- Tulse Luper
- Albums and Singles
REPEAT, "SELECT DIALECT"
With a name as innocuous as Repeat and a cover as stunningly ugly as the one for "Select Dialect", it's no wonder that I discovered this recording in the "To Be Listened To Sometime Later, Maybe, If At All, Or Perhaps I'll Just Use These as Beer Coasters" pile of CDs at the home of this e-zine's esteemed editor. The cover looks awful. It looks like it was designed with random scraps of construction paper. It's difficult to tell what the band name is and what the album's title is, because of the awkward placement of words on square, green splotches unevenly distributed across a baby-blue (ugh!) scrap of cardboard. If I didn't happen to be turning over and examining every single CD on said editor's table one evening, this fine recording would have gone entirely unnoticed by either of us.
Repeat is the duo of Swiss percussionist Jason Kahn and Toshimaru Nakamura, who plays an empty mixing board feeding back into itself and wired out to a sampler. He tweaks the high-pitched feedback, and samples it in real-time. You may remember Nakamura from last year's fantastic "Four Focuses" CD, in which he performed duos with Sachiko M, Otomo Yoshihide, and the great Martin Tetreault. Both Nakamura and Kahn have been active in the international improvised music community for at least a decade, and Repeat may be their attempt to expand their audience beyond the already initiated.
What is most unexpected is how close this duo resembles the post-techno sound being set forth by labels such as Raster-Music and Karaoke Kalk. Nakamura's mixing desk shimmers with pleasant tones (yes, actual tones!), as well as the expected high-pitched squiggles. Kahn's metallic scraping and occasional synthesizer repeat simple melodic phrases, and his more traditional percussion even keeps a steady beat. In the album's closing track, Kahn's lightly stuck bowls ring and combine with a flute-like sound (the origin of which I will not attempt to locate), for an effect not dissimilar to polite New Age. From two musicians who have existed for years at the outside of the improvised music community, it is certainly novel to hear these song-like forms emerge. There are edgy moments, but not many, so if this is some listener's way into the potentially alienating world of electro-acoustic improvised music, then that's just fine with me. As it is, it's pleasant enough, and if I didn't know who these folks were, I wouldn't think twice about how oddly normal it was.
With a name as innocuous as Repeat and a cover as stunningly ugly as the one for "Select Dialect", it's no wonder that I discovered this recording in the "To Be Listened To Sometime Later, Maybe, If At All, Or Perhaps I'll Just Use These as Beer Coasters" pile of CDs at the home of this e-zine's esteemed editor. The cover looks awful. It looks like it was designed with random scraps of construction paper. It's difficult to tell what the band name is and what the album's title is, because of the awkward placement of words on square, green splotches unevenly distributed across a baby-blue (ugh!) scrap of cardboard. If I didn't happen to be turning over and examining every single CD on said editor's table one evening, this fine recording would have gone entirely unnoticed by either of us.Repeat is the duo of Swiss percussionist Jason Kahn and Toshimaru Nakamura, who plays an empty mixing board feeding back into itself and wired out to a sampler. He tweaks the high-pitched feedback, and samples it in real-time. You may remember Nakamura from last year's fantastic "Four Focuses" CD, in which he performed duos with Sachiko M, Otomo Yoshihide, and the great Martin Tetreault. Both Nakamura and Kahn have been active in the international improvised music community for at least a decade, and Repeat may be their attempt to expand their audience beyond the already initiated.
What is most unexpected is how close this duo resembles the post-techno sound being set forth by labels such as Raster-Music and Karaoke Kalk. Nakamura's mixing desk shimmers with pleasant tones (yes, actual tones!), as well as the expected high-pitched squiggles. Kahn's metallic scraping and occasional synthesizer repeat simple melodic phrases, and his more traditional percussion even keeps a steady beat. In the album's closing track, Kahn's lightly stuck bowls ring and combine with a flute-like sound (the origin of which I will not attempt to locate), for an effect not dissimilar to polite New Age. From two musicians who have existed for years at the outside of the improvised music community, it is certainly novel to hear these song-like forms emerge. There are edgy moments, but not many, so if this is some listener's way into the potentially alienating world of electro-acoustic improvised music, then that's just fine with me. As it is, it's pleasant enough, and if I didn't know who these folks were, I wouldn't think twice about how oddly normal it was.
