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From: "klanggalerie@yahoogroups.com" <klanggalerie@yahoogroups.com>
To: klanggalerie@yahoogroups.com
Sent: Monday, 2 April 2012, 15:47
Subject: [klanggalerie] Digest Number 226

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NAEVUS and PLAY THE TRACKS OF  CDs From: klanggalerie

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NAEVUS and PLAY THE TRACKS OF  CDs

Posted by: "klanggalerie" klanggalerie@...   klanggalerie

Mon Apr 2, 2012 6:56 am (PDT)

Hello everybody,

we have two exciting new albums out this April, orders being accepted now:

gg164
NAEVUS - The Division of Labour CD
The Division of Labour is the long-anticipated seventh album from Naevus. Four years in the making, The Division of Labour is the most sharply focused Naevus thus far, uniting the classic acoustic guitar-based sound of Naevus with slabs of post-punk (`Idiots'), searing stabs of guitar noise (`Hobo Placing'), psychedelic introspection (`Donkey's Trough') and even a glimpse of the drum machine-based sound of the earliest Naevus recordings (`Song in Suspension') .
Performed and produced solely by Naevus founder Lloyd James, and featuring compositional contributions from Raffaele Cerroni (Mushroom's Patience), Hunter Barr (KnifeLadder) , Ben McLees (This is Radio Silence) and Propergol Y Colargol.
Limited edition of 600 copies.

as well as

gg164
PLAY THE TRACKS OF - Collectible CD
We've done it! Finally, after hinting at it for years, we have released our first pop album. Werner Möbius and Frenk Lebel are back! Play The Tracks Of return with a collection of songs that would have made the second album. Some of them appeared on ultra rare singles, some only on demos, some nowhere at all. Before finishing the record, the band split up, leaving these pop gems in limbo for a very long time. Now, we are proud to present you these collected recordings by the Austrian Pet Shop Boys. Synth pop at its very best, think Soft Cell, Depeche Mode, Erasure.
Limited edition of 300 copies.

Both CDs at EUR 14,-/copy. Wholesale as usual/ask.
Still fresh:

gg158
MUSHROOM'S PATIENCE - Wien, Breslau, Berlin CD-R
Italian cult project Mushroom's Patience played a few select shows in the boiling hot summer of 2011. Three concerts were recorded: Vienna (Austria), Wroclaw (Poland) and Berlin (Germany). On this live album you will hear the result of this small tour: wonderful new versions of classic songs from all stages of the band's career, music from "Dicer's Oath", "Roma, Wien", "L'ultimo Bagno del Primate", as well as totally unknown material and obscure compilation tracks. Again, this has been mastered very carefully and comes in crystal clear sound quality.
Limited edition of 100 copies. EUR 12,-/copy

gg157
KORPSES KATATONIK - Ouevres Completes CD

Zos DeWitt is a legend in Industrial music. He started the Nekrophile label in Vienna in 1983 and released music by Genesis P-Orridge, Ain Soph, Sleep Chamber, Coil any many more. In 1982 he recorded his first album under the name Korpses Katatonik. A work full of harsh Industrial sounds in the tradition of early SPK. On this CD re-issue, we present the complete works by this project including material from the Beast 666 compilation. Carefully remastered, this albums sounds better than ever before. DeWitt later went on to form Zero Kama whose "Secret Eye of L.a.y.l.a.h. " album was played on human bones only. A milestone in 80's Infustrial that sounds as fresh today as it did then.
Limited edition of 300 copies. EUR 14,-/copy

Kind regards
Walter
www.klanggalerie. com

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----- Forwarded Message -----
From: Teflon Beast Records <teflonbeast@...>
To:
Sent: Tuesday, 24 April 2012, 13:50
Subject: New Cassette Released Today!

Irureta Cassette, 100% Pur Sport, Released Today!

April 24, 2012 (Austin,TX) - Its TBR's distinct pleasure to announce the release of 100% Pur Sport (TBR08) by a group who call themselves Irureta. The full-length cassette is considered "regressive rock" by the band - we just think its cool. These sonic jammers from Trith St-Lywood, France are sure to make you groove when listening to this "sports" themed collection. An answer of sorts to Gary Busdriver (TBR01), Irureta have a lot of roots and we feel its best to let them speak for themselves:

"Irureta is a band I've been a part of for most of the last 8 years. It is an unkept secret that's been at the back of our musical minds : Omar Garita, Otto Domingo, Bernold Delgoda, Zachary Oswald, Gilbert Térazas and Derec Lemago. These are our actual musical minds, yes sir!

It really started as a joke band in the early 00's : we would simply record, play, get high and drink delicious beer, not necessarily in that order. Then recordings would be grossly edited in order to keep whatever was of interest to us during that session : glorious misses, spontaneous composition, weird readings and synth experiences. Around that, an aesthetic and abstract identity built itself over the years, mainly around the themes we saw fit to include in our research : old school / vintage sports ("Le Beau Jeu" is central in that respect, and is embodied by technical, collective playing soccer players from the 70's, in contrast to the performance seeking, ego-tripping idiots we've got these days) like Football or Formula 1, charcuterie / sausages, pâtés, weed, cats, delicious beers, and red wine. Also : space traveling, Derrick, absurdist comic books and drawings, mad scientists worldwide, south american countries, exploitation films, early electronics (Ray Scott, Delia Derbyshire), etc. The 70's and 80's are a huge aesthetic influence, but probably not in a hipster way. No one knows or cares, actually.

Irureta shamelessly loots : indie-rock, synthesizer music, psych/post-rock, math-rock, afrobeat, sound collage, lo-fi music, and certainly more. That said, I do believe that all these years of playing together helped us mix all this in a coherent ensemble, and that Irureta, in the end, is just Irureta. An Irureta rehearsal happens just because it is planned, and only those who can attend do attend it. Then what happens happens, or doesn't. I've played guitar, bass, synth. Except for a couple of us, we often change instruments. Several of us also have solo projects.

With time, what once was deliberately awkward, stupid, and extremely lo-fi became a little more sophisticated. Maybe even : shareable. Maybe! It just has to be fun, and it has to feel like Irureta. 90% of our track titles are made of the worst puns one could come up with in French. We take great pleasure in making those puns. In a nutshell? An experience in pleasure and (bad?) taste." O.G. 

***As an added bonus we are streaming Irureta's Casher EP (tracks that didn't make the 100% Pur Sport album) on our JAMBOX.

***Next: On May 8th we'll be releasing a cassette of ambient music from Brighton, England's BEMUSED ABUSED titled Silver Seeds.

 

Thanks for listening!

-- Jeff Daily
http://teflonbeastrecords.blogspot.com/
Facebook
@TeflonBeast
What's in your jambox?

----- Forwarded Message -----
From: Vital Weekly <vital@...>
To: g.greenway@...
Sent: Tuesday, 1 May 2012, 8:07
Subject: Vital Weekly 829

                      ============
                      VITAL WEEKLY
                      ============
                      number  829
                      ------------
                      week      18
                      ------------

Vital Weekly, the webcast: we offer a free-to-download weekly webcast as the audio-supplement to Vital Weekly. Presented as a radio programme with excerpts from some of the CDs reviewed here (no vinyl or MP3s). It is available on the site for a limited period of 5 weeks. Download the file to your MP3 player and enjoy!
Complete track listing here: http://www.vitalweekly.net/podcast.html

Before submitting material please read this carefully: http://www.vitalweekly.net/fga.html
Submitting material means you agree with these terms.


* noted are in this week's pod-cast. feed: http://www.vitalweekly.net/podcast.xml

Editorial news: we have decided to stop reviewing MP3 releases. Please do not send any discs with MP3 releases. Just send me an e-mail with a link and a short description, so people can download it. The amount of releases pile up every week and I can no longer devote time to MP3s. Whatever you see coming in the next few weeks are the last ones. Please do not send anymore. Also: releases that do not contain the original artwork will most likely be no longer reviewed. The real thing is necessary for a real judgment. If you wish to send us not the real thing, please contact us first. <vital@...>


CULTURE OF UN - MOONISH (CD by Bocian Records) *
PINKCOURTESYPHONE - FOLEY FOLLY FOLIO (CD by Line Segments) *
ROBERT CURVENGEN & RICHARD CHARTIER - BUILT THROUGH (CD by Line) *
FRANK BRETSCHNEIDER - KIPPSCHWINGUNGEN (CD by Line) *
NEIL JENDON - CORPORATE LAUGHTER (CD by CIP) *
SYNDROME - NOW AND FOREVER (CD by Consouling Sounds)
GENERIC - VOICES - A PHENOMENOLOGICAL STUDY (CD by Privileged To Fall)
BLUE SAUSAGE INFANT - MANITOU (CD by Alrealon) *
ANTONIO TRINCHERA - SPIRITS WRITE LETTERS (CD by Psychonavigation) *
PHILIP BLACKBURN – GHOSTLY PSALMS (CD by Innova)
THE  REMOTE VIEWERS – NERVE CURE (CD by Remote Viewers)
ROSS HAMMOND QUARTET  - ADORED    (CD by Prescott Recordings)
ALEX JENKINS’ SOUND IMMERSION – PERSEVERANCE (CD by Prescott Recordings)
DORON SADJA - RESIDUALS (CD by Shinkoyo) *
FRANCISCO LOPEZ - UNTITLED #284 (CD by Cronica Electronica) *
DON PRESTON - FILTERS, OSCILLATORS & ENVELOPES 1967-1982 (CD by Sub Rosa) *
BERANGERE MAXIMIN - NO ONE IS AN ISLAND (CD by Sub Rosa/Framework) *
ERDEM HELVACIOGLU - TIMELESS WAVES (CD by Sub Rosa/Framework) *
ELAINIE LILLIOS - ENTRE ESPACES (CD by Empreintes Digitales) *
PETE STOLLERY - SCENES (CD by Empreintes Digitales) *
PHILIPPE PETIT & FRIENDS - CORDOPHONY (CD by Home Normal) *
V4W.ENKO & SANMI - YET (CDR by Nexsound) *
FRANCISCO MEIRINO - A WHILE AND AWHILE (CDR by Obs) *
CHRISTIAN B. SOTEMANN/CRYPTIC SCENERY - BEING (CDR by Bloated Sasquatch Beer Theatre Audio) *
D.O.R. - AN OCCUPIED HOUSE (CDR by Caduc) *
MIDWICH - RUNNING REPAIRS (CDR by Striate Cortex) *
ALLEYPISSER - GLEMT (cassette by Throne Heap)
ANNE-F JACQUES (cassette by Crustaces Tapes)



CULTURE OF UN - MOONISH (CD by Bocian Records)
Now here I find myself puzzled and pleasantly confused. A down-under duo of piano (played by Chris Abrahams) and prepared acoustic guitar and prepared semi-acoustic guitar (played by David Brown). I could take this down to Dolf Mulder, as it sounds at times pretty jazz like, but there is something very captivating about it. Their acoustic approach seems amplified, sometimes lingering on the verge of feedback (only slightly though), and when their playing is conventional, like playing the keys of the piano, it sounds jazz but not in a way I have encountered before. On top of that the prepared guitar sounds most of the time as a percussion instrument, with objects placed on top like a cymbal. Strange tonal textures arrive and in every way this is an odd record. Improvised music of course, but in an odd way also jazz or pop like. Small melodies are used, every now and then, such in 'Porpoise To One Side', but with those strange acoustic approaches on top of that. As said this is
  all
very
captivating to hear. Chris Abrahams never lets me down, it seems. All of his releases are wonderful, and this one is no exception. (FdW)
Address: http://www.bocianrecords.com

