Label: Kendra Steiner Editions - KSE #316 • Format: CDr • Country: US • Genre: Jazz • Style: Free Improvisation, Avant-garde Jazz
Vital Weekly, the webcast: we offering a weekly webcast, freely to download. This can be regarded as the audio-supplement to Vital Weekly. Presented as a radioprogramm with excerpts of just some Massimo Magee & David W. Stockard - Interrogatories the CDs no vinyl or MP3 reviewed. It will remain on the site for a limited Du Bist Nicht Allein - Various - 4 Spitzenschlager most likely weeks.
Download the file to your MP3 player and enjoy! Still in this dark age of love I had expected it to be virtually impossible to get the rights to release this unpublished material. To some people this will definitely be blasphemy, but, right upfront; I can't say I'm a such huge Coil fan. Now, somewhat reluctantly I started listening to "Backwards" but I have to Massimo Magee & David W. Stockard - Interrogatories that it really blew me away immediately.
It seems to usher in the latter with repetitive introspective pieces like "Amber Rain" which we already knew from "The Ape of Naples" and "Paint Me As A Conscience In A Cave - Dogwood - Seismic Soul", The U.S.
Field Artillery March - The 1st Marine Band - Live - In Concert The 1st Marine Band At The eponymous track "Backwards" retains the industrial nature of Coil's earlier work. The early version of "Heaven's Blade" revisits the 90s dance excursions of ELpH and the different takes on classic anthems "A Cold Cell" and "Fire of the Mind" are quite refreshing as well, though much more minimalistic.
By all means an album that is quite diverse regarding the territory it covers - perhaps not unlike 'Scatology' or 'Horse Rotorvator' in that sense. Essential for anyone with a taste for 90s occult experimental electronica and if you're not familiar with the work of Coil at all this album might as well serve as a proper introduction. Behrens or his band Animal Art, some compilations and also an artist named Boche, who released his only tape on this label, in Behind Boche is one Hans Ludwig Jacoby, who was active as a musician from the mid 80s tousing a drum machine, a Roland Space Echo and sometimes a small zither "that he played with a metal plate-turned-plectrum that previously had been put into his leg after an accident".
Later on he went to compose 'ambient electroacoustic music', but I see no evidence of releases. The CD currently available has no less than twenty-seven pieces, recorded from to and as the title indicates are all quite 'beat' heavy. I have heard quite a bit of music released on cassette in that period, but I believe none of that was from Boche and most likely not any other one released by Animal Artso for me it's also a first introduction and I can't rave about such things as 'long lost classic finally becomes available', which is usually the case with these kind of re-issues; my own words.
This is music that is indeed typical of its time. Boche plays ultra minimalist beats, which he feeds through a single synthesizer and that leads to industrial music in the best tradition of the very early Cabaret Voltaire, certainly when Boche adds voice material taped from the radio or number stations, to give it that spy satellite idea.
Music recorded in the height of the cold war, when we faced with such nightmares as atomic bombs and apocalypses. None of these pieces is really very long and that's great; none of this need to be very long I think. Each of the pieces is an idea, fine as they are, but not something that should be stretched out for too long.
It just doesn't have that minimalist long feel to it. It's best at the short, two-three minute length these pieces now have and even at seventy-seven minutes I think it was a long stretch Massimo Magee & David W. Stockard - Interrogatories hear all of this in one go. Towards the end of this release, one notes that Boche is running out of variations on his themes. However if 'minimal wave' and 'NDW' are musical notions in your daily digest, make sure to explore Boche too and you will add a new name to that plate of music.
Sometimes very minimal and electronic, but also releases using field recordings and more conceptual work. On 'Squared' we have both. The information says this piece is something that Hauswolff has been playing sincebut over the years changed drastically, according to the composer. It's a piece for sine waves from the lower end of the sound region being played continuously, and only if you listen closely you will notice subtle changes and additions of sounds in the middle region; these could be related electronic sounds or maybe some other sparkling electronic current, or maybe even a field recording; it is not something that is altogether very clear.
At thirty-one minutes the piece evolves at a rather slow pace, but it sounds really intense and I enjoyed it a lot. The other piece is 'Cementerio Del Norte', using emission spectroscopy recordings of soil of the German cemetery in Montevideo, Uruguay. While this is also minimal in approach, it doesn't have the austerity of the first piece: right from the start there is a lot more sonic detail and while none of the actual soil is recognized around here, it has a grainy, sandy feel to it.
Almost like some low-resolution sampling music. It slowly drifts apart in two, almost separate channels, towards the end of it. At close to sixteen minutes I believe I wouldn't have minded all of this to be a bit longer. Both pieces had an excellent mysterious feel to it. Quite a treat: last week we reviewed a brand new release by Asmus Tietchens, and this week there is even a double CD of collaborative works.
Most of his collaborators are quite well known, save perhaps for C. Right, Peinemann, you may ask: now who's that? I also have no idea, really, as up until now he never released anything. The two discs here were recorded in two different periods. The first disc, called 'Hochallee' the name of the street where Peinemann lived then has recordings the two musicians made together in the period to For Tietchens this was an entirely different environment than the usual surroundings of the Audiplex studios where he always seems to record well, save for a few exceptions.
With rather 'low' standards, such as a four-track recorder, six-track mixer and all sorts of apparatus, they recorded thirteen pieces, and at the end they deemed this fit enough for a release which then took another twenty years. The other disc is called 'Klosterallee' and it's here that in springtime Peinemann recorded basic sound material for Tietchens to re-use, and this he did at the beloved Audiplex studios.