samples:
Read More
- Mark Weddle
- Albums and Singles
VLADISLAV DELAY "ANIMA"
This is the first of surely many for 2001 from the young yet prolific Helsinki based producer Luukas Onnekas. The word 'anima' is a psychological term meaning essentially 'an inner feminine part of the male personality'. Both the artwork, a pastel enshrouded woman, and music, demure and beautiful, perfectly reflect these qualities. The disc is indexed as a single 62 minute track, a continuous organic flow that constantly, unpredictably shifts gears while retaining recurrent themes and coherence. Delay's sound set is a vast, atmospheric sonic sandbox of arctic synth pads, low end blips and throbs, fragments and smears of fractured audio and an expansive selection of percussive minutiae. Melody and rhythm are sometimes more implied than expressed, allowing for your brain to fill in the blanks, and at other times coalesce effortlessly, flawlessly and gracefully all on their own. Stagnation is the enemy as a few notes of wash background are about the only element allowed to loop for any great length of time. The piece ends by gradually, almost unwillingly, dissolving and fading away finally concluding with a crash and sampled dialogue ... "I might never go to sleep again, I might stay awake forever!" Absolutely gorgeous. Pure genius. Yet another masterpiece. I wonder how many other slots Delay will fill in my best of 2001 list? Also out now is the LUOMO "Tessio Remixes" 12" on Force Tracks to be followed by a new full length later this summer. samples:
This is the first of surely many for 2001 from the young yet prolific Helsinki based producer Luukas Onnekas. The word 'anima' is a psychological term meaning essentially 'an inner feminine part of the male personality'. Both the artwork, a pastel enshrouded woman, and music, demure and beautiful, perfectly reflect these qualities. The disc is indexed as a single 62 minute track, a continuous organic flow that constantly, unpredictably shifts gears while retaining recurrent themes and coherence. Delay's sound set is a vast, atmospheric sonic sandbox of arctic synth pads, low end blips and throbs, fragments and smears of fractured audio and an expansive selection of percussive minutiae. Melody and rhythm are sometimes more implied than expressed, allowing for your brain to fill in the blanks, and at other times coalesce effortlessly, flawlessly and gracefully all on their own. Stagnation is the enemy as a few notes of wash background are about the only element allowed to loop for any great length of time. The piece ends by gradually, almost unwillingly, dissolving and fading away finally concluding with a crash and sampled dialogue ... "I might never go to sleep again, I might stay awake forever!" Absolutely gorgeous. Pure genius. Yet another masterpiece. I wonder how many other slots Delay will fill in my best of 2001 list? Also out now is the LUOMO "Tessio Remixes" 12" on Force Tracks to be followed by a new full length later this summer. samples:Read More
- Mark Weddle
- Albums and Singles
MONOLAKE "GRAVITY"
Monolake is German producer/programmer/engineer Robert Henke, apparently now solo as former partner Gerhard Behles is credited only with additional production. Much of their music has long been both dance floor and headphone friendly and "Gravity" is no exception, though as with the previous album "Interstate" techno and digital ambient lovers will have even more to cheer about. Gone are the dub influenced rhythms (which is a shame because they do it so well) but a dense, open and fluid spaciousness remains as a playground setting for clinically precise computer sounds and calm and collected, levelheaded rhythms. Track titles are as deceptively simple as the tracks themselves, most 7 to 10 minutes, as beat patterns shift in gradual increments and backgrounds evolve. "Mobile", "Zero Gravity" and "Aviation" contain the most intriguing selection of liquid, gaseous, metallic and alien melody making sounds. "Ice" tosses about frozen human sighs and hisses over cool future funk. "Frost" is too stagnant due to unduly repetitious beats. "Static" and "Fragile", like "Frost", are also rhythmically repetitious but not tediously so as what lies beneath the beat breathes. "Nucleus" is a steady roar of night air devoid of all beats that simply fades away over the final few minutes. All in all "Gravity" feels like a darker, more streamlined version of "Interstate". I'm pleased. Monolake will be playing shows in Montreal, Toronto, Lithuania and Italy in February and March. samples:
Monolake is German producer/programmer/engineer Robert Henke, apparently now solo as former partner Gerhard Behles is credited only with additional production. Much of their music has long been both dance floor and headphone friendly and "Gravity" is no exception, though as with the previous album "Interstate" techno and digital ambient lovers will have even more to cheer about. Gone are the dub influenced rhythms (which is a shame because they do it so well) but a dense, open and fluid spaciousness remains as a playground setting for clinically precise computer sounds and calm and collected, levelheaded rhythms. Track titles are as deceptively simple as the tracks themselves, most 7 to 10 minutes, as beat patterns shift in gradual increments and backgrounds evolve. "Mobile", "Zero Gravity" and "Aviation" contain the most intriguing selection of liquid, gaseous, metallic and alien melody making sounds. "Ice" tosses about frozen human sighs and hisses over cool future funk. "Frost" is too stagnant due to unduly repetitious beats. "Static" and "Fragile", like "Frost", are also rhythmically repetitious but not tediously so as what lies beneath the beat breathes. "Nucleus" is a steady roar of night air devoid of all beats that simply fades away over the final few minutes. All in all "Gravity" feels like a darker, more streamlined version of "Interstate". I'm pleased. Monolake will be playing shows in Montreal, Toronto, Lithuania and Italy in February and March. samples:Read More
- Carl Thien
- Albums and Singles
SHIZUO, "MORE MORPHINE"
Former Atari Teenage Riot sound engineer and current DHR artist David Hammer (a.k.a. Shizuo) presents his first release on his own label. All 4 songs have much more color than DHR stuff usually does, (with the exception of Lolita Storm, who I still love). "More Morphine" was written with DJ Scud (Londoner who runs Ambush Records and in collaborotation with NYC's I-Sound, Full Watts). It is filled with vocals and is like a male Lolita Storm. "Nuerology" is like DMZ, The Twinkeyz, or Lou Reed filtered through The Cramps and then some. "16 Licks" goes extreme at the end of each bar. It starts with the guitar lick from "Keep Me Hanging On". It goes on to sample vocals from Crass and David Bowie. "Dealing Drugs" has spoken samples that provide the feel for the song. It is sparse in spots and has the noise wash in others. It ends with a looped vocal that has to be manually lifted from the turntable (locked groove). This single is actually pretty good if you like life hard.
Former Atari Teenage Riot sound engineer and current DHR artist David Hammer (a.k.a. Shizuo) presents his first release on his own label. All 4 songs have much more color than DHR stuff usually does, (with the exception of Lolita Storm, who I still love). "More Morphine" was written with DJ Scud (Londoner who runs Ambush Records and in collaborotation with NYC's I-Sound, Full Watts). It is filled with vocals and is like a male Lolita Storm. "Nuerology" is like DMZ, The Twinkeyz, or Lou Reed filtered through The Cramps and then some. "16 Licks" goes extreme at the end of each bar. It starts with the guitar lick from "Keep Me Hanging On". It goes on to sample vocals from Crass and David Bowie. "Dealing Drugs" has spoken samples that provide the feel for the song. It is sparse in spots and has the noise wash in others. It ends with a looped vocal that has to be manually lifted from the turntable (locked groove). This single is actually pretty good if you like life hard. Read More
- Mark Weddle
- Albums and Singles
SENKING "TRIAL"
"Trial" is the fourth cd by Jens Massel as Senking and the sixth of seven releases to date in Raster-Noton's 'static series', all of which are packaged in anti-static bags. Massel arranges effected electronic sounds into essentially single riff songs with dub, glitch and minimalist qualities. The 8 tracks are aptly titled, most between 4 and 5 minutes. "Flaw" fires up with a snap, crackle and pop of static and submarine sonar pings. "Wind Up" is busy with rolling pops, bass bumps, mechanical winding and steam hisses. "Lurk" and "Trackdown" would make an appropriate soundtrack for cinematic stalking, playing down the beats some for dark drone, hiss and click. "Hide Out" is the center and master piece, an 8 and 1/2 minute pattern of warm, melodic dub. "Pell-Mell" rumbles along with blips, ticks and a short vocoded sample. "Dent" skips along merrily with deep bass under the crackle and buzz of a power line surge. "Lift" caresses with high pitched clicks, swooping tones and watery plunks. "Trial" is pleasant enough with a good bit of stylistic variety but not much of a progression and not too terribly memorable. Once again, I'd be happier with a single or double disc compilation of select tracks from all of Massel's many releases to date as Senking, Fumble and Kandis.