PINKCOURTESYPHONE - FOLEY FOLLY FOLIO (CD by Line Segments)
ROBERT CURVENGEN & RICHARD CHARTIER - BUILT THROUGH (CD by Line)
FRANK BRETSCHNEIDER - KIPPSCHWINGUNGEN (CD by Line)
The first surprising thing I saw when I opened this package was a CD that looked different, design-wise, from the Line releases so far. A full-sized image on the front, with a serif lettering saying Pinkcourtesyphone and 'Foley Folly Folio'. It turns out this is a release by Line Segments, 'a new series (or sublabel?) of releases on Line which will highlight some, perhaps, very non-Line-like works, Works that stray away from the norm… more maximal, maybe… louder maybe… noisier maybe… beat-oriented, maybe.' For the first first release in this series, we have a release by Pinkcourtesyphone, which turns out to be label boss Richard Chartier. Apparently recorded in 1997, 2004 and 2011, 'Pinkcourtesyphone is dark but not arch, with a slight hint of humor'. This is indeed a much more musical and melodic music of Chartier than his usual abstract microsound sound art. I believe to hear synthesizers, lots of effects, maybe a wind instrument, but also lots of reverb and vaguely
 
acoustic
sounds, which reminded me of the 'other' Chartier. But with three of the five pieces clocking in at twenty or more minutes, this is hardly pop music. More dark, atmospheric and drone like. Maybe even a bit gothic in the sense that there is some drama in here. Is it good? I don't know, I haven't made up my mind, I think. Its hard to say, but even after a few repeated listening sessions, I am not sure what Chartier's intentions are with this. I am not yet convinced by the quality. Its more maximal indeed, but not necessarily louder/noisier or beat oriented.
Chartier teams up with Robert Curvengen, a man of turntables, dubplates and ventilators in a sort of curious remix project, bouncing sometimes pre existing materials back and forth, like a Chartier piece 'processed through three improvisations for a 16 foot single manual pipe organ'. In the four pieces presented here I must admit I didn't hear much news. Both Chartier and Curvengen know what they are doing and things should sound. The music is soft, it crackles, it hisses, skips a bit in 'Built Through Both Sides', with scratching vinyl. It all sounds nice and it all sounds a bit without surprise. The development has come to standstill here. I find it hard to think who is the person who keeps on wanting to hear this. It doesn't add much to what you already heard from both (even when Curvengen doesn't have such an extensive catalogue of works as Chartier). I think I preferred to have played Pinkcourtesyphone again and try and find out more about that. For his main body of work
,
Chartier does what he always does, and always does it expertly, but I think I know how it sounds by now.
Frank Bretschneider is someone who works with new ideas. FRom his strict minimalist dance music of Komet about a decade ago, and the more clean cuts of his earlier 21st century work, his music can be ambient or dance like. Or both. Here he has a work that deals with the Subharchord, a 'unique instrument developed during the 1960s at the technical center for radio and television of the East German postal service. Apparently eight machines were made and three survived. Apparently the Subharchord is a bit like the Mixturtrautonium, a subharmonic sound generator. Bretschneider worked for two weeks on the machine, especially focussing on the 'Mel' filter, a narrow-band filter and the part that provides the 'rhythmization'. He also used clavia micro modular synthesizer for additional filtering. Now this is a great CD. It has all the Bretschneider elements in it: click rhythms, looped clusters of synthesized sounds, such as in the drone heavy sixth part, moving over into a loop heav
y
rhythmic drone of the seventh part. Each of the parts flow in a natural way into the next and makes the whole eight part work into one story. An excellent work. (FdW)
Address: http://www.lineimprint.com

NEIL JENDON - CORPORATE LAUGHTER (CD by CIP)
This a debut CD, so not a lot of information is known about Neil Jendon. Blake Edwards of CIP saw him play live a couple of times, and was blown away by his modular synth playing. Jendon presents five pieces here that reflect some of that live element. He builds up blocks of sound and then all of these blocks together make up an extensive mass of sound. In 'The Morbid Age' this grows and grows from a nice cosmic land into a nasty loud nightmarish piece of music, and a similar layering is applied by 'Static After Static', but then with a sort of Throbbing Gristle like rhythm at the start. Each of these five pieces has its own specific character. The three best pieces are the three not yet mentioned, in which Jendon explores the limits of ambient music, through slowly evolving sound patterns. Here its less 'layer upon layer' but the development are sought and found in a few specific sounds themselves, ranging from the very moody 'Staggers And Folds' and 'Cataline' to the slight
ly
rhythmic build up of 'Always And Only' - three great pieces of moody modulars. The other two pieces are nice but sort of break with this more gentle flow. In any case Jendon delivered a debut album that showcases what he can do pretty well. (FdW)
Address: http://www.cipsite.net

SYNDROME - NOW AND FOREVER (CD by Consouling Sounds)
Now and Forever is the third release of Syndrome at Consouling Sounds, a label in Belgium. Syndrome is a project of Mathieu Vandekerkhove, who plays also in Amenra, Kingdom, Sembler Deah and Caan. He is assisted by Colin H. van Eeckhout on vocals and Josh Graham on piano and moog. Now and Forever consists of one track of 28 minutes and is dedicated to his son Wolf. The composition starts with slowly played accords on guitar and a rhythm on piano... I presume. Slowly some drones will flee into this open melancholic sounds which slowly slip away. Dark moments of ongoing sound layers are slightly opened by guitar tones which introduced the dark voice of Vandekerkhove who sings a song for his son and wishes him a independent life and guidance to walk this way. The song makes me not happy and gives me more then feeling of a farewell song. Anyhow... maybe it is like that... when your son grows up and goes his own way, you had to say him goodbye and hopes that he will do the right t
hing and
follows his own heart. Now and Forever is melancholic album full of deep mixed emotions, claustrophobic and also full of hope and despair. The variation between dark sound layers and ongoing guitar drones and open played chords and fresh string sounds makes this album to one of my favorites in this field of music. Mathieu Vandekerkhove tells a musical story about the role as father and he tells in a sensitive way. (JKH)
Address: http://consouling.be/

GENERIC - VOICES - A PHENOMENOLOGICAL STUDY (CD by Privileged To Fall)
Adam Sykes is active in experimental music for a long time. In his daily life he is sound-engineer for television and film industry. Since 1996 he runs the label Iris Light, which released music like Maeror Tri, Aube and Front 242. In 2008 Adam Syker started Generic and released a few CD's and free mp3 downloads. Voices - A Phenomenological Study is indeed a nice and interesting study to the voice. Looped voices are the main source in the six compositions which are combined with a kind of different sounds. The music has a ritual atmosphere, maybe because of the looped sounds which gives a repetitive and meditative mood. Noisy sounds are combined with dark slow drums, chants and edited voices. The edited voices are stripped of their natural source and flow together with the abstract sounds and ongoing layers. The music gives an spooky feeling, but in a subtile way. The music refers strong to the tape-music and industrial music in the eighties, because of the use of looped soun
ds and
the ritual atmosphere, but played with the technics of 2012.. "Voices - A Phenomenological Study" is highly recommended for the lovers of dark ambient music and for now it is one of the most interesting albums of 2012, because it fits well in the claustrophobic age we are living in... (JKH)
Address: http://www.irislight.demon.co.uk

BLUE SAUSAGE INFANT - MANITOU (CD by Alrealon)
Chester Hawkins has been going strong has Blue Sausage Infant since the 80s, releasing a bunch of cassettes. But its only in recent years that I fully heard his music, such as on the excellent LP 'Negative Space' (see Vital Weekly 790). Here is a new CD by him, this time with a bit more and a bit shorter pieces, although still between three and twelve minutes. He receives help from a bunch of players, such Jeff Barsky, Daniel Euphrat, Jason Mullinax, Jeff Surak and Chris Videll on instruments as guitar, drums, fire extinguisher, turntable, bells, gongs and shortwave. Hawkins himself plays synthesizer, oscillators, bass, lapsteel, rhythm machines, guitar, voice, wood flute, zither, ukulele, edits, toys etc. Style-wise Blue Sausage Infant continues were that LP left of, even with the inclusion of a track from 1990: an excellent mixture of krautrock driven beats, drone like soundscapes, modular knob twiddling, walls of guitar sounds, still very much along the lines Neu!, Hawkind
, and
The
Legendary Pink Dots, but save for a few taped bits, all instrumental. A piece like 'Yggdrasil' shows the eclectic approach of Blue Sausage Infant, with one hand a lot of guitars and feedback but on the other hand a bouncing techno beat. And somewhere in between a desolate lapsteel guitar. Excellent music for some late night beer drinking and dope smoking - if only such things were allowed. Another fine album indeed. (FdW)
Address: http://www.alrealonmusique.com

ANTONIO TRINCHERA - SPIRITS WRITE LETTERS (CD by Psychonavigation)
This is the second album for the Italian composer Antonio Trinchera for this label and its an odd one. Trinchera primary instrument is the guitar, but he also uses beats and synthesizers. Some guest players add piano, lyrics/vocals and bass guitar. Originally trained to play blues and jazz, this is an album of ambient soundscapes and jazzy guitar loops. That is not the odd thing about this. The odd thing is that at times this sounds quite distorted. In the opening title piece the back beat is quite heavy, and there is some distorted hiss like sound to it, like the whole thing is over compressed. This distortion returns every now and then. Some of these pieces are quite nice, like 'The Doll And The Moon', which reminded of Polygon Window. But sometimes it seems to be a bit too much on free play of guitar and an over-active use of effects, such as in 'Capovento' of 'Sound Of Broken Shell', or too jazzy like in 'Speak To Me'. 'Yes Or Not', the only vocal track, looses itself in
echo
effects set against a techno beat. This album has many ideas, too many I am afraid, and doesn't seem to make its mind what it wants to be. It has a bunch of nice pieces, but overall I am afraid I am lost here. It should be less of a showcase of what can be done, and more a coherent set of pieces, I would think. (FdW)
Address: http://www.psychonavigation.com

PHILIP BLACKBURN – GHOSTLY PSALMS (CD by Innova)
This is one of those CDs that lay around much too long on my desk. Repeated listening didn’t make this one talk to me. We didn’t become friends for some reason. Blackburn is a composer and sound artist from Cambridge, England. Did some of his studies at the Deep Listening Institute if Pauline Oliveros. He published articles on diverse musical topics and runs Innova Recordings.‘Ghostly Psalms’ is an extended work in 10 parts. Opening and closing compositions are shorter ones: ‘Duluth Harbor Serenade’ and ‘Gospel Jihad’. The opening work is a collage of sounds of the harbor in Duluth, Minnesota: church bells, boats, horns, sirens, etc. with additional musical instruments. For the key work ‘Ghostly Psalms’ Blackburn makes use of vocal ensembles, instruments and field recordings. Above all, Blackburn creates soundscapes. Ambient flows of electronics sounds come and pass by, creating an ambient space. Evoking dreamy landscapes, illusionary places, somewhere hig
h up in
the sky. The choirs often sing sacred or seemingly religious music. Otherworldly music. Environmental sound artist Blackburn describes the piece as a ‘Universe Cantata’. The way he combines choir and environmental sounds did not lead to a convincing work in my perception. (DM)
Address:http:// www.innova.mu

THE  REMOTE VIEWERS – NERVE CURE (CD by Remote Viewers)
The Remote Viewers started as a trio of Adrian Northover, Louise Petts and David Petts, around    2007. It was the start of a fruitful period, that with ‘Nerve Cure’, results in their tenth release. Nowadays The Remote Viewers turns around the nucleus of Adrian Northover (soprano & alto sax) and  David Petts (tenor sax). For this release they were assisted by Rosa Lynch-Nothrover (piano, percussion), Sue Lynch (tenor sax, flute), John Edwards (double bass, harp) plus Adam Bohman (bowed objects on ‘Long Weekend’ and Caroline Kraabel (baritone sax on ‘Grids’). It is my first meeting with this group. Gradually I became more and more enthusiastic about their music. For sure it is evident this music is carefully structured and played, but it didn’t move instantly. I needed time. The approach is very minimalistic and academic although there is humor and wit in it.. There is also something Henry Cow-ish in this music, listening to tracks as ‘Forgotten Corners’ and ‘
War with
the Outer Countries’. The playing is economic and the arrangements are sober, delicate and to the point. Saxophones are prominent, but the coloring by harp, flute, are very okay. It is more in vein of composed chamber music than leaning on jazz or rock. It is of great efficiency and discipline. As cold and emotionless this music appeared to me in the beginning, how warm it is now. Interesting stuff. (DM)
Address: http://www.remoteviewers.com

ROSS HAMMOND QUARTET  - ADORED    (CD by Prescott Recordings)
ALEX JENKINS’ SOUND IMMERSION – PERSEVERANCE (CD by Prescott Recordings)
A new release from Ross Hammond from Sacramento, with a set recorded by his quartet in Los Angeles at Newzone Studio in december 2011. Compared with earlier releases I know from him, this is heavy and powerful stuff. This is also reflected in the line up: Vinny Golia (tenor, alto, C soprano saxophones), Alex Cline (drums), Steuart Liebig (bass) and Hammond on guitar. In the closing piece they are assisted by Wayne Peet    on piano.  I think we have here Hammond for the first time in the accompany of big names from improvised music. The pieces start from a compositional approach Hammond developed with the Lovely Builders. This way he defined a context for the improvisations.  The playing is tight and together.  Solos occur but it is really more of a group expedition.    The pleasant guitar playing by Hammond feels completely at home in the company of these heavy weights.    The improvisations are not that far out.  This is more on the accessible and pleasant side of improvisation, more
  of a
jam session, where  one feels these guys had a good time together. So why not join them?
Another quartet is run by Alex Jenkins, also a Sacramento-based artist with roots in rock.  Nowadays however feeling more at home in jazz and improvised music. The line up of his quartet: Tony Passarell (tenor, soprano and baritone sax), Michael Dale (alto sax and clarinet), Alex Reiff (upright bass) plus Jenkins himself playing percussion). Was it ‘Generosity’  some time ago, now it is the virtue of Perseverance that provides the title for their new cd.    Passarell, a central force in the Sacramento scene,  also played on the first record of 2009. For their new release everything was recorded on one day in april 2011. Recorded, produced, mixed and edited by Jenkins.    All four musicians contributed with compositions. As it is jazz there is plenty of room for improvisation. It is a solid work but not spectacular. Fine, nice solo work from Passarell and overall fine playing by all of them. The typical drumming of Jenkins is holding everything together. This is also the most
remarkable thing of this release.  In tracks as ‘Byobu’ Jenkins plays with swing. But in others, like his own composition ‘Ali Baba’ or ‘Frozone’, not. Here the influence of his studies on Indian music pop up. (DM)
Adress: http://www.rosshammond.com / http://www.alexdrums.net