By then Peinemann had moved his work into 'extreme digital manipulations' the word of the label. One is right when one Rite Of Passage - CIRClings - Stretching Time Vol.1 this is an interesting find, displaying us mid 90s Tietchens and mid 00s Tietchens, working in for him slightly different surroundings at least on one disc and with someone with whom we have absolutely no history.
I was corrected following last week's review and told that Tietchens does work with computers since about fifteen years, using GRM tools, but of course on the first disc that is not the case. These thirteen pieces are rudimentary pieces of electronic music, sometimes blissful feedback, sometimes a dub inspired synth song 'Hochallee 12'pieces with looped, rhythmic sounds, and Massimo Magee & David W.
Stockard - Interrogatories general it seems that the classic Tietchens treatment is never far away in these pieces. Several of these pieces could have been on, say, 'Aus Freude Am Elend', the various albums with Terry Burrows Elly* Og Ragnar* - Heyr Mína Bæn some others from the early to mid 90s.
That slightly mechanic play with sounds, the entrapment in sound effects reverb plays some role indeedbut also a rolling rhythm reminiscing krautrock, one could muse? The second disc is the Tietchens we know from recent years, and indeed he doesn't refer to himself as a reductionist, because his music doesn't resemble that of Ikeda or Noto; also knowledge picked up last week.
His current music is all about quietness, not for any esoteric reasons, but simply because he wants us to listen more closely, and perhaps concentration is by now a lost art form in this hectic life everyone is supposed to have these days. Here none of the source material is easily recognized, in fact not at all, but it feeds through analogue and, as we have learned since last week, digital means and reduced to a few sounds here and there sometimes Scylla And Charybdis - Cruciform - The Renaissance Within together with a simple, sustaining drone like sound, a residue of what once perhaps a much bigger sound element.
It's interesting to play both of the discs back to back and hear the progress of Tietchens and the way he treats his sounds. I am not sure if that's really the case. However both CD's in this package are, no matter how different they turn out to be, a quite beautiful.
This is a must for every Tietchens fan. The new theme is 'Grenzen', which translates as 'borders', which is probably a very hot theme these days especially in Germany. Borders of place, of time, between people, thoughts, ideas: the list is probably endless.
There are pieces on planes across borders, freedom! The piece by Denise Ritter, containing interviews in German and field recordings, might be a bit lost on the non-German listener. Otherwise the nine other pieces are fine studies in musique concrete, electronic music and electro-acoustic music. Each within it's own variation and all pieces equally good, nothing leaps out in a positive or negative way.
Quite abstract I would say: none of the pieces would easily be traced back to the thematic approach of 'Borders'. But that becomes clear from the extensive liner notes, so there's a mystery solved, I guess. If discovering new artists in these fields has your interest, I'd say: keep collecting these Degem compilations. Well, and Margarida Garcia on bass - upright one, I think. Massimo Magee & David W. Stockard - Interrogatories his solo music Mota is very quiet - see below - But also in his collaborations he is very quiet, but at times Massimo Magee & David W.
Stockard - Interrogatories seems to be using a bit more sound effects. Garcia has had a couple of releases on Headlights Mota's label before, some solo and one in collaboration with Thurston Moore. I am not sure if she uses any sound effects in her playing. With a title like 'Crypt' I expect it to be recorded in a hollow space, perhaps something such as a crypt. The music is very quiet, but never silent; it meanders about, without goal, without purpose but has an excellent mysterious character to it.
It's hard to define what that mysterious character is. A kind of scraping sound, some reverb, something from a far The Chameleons - Why Call It Anything as in 'The Candle Indoors'. There is something menacing about this release, something creepy. Maybe Mota uses a bit more sound effects here, mild doses of distortion here and there.
Unlike his solo work, in duet with Garcia there is a fine sense of drama, maybe it's even possible to say this is kind of painful, heartfelt blues music? Six pieces here, possibly all recorded in cavernous situations, all live obviously with no overdubs or editing and at thirty minutes a bit too short for my taste; that perhaps was the only downside to an otherwise great release.
Solo we find Mota engaged in two live recordings. I believe he Come Get It Bae - Pharrell Williams - G I R L electric guitar google his name and look at wedding dresses for some time! The reverb we hear might come naturally from the environment in which Mota plays his guitar. Last week Massimo Magee & David W.
Stockard - Interrogatories called Asmus Tietchens a reductionist, for his use of electronics, stripping away anything that is not necessary through electronic means. One could say that Mota is a reductionist of the real-time playing. His music is very quiet and sparse. A note here, two there: that's about the gist of it, but it never is completely silent. There is, how little it may seem, always something happening somewhere. Mota carefully plays his instrument, never playing Massimo Magee & David W.
Stockard - Interrogatories chord, never getting louder, never seems to intensify his playing, but he let's his notes hang freely in the air. Like stars, really. Or flowers in a field. You can see them apart, and pick them one by one. Maybe there is something that says 'desolate' Massimo Magee & David W. Stockard - Interrogatories this, but I didn't find that be the case. It's perhaps not very optimistic either?
A highly refined release! So what are they all about? The label info brands Massimo Magee & David W. Stockard - Interrogatories group with the term doom-dub. Now, the music is indeed doom metal paced rhythmically speaking, but that's about as far as that comparison goes. The dub element I suppose is either the vocals that are pulled through some kind of effects rig or it is the "no input mixer" mentioned in the credits - which I reckon is some kind of circuit bent mixer that serves as a noise box.
Espace Ouvert - Carlos Perón* - Gold For Iron / Motorman Goes For Gold, Gush - Pharrell Williams - G I R L, Dem Wind Geboren - Dornenreich - In Luft Geritzt, Everything Burns - James Durbin - Memories Of A Beautiful Disaster, Coheed And Cambria - In Keeping Secrets Of Silent Earth: 3