"Trial" is the fourth cd by Jens Massel as Senking and the sixth of seven releases to date in Raster-Noton's 'static series', all of which are packaged in anti-static bags. Massel arranges effected electronic sounds into essentially single riff songs with dub, glitch and minimalist qualities. The 8 tracks are aptly titled, most between 4 and 5 minutes. "Flaw" fires up with a snap, crackle and pop of static and submarine sonar pings. "Wind Up" is busy with rolling pops, bass bumps, mechanical winding and steam hisses. "Lurk" and "Trackdown" would make an appropriate soundtrack for cinematic stalking, playing down the beats some for dark drone, hiss and click. "Hide Out" is the center and master piece, an 8 and 1/2 minute pattern of warm, melodic dub. "Pell-Mell" rumbles along with blips, ticks and a short vocoded sample. "Dent" skips along merrily with deep bass under the crackle and buzz of a power line surge. "Lift" caresses with high pitched clicks, swooping tones and watery plunks. "Trial" is pleasant enough with a good bit of stylistic variety but not much of a progression and not too terribly memorable. Once again, I'd be happier with a single or double disc compilation of select tracks from all of Massel's many releases to date as Senking, Fumble and Kandis.samples:
Read More
- Carl Thien
- Albums and Singles
"PARIS VU PAR"
A compilation from Cherry Orchard's record label in France. Like Bambini's 'Mystery Date Game' and 'Voyage Romanesque' and Invicta Hi-Fi's 'Special Skool' comps this record attempts to create the cool atmosphere that Siesta and El Records have done on their international pop compilations, with just a dash of the electronic pop that J-pop specializes in so well. Every band wrote a song about Paris just for this compilation. For me the 2 standout tracks are the Baxendale cut "The New Parisienne Pop And Soul" and The Cherry Orchard's "We Could Fall In Love". These 2 tracks are classics of each of the bands that are exclusive to this disc. Baxendale remain one of my very fave bands of 2000. Le Hammond Inferno sound very J-pop on the instrumental "Stylostumpt". The track sounds very familiar though I can't place from where. It is very energetic and catchy. Merrick's (from Munich) do a pretty good song "Fur Paris gilt das Nicht" that is nice even though it's not one of my faves. It almost sounds like a mellower Francoise Cactus (of Stereo Total) singing. She even says "Crazy Horse" (the title of a Stereo Total song from 'Juke-Box Alarm') in the lyric of the track.
A compilation from Cherry Orchard's record label in France. Like Bambini's 'Mystery Date Game' and 'Voyage Romanesque' and Invicta Hi-Fi's 'Special Skool' comps this record attempts to create the cool atmosphere that Siesta and El Records have done on their international pop compilations, with just a dash of the electronic pop that J-pop specializes in so well. Every band wrote a song about Paris just for this compilation. For me the 2 standout tracks are the Baxendale cut "The New Parisienne Pop And Soul" and The Cherry Orchard's "We Could Fall In Love". These 2 tracks are classics of each of the bands that are exclusive to this disc. Baxendale remain one of my very fave bands of 2000. Le Hammond Inferno sound very J-pop on the instrumental "Stylostumpt". The track sounds very familiar though I can't place from where. It is very energetic and catchy. Merrick's (from Munich) do a pretty good song "Fur Paris gilt das Nicht" that is nice even though it's not one of my faves. It almost sounds like a mellower Francoise Cactus (of Stereo Total) singing. She even says "Crazy Horse" (the title of a Stereo Total song from 'Juke-Box Alarm') in the lyric of the track. Read More
- Mark Weddle
- Albums and Singles
PSYCHIC ENEMIES NETWORK "VALIS"
Geographically seperated brothers John and Matt Thorne are Psychic Enemies Network. "Valis" further explores the psycho-sonic territory initially tapped on their 1998 self released, self titled debut. Their music comes from a wide range of world percussion (djemba, toas drum, african kettle, elephant bell, hand percussion, etc.), guitar, bass, trumpet (by David Chapman), synths, sequences and samples. The mix is contained to a point, never allowed to boil over into the red, and a feeling of slightly unsettling transcendence is present throughout. Quite a bit of thought seems to be going in to it all too as track titles reference such varied topics as irregular heart actions, Philip K. Dick novels, henna painting and geographical projections. "Arhythmia" begins as a warm ambient loop later adding exotic rhythms and background