DORON SADJA - RESIDUALS (CD by Shinkoyo)
Somehow, I think, I may have missed out upon Doron Sadja's 'A Piece Of String, A Sunset', which 12K released in 2003. Now there is finally a new release, on his own Shinkoyo label, in an oversized package, an envelope with two prints. There is no mentioning of any instruments used, but my best guess is (perhaps based on the title of his first release) that Sadja uses the guitar, and lots of electronics, perhaps laptop. Yet to think that Sadja plays minimalist drone like spacious guitar music is not entirely true. In the first two pieces this is fuzzy, shoegazing like, but with a strong romantic notion on the synthesizer (guitar synthesizer). Think Fennesz and Tim Hecker for instance. Music that is all over the spectrum of sound, very dynamic. In the third piece (there is, I think, no tracklist) there is suddenly a bunch of not very good digital drums, which seem, as far as I'm concerned, seem out of place and break with the great uplifting spirit of the first two pieces. In t
he
fourth
one there is a return to music without rhythm, and here a whole bunch of odd cliche's are opened up, which sound a bit cheesy to me. Which means that I like two pieces and two that I found myself to have some difficulty with. Maybe Doron Sadja felt a need to deliver a diverse release, but with four tracks/thirty minutes it seems a rather unstable lot. (FdW)
Address: http://www.shinkoyo.com

FRANCISCO LOPEZ - UNTITLED #284 (CD by Cronica Electronica)
In 1992 Francisco Lopez did a bunch of 'environmental recordings' in Lisbon. In 2011 he did an 'extensive evolutionary transformation' of these recordings and presented that in Lisbon. No wonder the CD of that of that piece is now released on a Portuguese label. Its a forty-three minute in a fashion that Lopez uses a lot these days. The computer is these days his main tool of transformation and composition, using mainly those functions to alter the color of the sound. This he applies to the many sounds he has at his disposal, sometimes looping them around and creating a dense field of sound events. This CD is not different from any of his other recent CDs, which I guess is a pity. Lopez is one of those musicians who release a lot, but whose development can be summed up with a few key releases, the others are 'fill ins', extending what you already know, or perhaps for the die-hard fans. Having said that, this work by itself is another fine piece (if nothing new that is) of com
puter
treated sounds, ranging from super-low sounds to very high end sounds, put together in a collage like form of building crescendo's and dropping them at one point and building all over again. He does it with the usual great care, but having said that, this is not the big new innovative masterpiece (just in case you were waiting for it). (FdW)
Address: http://www.cronicaelectronica.org

DON PRESTON - FILTERS, OSCILLATORS & ENVELOPES 1967-1982 (CD by Sub Rosa)
In case you don't know: Don Preston was from 1966 to 1974 the keyboard player of The Mothers of Invention, Frank Zappa's band. Alright: I didn't know, but then, I never cared for Zappa that much anyway, so perhaps you will excuse me. Preston also played with Carla Bley, Captain Beefheart, Meredith Monk, Eugene Chadbourne, The Residents and much more. Yet, almost forgotten, were his pure electronic works, which are now gathered on this release. 'Electronic Music' (1967), 'Analog Heaven' (1975, in seven parts) and 'Fred & Me' (1982). This is a discovery that equals I guess the first time we found that there was a person like Tod Dockstader, who had been composing electronic music decades before we heard it. Preston works with modular synthesizers, moog synthesizers, oscillators, theremin and such like and the result is excellent. From the pretty raw 1967 piece to the excellent mood music of 'Fred & Me', with its soft drifting nature, and sparse percussive sounds - well, accordi
ng to
the
cover, but they were not easy to find here. 'Analog Heaven' is just that: analog blissful heaven. An excellent CD all around, which made me think: is there more? Yes? Please? For all fans of sixties electronic music, Barron & Dockstader fans. Or perhaps even for daring Zappa fans. (FdW)
Address: http://www.subrosa.net

BERANGERE MAXIMIN - NO ONE IS AN ISLAND (CD by Sub Rosa/Framework)
ERDEM HELVACIOGLU - TIMELESS WAVES (CD by Sub Rosa/Framework)
We can't keep up with Sub Rosa's Framework series, here already with number 11 and 12. The series is about "A brand new mix-up of unusual conceptions of sound material by young unknown composers, well known not-so-young composers and old but clever composers." and at least introduces me to the work of Berangere Maximin, who was born on the island of Reunion but she moved to France when she was fifteen. She studied electro-acoustic music with Denis Dufour and performs using her laptop, voice, guitar and objects. On this CD she has some duets with Rhys Chatham on trumpet, Christian Fennesz, Frederic D. Oberland and Richard Pinhas, all three on guitar. Each of these four are on separate pieces, Fennesz even on two of them. Its not easy to place Maximin's music, and I am not sure what she wants with her music. Its somewhere in between improvisation and pop music, especially when she uses her voice. The instrumental part is made of large walls of guitar sounds, except in the piece
  with
Chatham on trumpet, with lots of echo, being a very improvised piece. But especially 'Knitting In The Air' seems like an attempt at pop structures - along the lines of AGF, but then less clean and perfect. The whole album has a certain dirtiness about it, which makes it all quite enjoyable. Hard to pin down, but quite captivating all together.
Erdem Helvaciouglu's 'Eleven Short Stories' was reviewed in Vital Weekly 824 and was all about piano music. Here we have some altogether different. An electronic piece in six parts, which was composed for a 47 channel/53 speaker diffusion system, but obviously reduced to stereo here. It deals with the six basic human emotions, fear, love, anger, sadness, surprise and joy. Erdem Helvaciouglu uses the Togaman GuitarViol, Gibson Les Paul, sine waves, various analog pedals and hardware fx processors. Maybe the word 'electronic' is a bit misleading here: its mostly the multichannel part of the work that is the electronic bit. The music itself is mainly a sort of improvised guitar doodling and one of a kind I am slightly allergic too. Either its scratching the surface of strings (in 'Fear'), happy looped tunes (in 'Joy'), noise based in 'Anger' - all seems to be pretty clear from looking at the title. Just not my cup of tea I guess. (FdW)
Address: http://www.subrosa.net

ELAINIE LILLIOS - ENTRE ESPACES (CD by Empreintes Digitales)
PETE STOLLERY - SCENES (CD by Empreintes Digitales)
Two releases from two composers I never heard of on the Empreintes Digitales label, home of the world of acousmatic composers. Her biography reads like a list of official institutions and festivals, which is no doubt to impress the reader, but none of these mean much to me. The music however on this CD is quite interesting. Unlike others on this label not all here is about putting sounds through computer processing, which in this circle of composers often leads to similar results, but the power here lies in the use of field recordings (cars, voices, water) to come to the listener untreated but put together in a radiophonic manner. Sometimes the use of electronics is a bit too much of a cliche, me thinks, but the poetic 'Arturo' and the filmic car sounds of three piece suite of 'Backroads' are quite nice.
From the UK is Pete Stollery, BMus(Hons), MA, PGCE and PhD, a professor of electroacoustic music and composition. His music seems to be build from field recordings which sometimes shimmer through all the electronic processing that is going on. Like with the release by Lillios, things for me are most interesting when it moves away from all the well-known practice of acousmatic sound processing and focussing on primarily field recordings, such as in 'Field Of Silence'. In 'Resound' he uses interviews with people and here its is where the music becomes great. It has a fine radiophonic character, with mumbling voices, street sounds and what seems an absence of electronic processing. Its only with the third piece, 'Still Voices', that we hear more and more of these field recordings, as the first two sink away in sound processing. A combination of electronics and pure field recordings done well is the closing piece, 'Scenes, Rendez-Vous', which has a fine soundtrack like capacity.
I wasn't too happy a few years with the direction this label heading, but these two pick up matters where I like to see them best: a fine combination of pure sound and treatments. (FdW)
Address: http://www.empreintesdigitales.com

PHILIPPE PETIT & FRIENDS - CORDOPHONY (CD by Home Normal)
'With Friends' called have also been 'With Many Friends' as Philippe Petit gets help from a lot of his friends here. A few of them are Bela Emerson (cello), Nils Frahm (piano), Reinhold Friedl (prepaired [sic] piano), Aidan Baker (guitar) and lots of people I never heard of playing harp, violin, vibraphone, organ, guitar, grand piano, flutes, gongs, drums and tibetan bowls. They don't always play together, but per track - thirteen in total - Petit chooses what he needs to add to his own processed acoustics, field recordings, found sounds, electronics, turntables, glass manipulations, percussions, synth, piano and balloons. The cover specifies who does what on which track. The overall tone of the pieces is modern classical music, but not in a very melodic sense, but highly abstract. Not always seem the instruments fit together, but somehow they do. Take for instance 'Crepuscule', in which we have an electric harp, flutes, gongs, bells, violin, cello, tibetan bowls, guitar, bas
s,
acoustics, electronics and percussions. All of that used in the space of five minutes, all seemingly playing random things, but put together so that it actually works quite well. Petit and his ensemble - no doubt none of these people were together when this was recorded - play some highly modern music, rooted in classical music, electro-acoustic music, soundscaping and even folk like tunes. Music that is filled from top to bottom with sounds, with always something happening. Maybe the story like character of some of his previous releases is not that apparent here, but it makes up with some great music. Now its time to work with a real ensemble - maybe Zeitkratzer should invite him? (FdW)
Address: http://homenormal.tumblr.com/

V4W.ENKO & SANMI - YET (CDR by Nexsound)
A collaboration, through e-mail I guess, between Kyo Yanagi, also known as Sanmi and Evgeniy Vaschenko from the Ukraine. A highly digital work this is, but one that has also quite a 'live' feeling to it. Clicks 'n cuts - if anyone cares to remember that - is certainly something that applies here. Things buzz, hiss, crack and loop around, with a highly dynamic sound. Deep bass sounds, shrieking high end sine wave like sounds on top, cut 'n pasted together in the best Pan Sonic tradition. yet, all with a slight difference: this music deals less with a straight forward beat, but rather with cutting up all the sounds, all the time. Only in the closing piece 'Lcgf' the cut-up is absent, and everything is placed in a straight forward fashion, with some desolate piano sounds. A fine closing to a somewhat tiring but also quite rewarding release. Excellent stuff. (FdW)
Address: http://www.nexsound.org

FRANCISCO MEIRINO - A WHILE AND AWHILE (CDR by Obs)
Like I said last week, I do like noise; when served decently. One of the noise makers I really like is Francisco Meirino. He worked as Phroq until 2009, and since then under his own name. For his 'A While And Awhile) he uses his computer, reel-to-reel recorders, analog synth, field recorder, various home-made electronics, piezo transducers, radio scanner and electro-magnetic sensors. 'With audio and visual data gathered in Switzerland and China', it says on the cover. Noise is perhaps not really present on this release. Or perhaps: not as such. Things buzz, crackle and hiss, and put together in an interesting fashion through collage techniques. There are nine pieces on this release, but they can also be heard as one piece. I wasn't paying attention to my CD player so its hard to say when a track started and ended. Its not really important either - the tracks have no titles anyway. Sometimes there is a strong buzz and a new piece starts or perhaps in the middle of piece. Fault
y lines
and machinery are important ingredients in this music. Sometimes the buzzes are layered together and form a heavy drone like machine sound. This is all excellent modern musique concrete music put together in a highly intelligent way from elements from noise music. See, boys from the HNW scene, now that's what I call noise. Use this as your text book example. (FdW)
Address: http://abser1.narod2.ru

