & Mark Jenkins:
"Forgotten Memories". Skinmechanix: "Waving At Mono". Glimmer
Room: "Unknown Substance". Henric: "Homicide 36 (Dark Version)".
The printed zine accompanying the CD also includes interesting
articles and interviews, as for instance: Mike Oldfield, Paul
Ellis, "The quest for the ultimate analogue sequencer" and others.
EDGAR KOGLER

SYN:
"SOUNDWAVE TRAVELLER"
Spheric Music
Throughout three long pieces, Syn stages a spectacular performance
of synthesizers and sequencers, all of them set at the service of
electronic music in its most cosmic side. Although there are slow
passages, much of the music has a great dynamic quality. The
melodies have a certain majestic air, and help to evoke, in the
imagination of the listener, voyages to exotic places and
impressive experiences.
JORGE MUNNSHE

VICTOR NUBLA:
"SEVEN HARBOUR SCENES"
Hronir
Victor Nubla, a legendary artist in the panorama of European
musical innovation, shows once again his great imagination to
create surrealistic sonic ambiences that at the same time seem to
be as real as life itself. Blending together disquieting melodies
with sound constructions based on very diverse sources with a
perfect feel, the seven tracks are like captured dreams or
nightmares, magically trapped in an audio format. The entire album
is bathed in an attractive air of mystery, not lacking in
melancholy romanticism, and where there also appear psychedelic
and minimalist touches.
JORGE MUNNSHE

ARTEMIY ARTEMIEV & PHILLIP B. KLINGLER:
"A MOMENT OF INFINITY"
Electroshock Records
Exploring the darkest frontiers of Ambient, these two composers
show us one of the most radical aspects in their respective
styles. Five electronic pieces, featuring an infinity of
disquieting sounds coming and going, constitute sinister
paintings, capable of making us imagine descents into caverns
brimming with unearthly beings, or astral voyages beyond the
limits of space or time.
EDGAR KOGLER

ARTEMIY ARTEMIEV & KARDA ESTRA:
"EQUILIBRIUM"
Electroshock Records
The collaboration between Artemiy Artemiev and Karda Estra has
given, in this album, a very remarkable, interesting result. In a
general climate of mystery, psychedelic elements converge with
others that could be defined as Sepulchral Folk. The balance
between these two powers varies in each theme, just like the
soundscape, yet on the whole this album seems to invite us to
meditate on death, and also on the loved ones that once lived by
our side and now are no longer on the eartly world.
DOMINIQUE CHEVANT

ARTEMIY ARTEMIEV & CHRISTOPHER DE LAURENTI:
"57 MINUTES TO SILENCE"
Electroshock Records
As if inspired by the ghosts of an abandoned mine, this album
permits the listener to look through a series of windows towards
places where our earthly reality never reaches. The treatment of
sound that the artists have given the pieces puts any natural
sound or any sound that could be created with a musical instrument
far away from us. They make spooky whispers paint terrifying
melodies, as if they were transmissions from feral regions of
cosmic devastation or from the dark depths of hell.
DOMINIQUE CHEVANT

====================

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