samples for a sound similar to late '80s Muslimgauze. "Come Crumbling" is a murky mix of voices and trumpet drone. "Sandfall" perfectly marries shimmering loops with pan melodies, female backing vocals and a deep electro-bass groove. "Tilted Earth" builds a hypnotic wall of sound from trumpet wails, finger cymbals, bells and chimes. "Bowl Cut" is a mildly funky blend of jazz drumming and quirky synth riffs. "Radio Free Albemuth (altman)" amusingly cuts and pastes samples culled from various musical projects the Thornes have been involved in for some Nurse With Wound-like fun. "Valis" beautifully accentuates swirling ambient guitar and samples with light brushed snare and subtle trumpet playing. "Mehendi" swings a little with a jazzy rhythm and moody bass. "8/7/96" rips and tears audio fragments over a few looped notes of clean guitar. And "Gnomonic" concludes the album as it began with a quiet, albeit rhythmic, loop. Altogether "Valis" is varied, flows well and shows a studied progression. Psychic Enemies Network have definitely found their niche! Up next is a series of side projects under the 'Psychic Enemies Network Presents' umbrella including Para!Helion "Midaq Alley" (with John Thorne and David Chapman - more of a straightforward world music project, also recommended) and Fez Dispenser (with Matt Thorne). Info may be found at www.browser.to/psychicenemiesnetwork/ .
Geographically seperated brothers John and Matt Thorne are Psychic Enemies Network. "Valis" further explores the psycho-sonic territory initially tapped on their 1998 self released, self titled debut. Their music comes from a wide range of world percussion (djemba, toas drum, african kettle, elephant bell, hand percussion, etc.), guitar, bass, trumpet (by David Chapman), synths, sequences and samples. The mix is contained to a point, never allowed to boil over into the red, and a feeling of slightly unsettling transcendence is present throughout. Quite a bit of thought seems to be going in to it all too as track titles reference such varied topics as irregular heart actions, Philip K. Dick novels, henna painting and geographical projections. "Arhythmia" begins as a warm ambient loop later adding exotic rhythms and background samples for a sound similar to late '80s Muslimgauze. "Come Crumbling" is a murky mix of voices and trumpet drone. "Sandfall" perfectly marries shimmering loops with pan melodies, female backing vocals and a deep electro-bass groove. "Tilted Earth" builds a hypnotic wall of sound from trumpet wails, finger cymbals, bells and chimes. "Bowl Cut" is a mildly funky blend of jazz drumming and quirky synth riffs. "Radio Free Albemuth (altman)" amusingly cuts and pastes samples culled from various musical projects the Thornes have been involved in for some Nurse With Wound-like fun. "Valis" beautifully accentuates swirling ambient guitar and samples with light brushed snare and subtle trumpet playing. "Mehendi" swings a little with a jazzy rhythm and moody bass. "8/7/96" rips and tears audio fragments over a few looped notes of clean guitar. And "Gnomonic" concludes the album as it began with a quiet, albeit rhythmic, loop. Altogether "Valis" is varied, flows well and shows a studied progression. Psychic Enemies Network have definitely found their niche! Up next is a series of side projects under the 'Psychic Enemies Network Presents' umbrella including Para!Helion "Midaq Alley" (with John Thorne and David Chapman - more of a straightforward world music project, also recommended) and Fez Dispenser (with Matt Thorne). Info may be found at www.browser.to/psychicenemiesnetwork/ .samples:
Read More
- Administrator
- Albums and Singles
From a small label in Holland comes this amazingly priced double CD set, a singles compilation from Scott Engel, John Maus and Gary Leeds, who are most commonly known as Scott, John and Gary Walker. The collection grabs 45 A-sides and popular hits from the trio both together and in solo form, stretching from 1965 through 1981.The Brothers' own brand of kitchy love and anthemic pop has manifested into numerous timeless classics. Marc Almond, Magnetic Fields, Pizzicato Five and David Bowie all owe notable portions of their careers to the influence of the Walker Brothers. Cover tunes of their hits can also be heard from people as diverse as Donna Summer, Chris Connelly and Dead Can Dance's Brendan Perry. This compact collection serves as a great career retrospective and would make a great addition to any newbie or current fan's CD shelves as the artwork and liner notes also provide a global perspective of their international success.