CHRISTIAN B. SOTEMANN/CRYPTIC SCENERY - BEING (CDR by Bloated Sasquatch Beer Theatre Audio)
This is a highly conceptual release. Fifteen performances of a piece called 'Being', some 'recorded in a field', some 'recorded during a live performance' and some 'recorded using alternative instrumentation'. The piece 'consists of three sections of silence/sonic surrounding as given in the respective situation and two intentionally played notes'. So we have lots of silence, although 'hiss' is a better word in the long opening, but in the other pieces also may or may not consist of 'field recordings'. The 'live' section contain mainly short pieces, in which we hear the audience talk and wait. No doubt this little joke piece of music, if I dare to call it like that, was played during set-up or waiting to start the concert. Thus the audience missed out upon the first piece being (!) played. As said lots of silence, and when we arrive at the 'other instruments' section, the silence is real silence. I quite enjoyed the conceptual edge of this release, but you could wonder if you
  would
play this a lot of times. (FdW)
Address: http://www.bsbta.com

D.O.R. - AN OCCUPIED HOUSE (CDR by Caduc)
A new trio, a new label, but with two names we heard of before: Jamie Drouin (analogue synthesizer, radio) and Mathieu Ruhlmann (objects), who, together with Lance Austin Olsen (copper plate, objects, floor guitar) form D.O.R. Their six piece release was recorded live in Drouin's home of December 14, 2011. While we may know Drouin and Ruhlmann from more microsounding drone minimalism, this new venture goes out into the field of improvisation. Minimalist improvisation from the world of electro-acoustic music. The objects, including the guitar, provide a steady rumble, while the synthesizer and radio add a static feel to it. Each of the six pieces is build like that. All is set in motion and slowly things are altered over the course of a piece, by adding small variations in the way things are played, a slight twitch on the radio dial, or knob on the synthesizer or minimalist changes in the way an object is played. Its still highly microsound: carefully constructed from a minima
l set of
sounds, played softly, sometimes at the verge of being unable to hear anything, but away from the static warm glitch computer music. At times reminding me of some of Kapotte Muziek older live concerts, in which 'hearing' and 'listening' to almost inaudible events were the most important. Excellent experience music. (FdW)
Address: http://www.caduc.org

MIDWICH - RUNNING REPAIRS (CDR by Striate Cortex)
Although around for a considerable amount of time, Midwich has not always been the most prolific artist when it comes to 'commercial' releases, but on his blog you can these days download pretty much everything he ever did. For the last four years there wasn't much new music, but now its time to start again. Rob Hayler used to run his own CDR label, Fencing Flatworm but these days he mainly releases on other labels, such as Striate Cortex, who are now up to catalogue number 46 (which means I may have missed a few for review). From the vast amount of music I only heard a few, but drone like capacities they all seem to have. Here we have three pieces, two quite long and one very short, 'Pennine Interlude'. In the opening piece 'New Territories', which we could regard as a programmatic title, the drones are a bit louder and more forceful than before. Its recorded with one Daniel Thomas and it sounds like a bunch of toy organs being recorded with an open microphone in a small spa
ce. Lots
of van/motor sounds and the organs filling up the small, confined space. The 'Pennine Interlude' sounds a like radio collage of voice and field recordings, driving you into 'Bosky', at just under twenty six minutes the highlight of the release. Here the organ drones are picked up from the mixing desk, being processed by some sound effects but to great minimal effect. With more variation than 'Opening Territories', but with an equally loud effect at some point, after a long and slow build up. The new territory is there, and its slightly different than the old one, but unmistakably its there. A fine return to a new form. (FdW)
Address: http://striatecortex.wordpress.com

ALLEYPISSER - GLEMT (cassette by Throne Heap)
An obscure tape by one Mikkel, also known as Alleypisser, who plays analogue synthesizer, tape loops and metal percussion. Two pieces that last thirty-three minutes in total of highly minimal dark electronic music. Loops move like a quiet sea, not really forward or backward, but just drifting. On top there is a rusty boat, which is represented by the metallic rumble, in which somebody moves a lot, having his own drift. A very consistent piece of work of some very obscure music. Not really noise like, but not entirely very musical either. This is a pitch black (sea) release of horror like capacity. Excellent. (FdW)
Address: http://www.throneheap.com/

ANNE-F JACQUES (cassette by Crustaces Tapes)
More 'free' music on the Crustaces label (send a gift or postcard), here this time with only one artist: Anne-F Jacques. Recorded in Halifax during a residency in a shed using loops, microphones, rocks, plants and found objects. Obscure improvised electro-acoustic music, cut into little segments of sound which all stay on the same dynamic level. Its not easy to make up my mind about this. Its not bad, but somehow it could have been recorded better, and perhaps been edited into more compositional pieces. Now its stays a bit too much action music. But one that is served by the medium of cassettes. (FdW)
Address: http://crustaces.bandcamp.com/


1. Yiorgis Sakellariou <yiorgisakellariou@...>

Mecha/Orga upcoming concerts:
May 3: Brombron @ Extrapool, duet with Jos Smolders and Roel Meelkop (Nijmegen, NL)
http://www.extrapool.nl
May 4: @ HS63, also presenting the Brombron project with Jos Smolders. also participating Freiband and Martiensgohome (Brussels, BE)
http://www.phonotopy.org/HS63.html


2. Darren Bergstein <thousandpulses@...>

OTPNYC / ONE THOUSAND PULSES NYC
immersive electronic soundscaping & circuit-born improv

featuring:
> KELLER, BROEKHUIS & SCHONWALDER (GERMANY) / first appearance in New York City
> ALPHA WAVE MOVEMENT (USA)
> GROUPTHINK (USA)

SUNDAY, MAY 6
DOORS OPEN @ 7:30 PM / PERFORMANCES START @ 8 PM
TICKETS: $12
ADVANCE TICKET PURCHASE HERE: http://otp.ticketleap.com/otpnyc

THEATERLAB
137 W. 14TH ST (BTWN. 6TH & 7TH AVE)
NYC NY 10011 / 212-929-2545

EVENT INFORMATION:
> 201.316.5403 / thousandpulses@... / onethousandpulses.com

3. anki toner <ankitoner@...>

GRAMOFONIA LÚDICA: RECORDS WITH GAMES & GAMES WITH RECORDS
(Anki Toner Collection)

from april 28th to june 3rd, 2012

MUSEU DEL JOGUET DE CATALUNYA
c. Sant Pere, 1
17600 FIGUERES

tuesday-friday: 10-18h
saturday: 10-19:30h
sunday: 11-14h

Free entrance

complete information: http://www.ankitoner.com/gramolud/index.htm
brochure (pdf, 2 Mb, catalan): http://www.ankitoner.com/gramolud/gramofonia_ludica.pdf
exhibition catalogue: http://www.ankitoner.com/gramolud/gramolud.htm
museum website: http://www.mjc.cat

4. gregory buettner <gregorybuettner@...>

blurred edges 2012
4. - 19. Mai 2012
various venues in Hamburg, Germany.

Festival for a wide field of contemporary music. blurred edges connect all dimensions of the experimental music scene in Hamburg and their international guests, including composed music, improvisation, soundart, electronic music and performance in one festival.

http://www.blurrededges.de

The festival is organised by the artist network:
verband fĂźr aktuelle Musik hamburg http://www.vamh.de

Music by:
Frank Abbinanti (Chicago) ¡ Georges Aperghis ¡ Adam Asnan (London) ¡ Frauke Aulbert ¡  Moxi Beidenegl ¡ Black To Comm (Marc Richter) ¡ Sebastian Borsch ¡ Gregory BĂźttner ¡ John Cage ¡ John M. Chowning ¡ Concern (Gordon Ashworth; Portland) ¡ Alvin Curran ¡ Geoffroy Dabrock (Berlin) ¡ Dirk-Achim Dhonau ¡Daniel Dominguez ¡ Michel Doneda (France) ¡ Jan Dvorak ¡ Eddie135 (Matthieu Ponroy & Adrien Kanter; Paris) ¡ Ensemble Effusions (Marcia Lemke-Kern, Ewelina Nowicka, Jennifer Hymer) ¡ Mamoru Fujieda ¡ Fuo (Leif Rumbke, Martin Schwendemann) ¡ Nikolaus Gerszewski ¡ Sibylla Giger (ZĂźrich) ¡ Heinz- Erich GĂśdecke ¡ GĂŠrard Grisey ¡ Oliver Gutzeit (RĂźmpel) ¡ John Hughes ¡ Neele HĂźlcker  ¡ Infantillerie ¡ Interstellar Nightmare ¡ Reinhart Hammerschmidt ¡ Jonathan Harvey ¡ Boris D Hegenbart ¡ Joachim Heintz ¡ Kakawaka (Berlin) ¡ Peter Kastner ¡ Leonel Kaplan (Buenos Aires) ¡ Kapotte Muziek (Frans de Waard, Peter Duimelinks, Roel Meelkop; Niederla
nde) ¡
Marianne Kipp ¡ Robert Klammer ¡ L.C. Knabe ¡ Jonas Kocher (Biel/Bienne) ¡ Kommissar Hjuler und Frau (Flensburg) ¡ Peter KĂśszeghy ¡ Felix Kubin ¡ Legion Of Swine (Leeds) ¡ Sascha Lino Lemke ¡ Gunnar Lettow ¡ Duo Luxa (Carola Schaal, Daria Iossifova) ¡ Dieter Mack ¡ Michael Maierhof ¡ Margitt Holzt (Holger Neuwerck, Martin Schramm) ¡ Matar dolores (Francesco Tignola, Giuseppe Esposito; Neapel) ¡ Ezequiel Menalled (Den Haag) ¡ Ignacio Mendez ¡ Heiner Metzger ¡ Helge Meyer ¡ Nelly Boyd (Robert Engelbrecht, Jan Feddersen, Peter Imig) ¡ Nika Son ¡ Makiko Nishikaze ¡ Chris Newman (Berlin) ¡ Helmuth Neumann ¡ Pit Noack (Hannover) ¡ Nova Huta ¡ Ewelina Nowicka ¡ NYX (Sascha Demand, John Eckhardt, Katrin Bethge) ¡ Octo (Tobias GĂśbel, Guido Karnstedt, Torben Feck) ¡ Franz Martin Olbrisch ¡ Daphne Oram ¡ Nils Ostendorf (Berlin) ¡ Ruta Paidere ¡ Michael Parsons ¡ Michael Petermanns BlĂśdes Orchester  ¡ Phantom Horse (Ulf SchĂźtte, Niklas Dommaschk) ¡
  Natalia
Pschenitschnikova ¡ Sean Reed ¡ Kirsten Reese ¡ Gary Rouzer (USA) ¡ Duo Roxy auto-config (Todd Harrop, Nora-Louise MĂźller) ¡ Julian Schäfer ¡ Lars Scherzberg  ¡ Benjamin Scheuer ¡ Alexander Schubert ¡ Frank Paul Schubert (Berlin) ¡ Hans SchĂźttler ¡ Manfred Stahnke ¡ Karlheinz Stockhausen ¡ SUONO MOBILE global ¡ Ensemble Tempo Machine ¡ TinaZAHRT (Jens Tolksdorf, Heiko Klotz: Tasten, Sven Zimmermann, BjĂśrn LĂźcker; Kiel) ¡ TinTin Patrones Krachkisten-Orchester  ¡ TonArt-Ensemble  ¡ Markus Trunk ¡ Hans Tutschku ¡ U-Boot-Orchester (Hannes Wienert, Wolfgang Schubert, Nils Kässens, Andreas Wolf, Felix Schroeder, Chad Popple, Ulrich Kojo Wendt, Thomas Oesterheld, Simone Scharro) ¡ UĂąas de Ensemble Modelo62 (Den Haag) ¡ Birgit Ulher ¡ Jan van Wissen ¡ Vindicatrix (David Aird; London) ¡ Florian Vitez ¡ Wooden Peak (Jonas Wolter, Sebastian Bode).

Visual art by:
a_cis & pom piet · Jürgen Albrecht · Cellule d'Intervention Metamkine · Hartmut Gerbsch · Alexandra Grieß · Katja Kölle · Daniel Kötter · Michael Maierhof · niedervolthoudini · Jutta Ravenna · Alina Rojas · Susa Templin.


5. Vanita Joe Monk <vjmonx@...>

May 4, 2012, Poortgebouw, Rotterdam, 20:00 (door open 19:00)

An evening with Misha Feigin & friends & strangers
Singing/songwriting followed by some collective free improvisation.

Misha Feigin: guitar, voice
Vanita Monk: guitar, voice
Lukas Simonis: guitar, voice
Pierre Bastien: trumpet, little instruments, electronics
Joe Monk: clarinet, saxophones, little instruments
Yanna Pelser: viola

Misha Feigin was born and raised in Moscow and is known as one of Russia's premiere guitarists. When he immigrated to the US in 1990, he left behind an established position in the Moscow arts scene highlighted by his four albums on the Melodia label, features on major radio and television shows, and national and international tours. He began recording free improvised music in 1986 in Moscow with Auction's Dimitry Matkovsky. He also performed with the Russian pop-folk star Janna Bichevskaya.

entrance: 8 euros


Vital Weekly is published by Frans de Waard and submitted for free to anybody with an e-mail address. If you don't wish to receive this, then let us know. Any feedback is welcome <vital@...>. Forward to your allies.
Snail mail: Vital Weekly/Frans de Waard - Acaciastraat 11 - 6521 NE Nijmegen - The Netherlands
All written by Frans de Waard (FdW), Dolf Mulder (DM) <dolf.mulder@...>, Niels Mark (NM), Jliat (Jliat), Freek Kinkelaar (FK), Jan-Kees Helms (JKH) and others on a less regular basis.
This is copyright free publication, except where indicated, in which case permission has to be obtained from the respective author before reprinting any, or all of the desired text. The author has to be credited, and Vital Weekly has to be acknowledged at all times if any texts are used from it.
Announcements can be shortened by the editor. Please do NOT send any attachments/jpeg's, we will trash them without viewing.
There is no point in directing us to MP3 sites, as we will not go there. Any MP3  release to be reviewed should be burned as an audio CDR and send to the address above.
Some people think it's perhaps 'cool', 'fun', 'art' or otherwise to send something to Vital Weekly that has no information. Don't bother doing this: anything that is too hard to decipher will be thrown away. Also we have set this new policy: Vital Weekly only concerns itself with new releases. We usually act quick, so sending us something new means probably the first review you will see. If we start reviewing older material we will not be able to maintain this. Please do not send any thing that is older than six months. Anything older will not be reviewed. In both cases: you can save your money and spend it otherwise.
Lastly we have decided to remove the announcement section of Vital Weekly that is archived on our website that is older than five weeks. Since they 95% deal with concerts that have been, it's gentle to remove the announcement and more important the e-mail addresses coming with that.


the complete archive of Vital Weekly including search possibilities:
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----- Forwarded Message -----
From: Teflon Beast Records <teflonbeast@...>
Sent: Monday, 7 May 2012, 22:45
Subject: New Cassette from two of Brighton, England's Finest!

May 2012 (Austin,TX) -  Teflon Beast is proud to present BEMUSED ABUSED. Our 9th (yes, 9th!!!) tape release is sure to be of great interest to listeners of patient, beautifully performed instrumental music.

Bemused Abused is a duo from Brighton, England, Karl M V Waugh and Paul Davies. Best described as "ambient," their album Silver Seeds exemplifies the hallmarks of the genre while at the same time being focused on achieving a unified thought beyond simple style exercises. The five compositions that make up this album were recorded in a single day in August 2011 with the two players using only guitar and keyboards to wrestle their creativity into an album that works from start to finish. Once this tape is over the listener wants to flip it and start again. Bemused Abused came to the attention of TBR via the online music community forum, Bang the Bore (bangthebore.org). The site is a place where individuals can "write about music, connect people, facilitate collaborations and share information." BA's cassette is a great example of people reaching out and working to create cool new music. Don't miss this tape! 

***NEXT MONTH: Standing in stark contrast to the subtle textures of BA, TBR's 10th release will be a CD (our first!) of ripping pounding squealing improv by a duo (also from England and Bang the Bore) called Defibrillators.     

As always, thanks for listening and supporting new music!

-- Jeff
Teflon Beast Records
http://teflonbeastrecords.blogspot.com/
Facebook
@TeflonBeast
What's in your jambox?

        

----- Forwarded Message -----
From: "compulsion@yahoogroups.com" <compulsion@yahoogroups.com>
To: compulsion@yahoogroups.com
Sent: Friday, 25 May 2012, 12:51
Subject: [compulsion] Digest Number 118

Compulsion online: An online version of the alternative culture magazine.

Messages In This Digest (1 Message)

1.

compulsiononline.com update From: tonycompulsion

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1.

compulsiononline.com update

Posted by: "tonycompulsion" tony.dickie@...   tonycompulsion

Thu May 24, 2012 3:22 pm (PDT)

Hi

Some new items added to compulsiononline. com

NEW REVIEWS:
Mark Stewart – The Politics Of Envy
Carter Tutti Void - Transverse
Simeone - An Introduction To Simeone
Pyhä Kuolema - Saavun Vaikken Kulkisi
Virta - Elon Syvä Lempi

Best Wishes
Tony

Compulsion online: www.compulsiononlin e.com
compulsion online trawling the margins of (un)popular culture. artists featured include: antony & the johnsons, coil, chris & cosey, carter tutti, michael cashmore, cultural amnesia, current 93, death in june, futon, matt howden, knifeladder, matmos, rose mcdowall, ostara, othon, the psychogeographical commission, six comm, sol invictus, thighpaulsandra, while angels watch; david e. williams, wire; joe coleman, coop, aleister crowley, gilbert & george, frank kozik, austin osman spare. material on donald cammell and performance, the wicker man ... plus a monthly news digest.
Check it out at: http://www.compulsi ononline. com

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----- Forwarded Message -----
From: "klanggalerie@yahoogroups.com" <klanggalerie@yahoogroups.com>
To: klanggalerie@yahoogroups.com
Sent: Tuesday, 5 June 2012, 15:58
Subject: [klanggalerie] Digest Number 227

Mailing list for new release information

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New CDs From: klanggalerie

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New CDs

Posted by: "klanggalerie" klanggalerie@...   klanggalerie

Mon Jun 4, 2012 11:20 pm (PDT)

Hi everyone,

we are back from a great holiday and here's our newest releases:

gg156
COLLAPSING NEW PEOPLE - CRASH TEST JUNKIE
CD Album

Collapsing New People are Austria's newest great synth pop band. The name already tells you their influences - from Fad Gadget via Depeche Mode or Erasure. The sound combines the old new wave style with minimal electronics in a very playful way, their songs are perfect pop gems. Mark Crumby of Konstruktivists produced the album and gave it the necessary final touches to make it a perfect debut release. 75 minutes running time!
Price: EUR 14.00/wholesale as usual.

gg164/HR106
NAEVUS - THE DIVISION OF LABOUR
CD Album

Four years in the making, it is the most sharply focused Naevus record thus far, uniting the classic acoustic guitar-based sound of Naevus with slabs of post-punk, searing stabs of guitar noise, psychedelic introspection and even a glimpse of the drum machine-based sound of the earliest Naevus recordings. Performed and produced solely by Naevus founder Lloyd James, and featuring compositional contributions from Raffaele Cerroni (Mushrooms Patience), Hunter Barr (KnifeLadder) , Ben McLees (This is Radio Silence) and Propergol Y Colargol. In copperation with Hau Ruck!
Price: EUR 14.00/wholesale as usual.

Still fresh:

gg166
PLAY THE TRACKS OF - COLLECTIBLE
CD Album

gg158
MUSHROOM'S PATIENCE - WIEN, BRESLAU, BERLIN
CD-R Live Album. Very low stock!

gg157
KORPSES KATATONIK - OUEVRES COMPLETES
CD Album

Kind regards,
Walter

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----- Forwarded Message -----
From: Vital Weekly <vital@...>
To: g.greenway@...
Sent: Tuesday, 12 June 2012, 8:50
Subject: Vital Weekly 835

                      ============
                      VITAL WEEKLY
                      ============
                      number  835
                      ------------
                      week      24
                      ------------

Vital Weekly, the webcast: we offer a free-to-download weekly webcast as the audio-supplement to Vital Weekly. Presented as a radio programme with excerpts from some of the CDs reviewed here (no vinyl or MP3s). It is available on the site for a limited period of 5 weeks. Download the file to your MP3 player and enjoy!
Complete track listing here: http://www.vitalweekly.net/podcast.html

Before submitting material please read this carefully: http://www.vitalweekly.net/fga.html
Submitting material means you agree with these terms.


* noted are in this week's pod-cast. feed: http://www.vitalweekly.net/podcast.xml

Editorial news: we have decided to stop reviewing MP3 releases. Please do not send any discs with MP3 releases. Just send me an e-mail with a link and a short description, so people can download it. The amount of releases pile up every week and I can no longer devote time to MP3s. Whatever you see coming in the next few weeks are the last ones. Please do not send anymore. Also: releases that do not contain the original artwork will most likely be no longer reviewed. The real thing is necessary for a real judgment. If you wish to send us not the real thing, please contact us first. <vital@...>



FIVE ELEMENTS MUSIC - RISHIKESH (CD by Unfathomless) *
MICHAEL BEGG/HUMAN GREED - DIRT ON EARTH: A POCKET OF RESISTANCE (CD by Omnempathy) *
FINGERS IN THE NOISE - SOUNDS FROM THE MOON (CD by Bine Music) *
KOJI ASANO - TRAVEL COUPONS (CD by Solstice) *
ECHTZEIT MUSIK BERLIN (3CD by Mikroton)
BUSMAN’S REVENGE – A LITTLE BIT OF BONANZA (CD by Rune Grammofon)
EL DOOM & THE BORN ELECTRIC – SAME (CD by Rune Grammofon)
FERGUS KELLY - A CONGREGATION OF VAPOURS (CD by Far Point Recordings) *
TOMOKO SAUVAGE - OMBROPHILIA (LP by Aposiopese)
DIETER MÜH - HETERODOXIE (LP by Verlautbarung)
JEROME NOETINGER & SEC_ - TESTACODA (LP by Bocian Records)
ULTRA MILKMAIDS - THE RISING (7", private)
SILVIA KASTEL - TAKE IT (7" by Ultramarine Records)
BOLIDE - FLAW GAMES (cassette by Ultramarine Records)
NIGEL SAMWAYS - HAVENOTS HAVENEVER (CDR by Somehow Recordings) *
TEMPLE MUSIC - CHILDREN OF THE SUN (CDR by Anti Clock Records) *
THE GRAY FIELD RECORDINGS - NATURE DESIRE NATURE (CDR by Reverb Worship) *
NORTHERN MACHINE - IN FRONT OF THE CROWD (CDR by HC3 Music) *
TL0741 - HELD TO ACCOUNT (CDR by HC3 Music) *
MYCOPHAGY - SONGS FROM THE OTHERWORLD (3"CDR by HC3 Music) *
ABUSIVE CONSUMER - CRUMBLING PORTRAITS (cassette by Retrograde Tapes)
ASSHOLE WITH A CLARINET - TIME FOR A TURD (cassette, private)
LUSCIOUS SKIN - VENTRILOQUIST (cassette by Alchemist Records)
SOFTOFT TECHECH (cassette by Alchemist Records)
RUN DMT/TRACEY TRANCE (split cassette by Cgifriday Enterprise)
GEM JONES - SYMPHONY IN P (cassette by Cgifriday Enterprise)




FIVE ELEMENTS MUSIC - RISHIKESH (CD by Unfathomless)
Sergey Suhovik, also known as Five Elements Music, is not very well-known in the 'west', but this Russian fine master of drone music has had already a bunch of releases in Russia. Some of them made it to these pages. I might be wrong, but this might be his first CD release. Like with all Unfathomless releases Five Elements Music uses field recordings, in this case taped in 2009 on a trip to India. Unlike some of his other works in which Five Elements Music heavily treats all the sounds into vast amounts of drone like sound matter, the two pieces here extensively use original sounds from the field recordings, people speaking, birds, insects, along with sound debris picked up along the way. In the second piece it all seems a bit more denser and louder, with a greater use of changes in the equalization of the sounds. It gives the piece a more darker character, unlike the first piece which sounds a bit more lighter in approach. Its all very atmospheric with a strong emphasis on t
he long
form sounds, rather than lots of smaller events, ending with children singing. A strange coda that is, but it works wonderfully well. Not an outstanding disc in this field of workers, but certainly one of the better works I heard recently. (FdW)
Address: http://www.unfathomless.net

MICHAEL BEGG/HUMAN GREED - DIRT ON EARTH: A POCKET OF RESISTANCE (CD by Omnempathy)
The man behind Human Greed is Michael Begg, so I am not entirely sure why this was released as Michael Begg/Human Greed. Why not one or the other? There is not a lot of information forthcoming on this release, not on paper, nor on the website. This is one of those things in which the music should speak for itself, I guess. And it does, actually. 'No words. No guests. A sullen drone, a silence: Resistance' is that we are told, and that's what we get. Drone music of a great quality. Majestically played, slowly evolving and with a dark yet peaceful nature. Each of the seven pieces have this slow development, organic and no doubt made with a handful of synthesizers and computer processing. Lots of sound effects are used, and luckily the reverb is kept under control. In cases like this, its usually used as an easy toy to create artificial space, but here its used in exactly the right amount. Only in 'Pomegranate's Endurance Medal' we hear a piano, sparsely played, and some stringe
d sounds
in 'Scenes From The Carefree Life', embedded in an organ like sound. The organ like sound is a favorite here as it seems to carry many of the pieces here. It adds a church like atmosphere to the tracks, which perhaps will put some people of (me, for instance), but in this case it didn't bother me. It fitted the music quite rightly. Great music, dark, atmospheric, ambient and what have you. Perhaps not the most 'new' sounding release in this field, but as remarked quite often, this is hardly a field that moves a lot. Begg knows how to produce some great music, and that is on a dark and rainy day all we need. (FdW)
Address: http://omnempathy.com/