samples:
 
- There Goes My Baby (the Walker Brothers)
- Jackie (Scott Walker)
- The Electrician (the Walker Brothers)
Read More
- Mark Weddle
- Albums and Singles
The latest release from Labradford's Chicago resident, Mark Nelson takes the form of 12" vinyl from BSI Records of Portland, OR. This 12" (limited to 2000 copies) provides 24 minutes with 2 exclusive tracks mastered by BSI's mix maven Sound Secretion. Unlike his superb full length albums on Kranky, Pan•American singles (including the 10" on Kraak and 12" split on Fat-Cat) are truly solo efforts devoid of contributions from other players.Without a lead instrument (like a trumpet or voice on last year's '360 business/360 bypass') the sound resembles Chain Reaction-styled dub spaciousness, only more incredibly deep and emotionally fulfilling. "East Coast Bugs" churns like a locomotive through the backwoods ... a techno-dub bass throb is accompanied by another solid bass line, electronic twinkles and the slight murmur of an insect filled night. "Esso" is slower and more melodic, coupling subtle beatbox rhythm with massive low end. Both are simply gorgeous. If you don't plop down the $9 for this, there's something wrong with you ... - Mark Weddle (with Jon Whitney)
samples:
Read More
- Administrator
- Albums and Singles
Bryn Jones passed away 2 years ago last week and his music lives on.Originally released free of charge as mp3s, "Fedayeen" returns as aproper limited edition on compact disc via Russian label TantraHarmonies. It comes in 2 flavors, collectable and uber-collectable: 850in color gatefold sleeve and 150, numbered, in lion logo green slipsleeve. Being around $20 and $25, respectively, and the fact that themp3s are tucked away on many a hard drive and cd-r, this disc isessentially for the must have everything folks. Jones was at anunprecedented level of prolificness in 1998-9 with 35 or so releases.The 8 tracks here (most in the 10 to 12 minute range, 61 total) sharethe same repetitious characteristics: hand percussion and crunchyelectronic loops, sample cut and paste (dialogue, bird calls, water),strings, etc. in a variety of styles: 'traditional', drum 'n bass,techno and overdriven glitch-hop. The length of these tracks makes themboth hypnotic and tedious at times but, nonetheless, qualityMuslimgauze. Of special note are "Mustafas Cassette Market Marrakesh",a blurred d 'n b blend, "Abu Salim, Tripoli", a slower techno journey,"Bharboo Of Pakistan Railways", an electro-bleep loop and "Old ArabRecord Not On Compact Disc" which regurgitates bits from old slabs ofscratchy arabic vinyl. And yes, this does sound better in cd ratherthan mp3 quality. "Melt", the sister mp3 release from 1998, will alsobe re-released as a 12" EP via BSI Records next month .Read More
- Administrator
- Albums and Singles
This Belgian duo consists of John Sellekaers and C-Drik, whose production and performance has appeared on releases from Torsion, Ambre and Snog. The debut release has taken three forms, but the one in my hands is the German CD edition. It starts off being a rather powerful foray into aggressive modern dark drum and bass.
 
 
The assault is a feverish cold-calculated digital one, but most impressively the joy builds. After four original tracks, the album changes from a seemingly faceless, heartless power jam to a charming musical adventure. The second half includes excellent manifestations by Imminent and Silk Saw, a rather lukewarm remix by Panacea, as well as the atmospheric original "Reptiles in Paradise." Fans beware: the four-track German 12" release includes reprogrammed versions of the first two songs, not available on the CD and the 9-track US version on Gun Music only has five overlapping tracks.
samples:
- Ghost Phalanx
- Reptiles in Paradise
- Psychoville (Imminent mix)
Read More