FINGERS IN THE NOISE - SOUNDS FROM THE MOON (CD by Bine Music)
Behind Fingers In The Noise - which I think is a pretty silly name - is one Laurent Bisch, 1966, from France, and father of three kids and he started to produce techno music twenty years ago 'after taking a few piano lessons' (I wonder what the relation is there). He likes ambient, dub, deep and experimental and such like and its no more long party nights for him, but a more peaceful life, in which he uses his free time to record his own music and after releasing some EPs (which term these days can be any kind of format, physical or otherwise) this is his debut album. Eleven pieces of exactly what he likes: ambient, deep, dub and hardly experimental - although what is considered experimental in this particular angle of the world I don't know. Maybe its because I don't know that much about this kind of music, so its hard for me to judge this in terms of musical development, i.e. the bigger picture of all those things deep, dub, techno, ambient, but judging from what I hear in
this
direction (and to be honest, that usually comes from the likes of labels such as Bine Music, so perhaps not the best reference) this is not too different from what I usually hear. Is that a bad thing? No, I don't think so. Music like this is not about being 'innovative' at all. Its all, I should assume at least, about being entertaining on whatever personal level is convenient for the consumer/listener. I can imagine that people like this while driving a car, vacuum cleaning, a private party, or simply reading the newspaper (which is what I did). All of this is valid, obviously, and therefore it makes it very hard for me to say anything negative about this. Nothing new, quite old, retro if you want, and all such like, but the entertaining factor was quite high. That's all that sometimes matters. (FdW)
Address: http://www.binemusic.de

KOJI ASANO - TRAVEL COUPONS (CD by Solstice)
Though not as active as in his top years, 2001 (ten CDs), 2002 (four CDs) and 2003 (five CDs), Koji Asano is back, and since 2010 this is his fourth CD. Like with some of the other recent releases, there is no indication as to what he is doing on this release. Asano's work can range from computerized noise to baroque pieces of classical music. 'Travel Coupons' seems to me some a work that is somewhere in between computer and classical instruments. Those are at the foundation of the piece (again: so it seems) and the computer does a bit of processing, but not a lot. So we still hear instruments from an orchestra (or small ensemble at least) and those sounds being stretched out a bit, with some delay here and there, over layered, out of tune it sometimes. Its kind of hard to tell whether this is all stuff that Asano wrote himself, recorded with musicians, or perhaps used already existing work of instrumental playing, which he plays around with. That is a bit of a difficulty I t
hink.
Also at close to sixty minutes the work seems a bit long to me. There are two parts here, one of eleven minutes and one of forty eight. I'd say skip the first one, and the second one is fine at forty minutes. Strangely abstract music, in which beauty, as far as I can see, doesn't play an all important role. But the whole thing has something captivating, especially since its so strange and abstract. Would I play this again, easily? That's a different question to which I am inclined to say: not easily, indeed and probably not as quick. (FdW)
Address: http://www.kojiasano.com

ECHTZEIT MUSIK BERLIN (3CD by Mikroton)
You've read the book - see Vital Weekly 796 - but you wondered about the music? Oh Berlin, that vibrant city of new music. Where one lives because its cheap and where you get hardly any money for playing concert, but there is a plethora of small venues all around. You could, if you want to, go to a concert every night. Echtzeit means real time, so this is all music played in real time, in Berlin, and that is, to one extend or another, music that has been improvised. That is the parameter of this set of three discs, in total spanning some three hours of music. Forty-one pieces by a plethora of names such as, (deep breath please) Michael Vorfeld, Der Kreis Des Gegenstandes, Sink, MEK, Subroutine, Bogan Ghost, Trigger, Thomas Ankersmit, Perlonex, Pokemachine, Tony Buck & Axel DĂśrner, The Magic I.D., The Pitch Extended, MoHa!, Pierre Borel & Hannes Lingens, Phospor, Spill, Ignaz Schick & Sabine Vogel, Annette Krebs, Les Femmes Savantes, Serge Baghdassarians & Boris Baltschun, Lu
cio
Capece & Christian Kesten, Germ Studies, Jßrg Bariletti & Mike Majkowski, Team Up, Phono_phono, Ercklentz Neumann, The Understaded Brown, Static, Lovens/Schick/Thomas, Trophies, Antje Vorwinkel, Nicholas Bussmann & Werner Dafeldecker, Fernanda Farah & Chico Mello, Hotelgäste, Hanno Leichtmann & Andrea Neumann, Olaf Rupp, Antoine Chessex, LYSN and Splitter Orchestra. If you study the finer print, the credits per track, you will notice that many of these names involve the same people, working together in all sorts of combinations, telling us something about the vibrant aspect of music life in Berlin. Forty-one pieces of music, from careful constructions of abstract music, to rock out improvisation, free jazz, pure instruments, onkyo and even a bit of noise here and there (Capece's solo piece on the second disc for instance). Maybe its a pity that this was released quite a while after the book came out, nine months or so, as this would have been a great set of discs to have be
en
included with the book I guess, to put things in the right perspective. Still its a fine document of a great scene that is partly not a scene, but more a gathering of many diverse actions. (FdW)
Address: http://www.mikroton.net

BUSMAN’S REVENGE – A LITTLE BIT OF BONANZA (CD by Rune Grammofon)
EL DOOM & THE BORN ELECTRIC – SAME (CD by Rune Grammofon)
Fourth release by Bushman’s Revenge and first for Rune Grammofon. A trio of Even Helte Hermanensen (guitars), Rune Nergaard (bass) and Gard Nilssen (drums, vibraphone) who started in 2003. A power trio of Hendrix-like heavy rock. Yes, the music did immediately grab me, but after a while it became very boring and failing to impress. Apart from the fresh energy and  drive in their playing, there is musically spoken, not much happening here.
El Doom & The Born Electric, counting 8 members is another retro-exercise, with Ole Petter Andreassen (vocals, guitars) as one of the core members. He wrote most of the material for this debut album. Be warned this is ‘classic, guitar-driven, melodic progressive rock’. Picking up the heritage of Deep Purple and other progressive rock bands from the 70s. The guitar playing is excellent, but also all the others do a great job. Very tight and top notch playing. h I’m impressed by their energy and force. The music is completed by the typical singing style that we know so well from their precursors from the 70s. Again boredom sets in very quickly. I can’t help it. I don’t mind when bands take inspiration from the past. There is nothing wrong with that. But for a good reason please. It is inevitable to work with ingredients that are already there. It is not possible in another way to create new relevant music. But when doing this so openly, I need to feel a sense of urgen
ce and
relevance for doing so. But that is not often the case. Also not in these two well-executed projects. (DM)
Address: http://www.runegrammofon.com

FERGUS KELLY - A CONGREGATION OF VAPOURS (CD by Far Point Recordings)
From Fergus Kelly I have already reviewed some releases, and every time it seems he wants to create something different, which I guess is nice. His previous 'Long Range' (see Vital Weekly 758) was quite a careful release of textural music, using a variety of sound sources. Here, on 'A Congregation Of Vapours', he moves towards the noise end of the spectrum, exploring the use of feedback, no input mixing board, DIY electronics, amplified metals, field recordings and processing. Its not that Kelly takes us by the hand and shows uses the big harsh noise wall, but there are certainly bits and pieces here that aren't most certainly 'careful' or 'silent'. However, he knows how to craft his noise: by using dynamics quite extreme it doesn't stay on the pure noise side of things. It slows down, tones down, and we hear the rattling of field recordings through a multitude of speakers, picked up by various microphones which make the whole thing, indeed, a noise based release. As far as I
  can
judge field recordings play quite an important role here, and aren't always easy to trace back to their original source, although I think I recognized a dot matrix printer. Overall, Kelly's music is more on the silent edge of things than on the noise side, although I didn't use a stopwatch to fact-check this. Its a mighty fine release of field recordings, rusty metal processing and obscured electronics. Perhaps not so much something new, but produced with some great and style. (FdW)
Address: http://www.farpointrecordings.com

TOMOKO SAUVAGE - OMBROPHILIA (LP by Aposiopese)
A record of percussion music that how I like to call this record by Tomoko Sauvage. She was born in Yokohama and grew with classical and jazz piano. When she heard the sound of water on an Indian traditional instrument, she started to build her own water bowls: porcelain bowls filled water, hypdrophones and electronics. She plays them live in concert and does recordings with them. Here we have seven of these pieces, in which she plays the water bowls with wooden spoons and metal wires as well as playing with the water, dripping etc. All of this recorded with multi tracking, adding field recordings from the South of India, but the latter is something that I found hard to hear. If you expect something that is very tranquil and quiet, then this is spot on. Its like wind chimes in the summer breeze, even it sounds very much like that, in a piece like 'Amniotic Life', but in other instances the water sounds prevails. If you are in an urgent need for a visit to the bathroom, this i
s
certainly not a record you would enjoy easily. However if you are in a more reflective, meditative mood, zen like if you will, then you will find this, like me, a great record. Highly percussive in a non-linear way, fitting perfectly the early summer mood. (FdW)
Address: http://www.aposiopese.com

DIETER MÜH - HETERODOXIE (LP by Verlautbarung)
Its fair to say that Dieter MĂźh is one of the older groups from the third (fourth?) wave of power electronics that came to us in the mid to late 90s. Too late for the cassettes of the 80s, too obscure to be part of the whole retro noise scene and perhaps, simply (but better yet), not enough power electronics/noise based. So over the years there have been a bunch of releases, but not a lot, and they are always quite interesting. Dieter MĂźh played at the Broken Festival in London last month and its not difficult to see where they did in. Not because they play very loud music, but rather densely knitted, rough patterns of drone noise, along with primitive (casio) sampling of rhythms and cheap sound effects. Not that their music is cheap, by now means. Its music that takes out the best of industrial music and combines it with the more adventurous sounds of ambient music. Layered sounds of those wind pipes that children swing above their heads (no craze these days but I am sure
some day
it will return), along with the sampled percussion of something highly obscure, a bit of sound effects - music that stands in one form or another in the long tradition of Giancarlo Toniutti, Andrew Chalk and Controlled Bleeding, or, but this requires an in-depth knowledge of the Broken Flag catalogue, say Ain-Tow. It doesn't sound like them, but its part of the whole esthetic of working with ambient sounds and electronic music. Music with a long tradition, like cogs in a machine. Dieter MĂźh is one of those cogs. Not the most essential one, but nevertheless one that forms part of the family, so that you have the complete picture. 'Heterodoxie' is a nice record. Not great, just pleasant electronic music - noise but then one I like. (FdW)
Address: http://www.millstonevinyl.se

JEROME NOETINGER & SEC_ - TESTACODA (LP by Bocian Records)
The subtitle to this could have been 'duet for two Revox recorders', as both Jerome Noetinger plays this, along with radio and microphone and SEC_, one half of Aspec[t] that is, who also gets credit for feedback and laptop. At the foundation of this record we have two concerts from last year, April 12th in Italy and in December in France. If you are familiar with the work of both, and how could you have missed Noetinger over the years?, then you pretty much know what to expect here. The more brutal side of improvised music, from an electronic perspective. Musique concrete in action music, or action in musique concrete. The speed manipulations of the reel-to-reel machines are extensively used in feeding sounds to it, and playing back sounds. Harsh and slow, sped up, multi-speed playing. The a-side (I don't know if the two concerts are divided over both sides, or perhaps its all a combination of both concert recordings) is the more hectic side of the two, whereas the b-side see
ms to
have lengthier fragments of sustained material, with more careful developments. It ends in a coda of noise like material following these careful procedures. The a-side is more about a constant change; of speed; of color; of input. This side is a rather vivid combination of ancient montage techniques from the world of musique concrete and live improvisation. Its the side I prefer over the other. That one is nice, but seems to be sticking with repeating loops and such like, whereas the constant movement of the other side is a thrill to hear. With Noetinger you can't go wrong, it seems. (FdW)
Address: http://www.bocianrecords.com

ULTRA MILKMAIDS - THE RISING (7", private)
One of those bands that have been around for many years - twenty, perhaps, I was thinking - and of whom we don't know that much. They release a CD, or record, or whatever, and maybe play live every now and then, and that's it. And its usually of a consistent high quality. The Ultra Milkmaids, I believe a duo of to brothers from Nantes, delivered at least one master piece, 'Peps' in 2000, although I haven't heard all of their records and haven't heard 'Peps' in quite some time. Here we have a lathe cut record, in an edition of just 53 copies, with a nice colored cover, showing us two sides of the what Milkies (as their fans call them) can do, recorded by them with Harris Pilton. 'Atom Heart' on the A-side is the kind of piece you would expect from them. Nicely flowing ambient like music, with a mildly shimmering organ sound, bouncing nicely along with a Korg sound and some looped rhythm of something similar, all working along each other in a strange random fashion, but since i
ts
repeating it works pretty well as a sort of dervish dance. The B-side has '7h14*', which has seems a kind of plunderphonic piece. Maybe I should recognize it, but then, perhaps I am not that aware of the world of pop music. It has a vocal of some kind, and some backing of pop proportions and some processing. Maybe the milkies play it all themselves, who knows? An odd piece, but somehow it works quite nice actually. Two entirely different sides of what they can do. Excellent, like always. (FdW)
Address: http://www.ultra-milkmaids.com

SILVIA KASTEL - TAKE IT (7" by Ultramarine Records)
BOLIDE - FLAW GAMES (cassette by Ultramarine Records)
Label owner Kastel releases her first ever 7", a debut for her and her label. Kastel has a background in improvised music, but in her solo work she uses beats, synths, bass, tape echo and her own voice. Especially the use of beat material make things more coherent, like I noticed with her 'Love Tape' (see Vital Weekly 794), it seems to me that Kastel is also interested in the music of the late 70s/early 80s. She hints, in her press release, to early Cabaret Voltaire and Clock DVA, and indeed it shares some of that sense of experimentalism within some kind of pop format. The lyrics, if any, don't seem to matter that much and the voice is used as an additional instrument. Especially in the side long 'Tok Wide' she does that and sounds like a slowed down CV mantra. Topped off with a cover that looks genuinely retro also, this is a damn fine little item. Edition of 100 copies, so a pre-programmed collectors item - if not now, then possibly later.
The cassette on the other hand is the new format of choice for Ultramarine Records lately, and the new one is by a six piece group from Brighton, of which the 'main members are Spiceberg (aka Daniel Spicer), Tom Roberts, The Sultan and other mysterious individuals', although the website lists for the six members, Dr, Spiceberg, F. Ampism, The Sultan, Reverend Cal-Mag Boron and Dick Moss. They have been going since 2007 and there are already a bunch of releases. A band of free music I'd say. Hard to tell what they are all playing, but drums, I'd say, guitars, bass, perhaps but surely lots of sound effects. Freaky music, like there is so much other freaky music of people jamming together, creating the next musical revolution, but its rather stale, I'd say. Its one of those things that was probably quite interesting at some point, but unfortunately not so much anymore. Perhaps I am just getting too old for this youthfully enthusiasm for free music. (FdW)
Address: http://www.ultramarinerecords.com

NIGEL SAMWAYS - HAVENOTS HAVENEVER (CDR by Somehow Recordings)
A bit of an odd package. CDR with no print on it, in a plastic shell, and larger pro printed card with information and such. Very likely to get separated at one in time, certainly when you have a few CDs around the house, but apparently this is the way they do things at Somehow Recordings. This is (also apparently, but I could have been fooled), Samways first full length record, using a plethora of 'ad-hoc street recordings' taking right of the streets with a microphone and set to pick up whatever is happened down there and play music along that. Odd music. I believe to hear drum machines, samples, organs (?) and perhaps wind instruments, fed through a bunch of effects. At times a bit chaotic such as in Grey Flowers, or perhaps a bit too heavy (the opening of 'Finis Opus Coronat'), but when the balance between street and studio-level is good, its a surprisingly musical album. It reminded me in some ways of the classical album by A Tent, 'Six Empty Places'. A similar jazzy/smo
key
atmosphere, although Samways is less musical, less based on say a heavy saxophone solo, but with the same sort of 'free' notion of letting those instruments play. The piano and percussion are in place and Samways uses more field recordings it seems. I think this is a great record, for various reasons. One, quite important, is that the approach to field recordings is very musical, since it is incorporated in a musical surrounding. A musical surrounding, rather than a piece of some kind. That I thought was very good, Samways tries to do something new. Its executed with great care, and perhaps some of these pieces could have been a tad bit shorter, but throughout I thought this was a great release. Excellent music, produced with imagination, with a keen ear for doing something that others not always do. Check it out. (FdW)
Address: http://somehowrecordings.co.uk/

TEMPLE MUSIC - CHILDREN OF THE SUN (CDR by Anti Clock Records)
THE GRAY FIELD RECORDINGS - NATURE DESIRE NATURE (CDR by Reverb Worship)
Ah Temple Music! You might think I run amok over them, claiming that I hate all things gothic and vaguely religious, esoteric and what have you in this area. But over the years I sort of got to like the band of Alan Trench, formerly of World Serpent Distribution and his band Orchis. Dark, drone based music with synthesizers, guitars, percussive bits and all such like. Apart from the hexagrams and Crowley connections quite enjoyable. 'Children Of The Sun' could have been easily from an entirely different band. Here Trench plays guitar, synthesizer, vocals and programming and Stephen Robinson plays bass, synths, harmonium with the help of R. Loftiss on vocals and Frank Suchomel on keyboards. Here we are dealing with something entirely different. No drones here, but a wall of fuzzy guitars, vocals drenched in effects, banging rhythm machines: pop music? Pop music, more specific from the late sixties/early seventies area, highly psychedelic, almost like krautrock. Banging and ban
ging.
Some with tinkling acoustic guitars, folk like, such as the opening of the title piece. Like Current 93 and Psychic TV went through many phases in their careers, this is something entirely new for Temple Music and its actually quite good. Maybe because it doesn't sound like much else I get to hear, or perhaps its still quite remotely moved away from pop music; more like the sort of thing for Static Caravan, in particular when things are quite folky, but throughout this is too dark for the Caravans. As said, I quite enjoyed this bunch.
R. Loftiss is also responsible for a band called The Gray Field Recordings. She is from Oklahoma, and plays guitar, flute, cello, toys, synths and sings. Other members are violist David Salim and violinist Justin Jones and there is help (through mail, I suppose) from Alan Trench, Frank Suchomel (from Inalonelyplace), and guest vocals by Mike Seed (The Chasms) and Lisa (The Hausfrauen Experiment). Although she runs the Anti Clock Records label, this one was released by Reverb Worship, a UK label, but maybe sold out there and still available from Anti Clock. So far the details, now the music. The Gray Field Recordings stay on the folky side, more than Temple Music do on their release for the same label. Dark, threatening sounds, like a horror movie in 'The Maple Seldom Inward Sound', or cello solo and voice in 'Willow Waly'. Think Hannah Peel, think Fovea Hex, but its all a bit more free, a bit more improvised and thus all a bit more experimental than those others. Its perhaps
that's
why I like this. The sheer diversity of the music, the folk of the pieces mentioned, but also the cabaret like music of 'A Little World/In A Field Or Far Away', ending with a more noise oriented outing, the more electronic music of 'Honey Locust' - all different, but rooted on the same tree. Another bunch of music I enjoyed very much. Must be that summer rain! (FdW)
Address: http://www.anticlock.net

NORTHERN MACHINE - IN FRONT OF THE CROWD (CDR by HC3 Music)
TL0741 - HELD TO ACCOUNT (CDR by HC3 Music)
MYCOPHAGY - SONGS FROM THE OTHERWORLD (3"CDR by HC3 Music)
Releases from the US duo Northern Machine (Pat Gillis and Bill Warford) are a bit sparse. Following six studio albums, of which the last one was 'Staalhertz' (see Vital Weekly 399), they started to play live a lot, which resulted in a whole bunch of recordings, of which this CDR compiles the best moments from 2005-2009. In between there has been a release, 'Dark To Dark/Dark, Too' (see Vital Weekly 593), so its all a bit sparse on the release front. From what I remember from 'Staalhertz' is that all sounded along the lines of pseudo/quasi/semi third world ambient of say Muslimgauze, O Yuki Conjugate, Internal Fusion, but in their following release, they were already much more interested in dark ambient and in their live work they explore keyboards, gopichand, rhythms, effects, bass, singing metals, psaltery, man drum, electra guitar and loops. Northern Machine has developed themselves in a fine ambient industrial band playing some fine, dark textured, atmospheric music. Not s
hy of
rhythmical parts such as in the lengthy 'Hematonymic Procession', which works around some demented rhythms of an obscured nature. Occasionally the music leans a bit too much to the industrial side for me, and its too noisy, but at its best there is some very nice textured music to be heard, drones with the attitude of a great horror movie soundtrack, a post nuclear landscape nightmare soundtrack. Bring it on, I'd say.
Music by TL0741, also known as Pat Gillis (of Northern Machine - what do you expect?) has been reviewed before, such as 'Back To MInus' (Vital Weekly 641) and 'Magnetic Injuries' (Vital Weekly 715) and I have been lucky to see him play live on his modular synth beast, long before that was 'hip' among the cosmonauts. On this new release he continues what he set out before: play relative short improvisations on his modular beast thing, in which the cosmos not completely absent, but on the other hand doesn't play a big role either. Noise on the contrary is never far away, lurking its head around the corner occasionally. The pieces here have a more or less sketch like character, but no doubt that's because of the improvised way this is played and recorded - perhaps being excerpts of bigger pieces. But its neither a complete, all out noise release and has various moments of introspection, such as in 'Caul', with its threatening undercurrent and shimmering melody. Like before I qui
te
enjoyed the music, even when not every moment was equally strong, and this time, the album clocks in at just under forty minutes, so the ideal length for such experiments.
I have no idea if Gillis is also involved in the last release, which is one out of a series of three 'encompassing the astral-ambient, meditative noise and minimalist genres. The works are built on a foundation of singing bowls and metals, organic flutes, gongs and effects processors'. So who Mycophagy is I don't know, but the twenty-four minutes aren't exactly very ambient, but rather more meditative in a sort of noise like manner. Its ringing and singing, its bowls no doubt, but there is a kind of distorted element to it, which makes it all a bit more noise oriented than pure ambient. Also I thought this was rather more 'action' music, taking from perhaps a live recording (even when its live in the studio), which makes it not the most focussed recording. Sometimes it goes a bit down and the flow is not entirely constant. Not a great release, but certainly not a weak one either. Just alright I guess. (FdW)
Address: http://www.hc3music.com

ABUSIVE CONSUMER - CRUMBLING PORTRAITS (cassette by Retrograde Tapes)
The first time around I heard of J. Morales' project Abusive Consumer was in Vital Weekly 787, when I reviewed his 'It's Dry' release on Ilse. I was told he was inspired by the whole range of electronic and electro-acoustic composers (Schaeffer, Henry, Stockhausen), although it seemed to me was more interested in electronics than acoustics. More Planet Of The Apes than Chemin de Fer, if you know what I mean. Here he has two side long pieces of electronic music. One side is called 'Crumbling Youth In Plastic (Buchla Bonglaods)', which might give away something of the sound sources he uses here: the beloved - by some - Bucla modular synthesizer. There is of course a nice eccentricity to releasing this kind of music on a cassette, but with such delicate music I think I would prefer a CD(R) of it. Some of the stuff going on here is pretty low end in terms of volume and I am afraid one misses out some of the frequencies. Unlike his 'It's Dry', some of the music here is pretty low
end,
volume wise, but it sounds all very good. Excellent compositions of a finer, abstract nature, but as said, one may miss out some of the frequencies here and there. Unless that is of course the point, but somehow I don't think so. Great release by all accounts. (FdW)
Address: http://www.rertogradetapes.blogspot.com

ASSHOLE WITH A CLARINET - TIME FOR A TURD (cassette, private)
LUSCIOUS SKIN - VENTRILOQUIST (cassette by Alchemist Records)
SOFTOFT TECHECH (cassette by Alchemist Records)
RUN DMT/TRACEY TRANCE (split cassette by Cgifriday Enterprise)
GEM JONES - SYMPHONY IN P (cassette by Cgifriday Enterprise)
Is the title 'Time For A Turd' and the artist 'Asshole With A Clarinet'? Or perhaps vice versa? On the insert one side is called 'Asshole With A Clarinet' and one side 'Funny Feelings'. 'All music written and recorded by Nathan Ventura' - that's at least something clear. Twelve tracks in about thirty minutes and despite the confused silliness of the titles (or is that just plain silly?), the music is actually not too bad, or too uninteresting. Ventura is down in the basement with his drums and clarinet (side A) and drums and guitars (side B) over which he sings/howls/mumbles his lyrics. A sort of no wave, outsider kind of stuff, but if you listen closely you realize that is is not the real outsider stuff. It sounds to neat, too much planned, guitars detuned a bit, and such like, but throughout I thought it was pretty nice. I am not sure if I would easily play this a lot (but then, what do I play a lot anyway?), but there is a point to this.
Luscious Skin, to stay on the pop side, is a duo of Rhys Ziemba and Kyle Combs. Their laptop with these songs was stolen, but thanks to the Kansas Cops it was returned and now we have the release. I could make jokes about stolen laptops, but I won't. I guess the studio is their living room, as it all sounds a bit like it could have deserved a better production. A rhythm machine, a muddy synth and the vocals on top, but without blending in with the music in a natural way. The label calls this 'exquisite left field pop', a term I never really understand (is there right field pop then too, and if so, what is that?), but I would call this a rather naive attempt at producing pop music. To be positive, I think some of the songs certainly have potential and given some better studio (recording, production), this could actually be quite good.
Paul Slocum is from the Dallas band Tree Wave, but works with atari, commodore and especially Looper here. The five tracks start as they stop and are indeed looped affairs. A few loops is what each track is about and each are given some amount of mixing - one sound goes out, another up, another a bit down - the first one up again - you know the drill, I assume. Its hard to see a point to all of this. It sounds like an exercise in possibilities - 'look what this crazy machine can do, play so many loops and you can even mix them' - its not the 'disco on another plant in a sci fi film or at a futuristic tribal jungle ritual'. Unless of course there are even more roads in pop that I have no knowledge of, in which I case I apologize and ask to be educated.
And it must be pop and cassette week, as two more tapes from America arrived. Both are recorded in the basement, the garage or the attic, and all use electronic devices. Tracey Trance, which is probably a funny name, works with a drum machine, a synth, amplification and in the middle of the room a microphone is set up to pick the sounds. There must be something that these people like about such recording quality, but i always find it hard to figure what that is. The music is not very trance like, of whatever trance like nature it could have been, but rather pretty incoherent, like testing out a few sounds of a newly purchased synth. Run DMT on the other side is also quite incoherent, with a bunch of small and smaller songs, snippets even, but also have a sixties like pop tune going somewhere - no tracklist for any of this, nor info, so what on earth am I hearing anyway - which was very nice. Odd but interesting, and partly quite good.
Gem Jones is a band? A person? From Iowa City this sounds like an electronic funk band down in the basement with a rather 'low' production. Mechanic drums, 80s retro funk bass (more Medium Medium than Chic) and a voice that occasionally splashes out a few words, which are not to be deciphered. Crisis funk was the term that was used back then. As said the recording quality is a bit crude and that's a pity as this is something I quite enjoyed, even when it was quite brief, with four tracks at twenty six minutes (that reeks of 12" length, I thought). Very retro, very crude, very nice. (FdW)
Address: http://www.nathanventura.bandcamp.com
Address: http://www.alchimistrecords.com
Address: http://www.cgifriday.blogspot.com




1. "miguel a. garcĂ­a" <www.xedh.org@...>

miguel a. garcĂ­a (electronics) + pablo orza (guitar) >
galicia-porto tour from 6-6-12 to 14-6-12

6-6-12, 20:30 > miguel a. garcĂ­a + pablo orza
baleiro, facultade de filoloxĂ­a da USC, santiago de compostela
+info here: http://www.baleiro.org/

7-6-12, 19:00 > miguel a. garcĂ­a + pablo orza
centro comercial stop, sala 307, porto

8+9-6-12, 20:00 > miguel a. garcĂ­a + pablo orza @ zarata fest galicia
liceo mutante, pontevedra
+ info here: http://www.dfarte.com/ZarataGalicia.html

12-6-12, 21:00 > miguel a. garcĂ­a + pablo orza + luca massolin
cavalo branco studio, rua do barao de sao cosme, 234-4000-501, porto

14-6-12, 21:00 > durĂĄn vazquez + miguel a. garcĂ­a + pablo orza
hipolito, avenida de castrelos 26a, vigo



2. FRAGMENT FACTORY <info@...>

:: RADIO GAGARIN & FRAGMENT FACTORY present ::

live:

AARON DILLOWAY
(Spine Scavenger, Nevari Butchers, ex-Wolf Eyes / Hanson Records, USA)

Only 3 shows in Europe this summer!

Dilloway has been releasing and recording music since the age of 16. He was a member of experimental bands Couch, Galen and Universal Indians. He is a former guitarist and tape manipulator for the experimental band Wolf Eyes, which he left in 2005 to live most of that year in Kathmandu, Nepal. While his wife did her graduate work there, he roamed the streets recording every sound he could, many of which are used in his recent recordings and performances. Currently he runs the noise record label, record store and mailorder Hanson Records, which he began in Brighton, Michigan in 1994. Hanson then moved to Ann Arbor, Michigan for several years, before finally settling in Oberlin, Ohio, after a brief return to Ann Arbor. He performs solo using eight track tapes and vocal sounds, and records modular synthesizer music as Spine Scavenger. Recently, he has played with an ever-changing cast of sound artists under the name The Nevari Butchers.

http://thenevaributchers.blogspot.com/
http://vimeo.com/35847929


TBC
(Radio Gagarin / Wachsender Prozess, Hamburg)

TBC is Thomas Beck (ex-H64), operator of the Hamburg based Wachsender Prozess label and long-established sound artist, known from several solo releases and collaborations with the likes of Brume, Asmus Tietchens, Das Synthetische Mischgewebe etc. during the past 15+ years. A spinning mashup of electroacoustics, field recordings and severe noise elements.

http://www.soundcloud.com/wachsender-prozess

HELGE MEYER
(Wir Rufen ZurĂźck, Hamburg)

Exploring the many facets of noise since 2009, analog synthesizers, oscillators, embracing dronescapes and always enough scope to keep it gripping and unpredictable.

http://soundcloud.com/helgemeyer

FSK Studio (Foyer)
EimsbĂźtteler Chaussee 21
20259 Hamburg
Germany

Friday, June 22
9 pm sharp // 5.00€




Vital Weekly is published by Frans de Waard and submitted for free to anybody with an e-mail address. If you don't wish to receive this, then let us know. Any feedback is welcome <vital@...>. Forward to your allies.
Snail mail: Vital Weekly/Frans de Waard - Acaciastraat 11 - 6521 NE Nijmegen - The Netherlands
All written by Frans de Waard (FdW), Dolf Mulder (DM) <dolf.mulder@...>, Niels Mark (NM), Jliat (Jliat), Freek Kinkelaar (FK), Jan-Kees Helms (JKH) and others on a less regular basis.
This is copyright free publication, except where indicated, in which case permission has to be obtained from the respective author before reprinting any, or all of the desired text. The author has to be credited, and Vital Weekly has to be acknowledged at all times if any texts are used from it.
Announcements can be shortened by the editor. Please do NOT send any attachments/jpeg's, we will trash them without viewing.
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Lastly we have decided to remove the announcement section of Vital Weekly that is archived on our website that is older than five weeks. Since they 95% deal with concerts that have been, it's gentle to remove the announcement and more important the e-mail addresses coming with that.


the complete archive of Vital Weekly including search possibilities:
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----- Forwarded Message -----
From: Ed Pinsent <ed@...>
To:
Sent: Monday, 25 June 2012, 21:32
Subject: The Sound Projector 21st Issue 2012 - out now

ÂŁ8.00 plus postage from lulu.com

NEW INTERVIEWS WITH Anne Guthrie / Lutnahimat / Nathalie Bles / Nick Hoffman / The Truth About Frank / Tim Olive / Vicki Bennett / The Warm Digits / Andrea Pensado / Brandon Nickell / Mike Vernusky / Jesse Stiles / Wozzeck / Vialka / Architeuthis Walks On Land

144 pages, perfect bound, colour covers, B/W interiors. Full description of contents coming soon.

http://www.thesoundprojector.com/2012/06/25/tsp21-out/

NB: all but ten of the record reviews this issue have already been published on this blog; the texts are being recycled in this print publication. To compensate for this in some degree, the interviews (54 pages of 144 pages) are all new content. Plus drawings, photos, new cover scans, index…

 

Lots of Minoy for free download or stream on Archive.org:

http://archive.org/search.php?query=Minoy

--- In cassette_culture@yahoogroups.com, "G. Greenway" <ggr33nway@...> wrote:
>
>
>
> Recent news from Don Campau's site
>
> http://livingarchive.doncampau.com/artist_spotlights/minoy
>
> Are there plans for reissue? What I have heard of Minoy seems to justify his very high reputation.
>

----- Forwarded Message -----
From: "chuck@..." <chuck@...>

announcing

BING SELFISH - 'SELFISH WORKS' 5-song 7" EP: $5.
On sale here: http://hyped2death.com/catalog/product_info.php?cPath=31&products_id=512

(A companion release of sorts to "12 Minutes at The Hot Club Murphy")
With multiple colored sleeves and full liner-notes in a hand-numbered edition of 465.

11+ minutes of gorgeous/inscrutable post-everything from the same general mindset as the HOT CLUB MURPHY EP (Messthetics #701), and just as unknown. Both began life as vanishingly rare 12" EPs on the related Noise Method and El Frenzy labels - neither of which made the slightest mention of the all-star casts that toiled therein. Selfish Works features Bing Selfish, Homosexuals bassist Amos a/k/a Jim Whelton, Homosexuals producer/effects-whiz Chris Gray, Murphy Federation/Orchestre Murphy leader Rob Storey, and assorted Milk From Cheltenham and Micromassa members.

The Hot Club Murphy EP sold out so fast we had to do a re-pressing just to honor distributor orders, but this will be the only pressing for the Bing Selfish EP.

Here are YouTube slideshows for two of the tracks, including a sampling of the 7" artwork:

The Crush: http://www.youtube.com/watch?v=m8zOtVbqeoc
Rekjavik: http://www.youtube.com/watch?v=CyeW47DogPM

From the liner-notes:
A 1981 junket to Barcelona found Bing Selfish, Amos a/k/a Jim Whelton, Chris Gray, Rob Storey, and Milk From Cheltenham recording three tracks for a compilation LP, Domestic Sampler - UMYU, alongside the once-and-future stars of the Barcelona underground (Enric Villalba is better known as Victor Nubla of Micromassa, and was one of the organizers of UMYU). Bing and Joe Torres (a/k/a Victor Lounge of Milk From Cheltenham) stayed on, and a few months later they welcomed Rob, Chris and Rodrigo Lodwick back to tape an Amos & Sara LP. The only recordings to come of this venture, however, were five Bing Selfish-led tracks that became 'Selfish Works'. (Hardcore Messthetics/D.I.Y. fans will particularly appreciate the way that several songs on Selfish Works are introduced by fragments from the traditional Spanish music tape reels over which they were recording!)

The 1983 12" features everyone above, plus Rita Chuli (who married Lepke Buchwalter and had a cassette on her own) and Gabriel - who'd played sax on the Milk From Cheltenham track for UMYU. The tapes were carried back to London and pressed through Rob Murphy's Noise Method label, although it's officially on Bing's own El Frenzy imprint (bearing catalog numbers for both). A political decision seems to have been made not to distribute the 12” except face-to-face, so that the D.I.Y. fans at Rough Trade and the Rock-in-Opposition worthies at Recommended mostly never saw it...


Hope you'll check it out!  Several dozen 'new' original 7"s have been added to the collectible vinyl section as well. 

peace,

C.

Chuck Warner
Hyped to Death / Messthetics CDs
http://hyped2death.com/catalog/

----- Forwarded Message -----
From: Teflon Beast Records <teflonbeast@...>
Sent: Tuesday, 10 July 2012, 13:46

Teflon Beast  sends happy birthday wishes to label co-founder/producer/multi-instrumentalist Chris Daily today. We're celebrating by releasing a TON of MUSIC, including a massive data CD (containing 16 1/2 hours of music with 300+ songs) set titled The Selected Works of Chris Daily Vol. 1: The Complete Works and Daily's new album titled Lately, As Always: Wayside Songs that will be available on cassette and download.

The compilation set covers every solo recording one man band Chris Daily has ever multi-tracked and a smattering of group songs either produced by him or recorded w/Daily as a member of such groups as The Daily Brothers and Stylish Headphones, Milady. From D's earliest 4-track cassette experiments to professional tech Pro Tools savvy  audio masterpieces, the 300+ songs rival R. Stevie Moore for quantity and quality (and Daily aint yet 25 years old)!! 

Lately, As Always: Wayside Songs is an album six years in the making...The set contains songs either left unfinished or newly minted gems from the years 2006-2012. Highlights include the bass-rocking rocker "Roland Kirk Blues," the smooth horn section pop of "No More Weather," and a cover of the Beach Boys-esque soon to be released (September 2012) new Netherverse song "Cigarette Boat." 

Finally, throughout the summer TBR will be posting a variety of mixtapes compiled by Chris Daily, Matt Daily, and friend/label associate Broderick Young to the JAMBOX page that feature some of Daily's best and/or strangest recordings from his illustrious homerecording career (thus far).

THANKS FOR LISTENING!
Teflon Beast Records
@TeflonBeast
What's in your jambox?

        

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