quoted 145 lines \ / | ----- /\ | \ / |== |== | / | \ / Week 10
>\ / | ----- /\ | \ / |== |== | / | \ / Week 10
>\ / | | / \ | \ /\ / | | |/ | \ / Number 216
> \/ | | / \ |--- \/ \/ |__ |__ |\ |__ |
>
>
>contents:
>
>BRANDON LABELLE - TEXT EQUALS CD (CD by Errant Bodies)
>ERINYS - MONOPHIDELIC (3" CD-R by Furious Recording Technologies)
>CHING-SHEN-CHING - 1.2.3.0 (3" CD-R by NOISE@TAIWAN)
>CHING-SHEN-CHING - Video Works (3" VideoCD by NOISE@TAIWAN)
>KENNETH GABURO -Tape Play (CD by Pogus)
>ROBERT RICH - HUMIDITY (3CD by Hypnos)
>TARKATAK/ANOMONE TUBE (CDR by Transfixional Entertainment)
>FEAR OF DOLLS - WHEN THE ORGAN PLAYED AT TWILIGHT (CD)
>THE FLYING DUTCHMAN - Trip to the Core (CD on Essential Dance Music)
>BRUME - HYSTERICAL (CDR by Transfixional Entertainment)
>SONIG COMP (CD by Sonig)
>I8U - I8U (CD by Multimedia Pandora)
>
>plus announcements
>
>
>BRANDON LABELLE - TEXT EQUALS CD (CD by Errant Bodies)
>Brandon Labelle is one of those artists who are capable of voicing their
>thoughts and ideas about their work very well. He is of course co-editor of
>the book 'Site of Sound' (together with Steve Roden), which I haven't read
>yet (shame on me!), but of which the accompanying CD is very good indeed
>(everyone with an interest in sound art should have it; you can always read
>the book later, like me). This CD (which has been very well designed) comes
>with a booklet of ten pages and explains in clear terms what it is that
>Labelle is concerned with. As the title suggests, language is the main
>focus of his enterprises here. The fact that we rely upon language (and all
>its difficulties, not in the least because it has to be produced by the
>body with all its constraints) to communicate with others, almost directly
>implies the notion that we also rely on deformation, fluctuation and
>distortion, in other words: on music and even noise. So, on the basis of
>several texts by the likes of Barthes, Stein and Rimbaud, Labelle takes us
>on a journey into the sound producing caivty of the human being: the mouth.
>The ten tracks are almost ambient works of stutters, broken words and
>sentences and all the noises that the mouth can produce. Except for track
>four, which is a piano piece, based on a text by Gertrude Stein (listening
>to the text, writing on the piano). The good thing about this CD is that
>Labelle has really succeeded in eliminating the boundaries between text,
>language and the body. They melt into each other, the text is the body and
>vice versa. True sound art on the CD format.(MR)
>Adress: otic@earthlink.net
>
>ERINYS - MONOPHIDELIC (3" CD-R by Furious Recording Technologies)
>CHING-SHEN-CHING - 1.2.3.0 (3" CD-R by NOISE@TAIWAN)
>CHING-SHEN-CHING - Video Works (3" VideoCD by NOISE@TAIWAN)
>It seems that the 3" CD-R is breaking through finally and I can't say I
>mind. I have always liked the 3" format, because of its length and its
>size. It offers good possibilities for releasing specific pieces (see the
>Metamkine releases). The disc by Erinys brings two audio tracks and one
>video track. The first one is the video (with sound) and is kind of funny
>(featuring a drumming monkey), but not a blast. The second (audio)track is
>pretty noisy, using a lot of FX with feedback and some loops. The third
>track is the best, with delicate electronic sounds and a balanced
>composition. In all a nice CD.
>On the second disc we have three tracks, all based on ocean sounds. The
>fourth track is the raw material (which is almost an open invitation, of
>course). The first track is a composition of totally digitized material,
>with some noisy parts. A little too digitized, for my taste. The second
>track is more in the microwavy direction with different rythmical bleeps
>and some very nice crdony sounds. This is a pretty good piece. Track three
>seems to be the most ambient version, starting with a gentle drone and then
>introducing different bleeps. These are cut off and a soft rumble takes
>over, later covered with crackles and hisses. Another cut and high and mid
>sines form the third part of the track, later to be replaced by other
>crackles. Good filtering and a strong composition. This guy may hold a
>promise for the future. The video CD is something we will see more and more
>in the future, because sound editing on the computer is not very different
>from editing video. So why not put both on a CD? Well, besides from the
>fact that another discipline is involved, images tend to have a somewhat
>more direct meaning than sound. This becomes clear in the last clip with
>the title 'Deathdrome': dead embryos, dead people hanging from ropes, dead
>people cut up and so on. The music is not much more than a dronE (not a
>drome). The video has a hallucinating effect, but i am not sincerely
>interested in looking at dead people. So much for this track. The fourth
>track is totally different: abstract images (light bars and dots) accompany
>a microwave track (or is it the other way around?), that is structured well
>and is defenitely my favourite. The first three tracks are b/w videos,
>mainly of flowers and edited digitally. They seem more subdued than the
>last two. Conclusion: promising, but a risk of going over the top.(MR)
>Adresses: Erinys: erinys@usa.net
>NOISE@TAIWAN: www.noisetw.com
>
>KENNETH GABURO -Tape Play (CD by Pogus)
>Gaburo was born 1926 in Somerville (New Jersey). He studied at the Eastman
>School of Music of Rochester, the Conservatorio di Santa Cecilia, Rome,
>Tanglewood and Princeton, and at the University of Illinois in Urbana. He
>was lecturer at universities in Ohio, Louisiana, Urbana and California and
>director of the Experimental Music Studio at the University of Iowa. In
>1960 he founded the New Music Choral Ensemble, 1974 the Lingue Press and in
>1977 the Institute for Cognitive Studies. He died in 1993. Most of his work
>are solo-efforts, made by him in the studio of some university. But
>although Gaburo gave birth to his music in an academic environment his
>music does not sound highly reflective. Most pieces on this cd work on a
>emotional level. The pieces represent different stages of his work and
>life. 5 pieces originated in the mid-sixties at the University of Illinois.
>One piece was created in his home studio in 1974. The other pieces were
>made in the studio of the University of Iowa during the 80s and 90s. Gaburo
>used to work alone on his music. Collaborations are rare. Only one is on
>this cd: 'Few' (1985) was created together with Henry Chopin. Gaburo
>composed a lot of electronic music. He only rarely made music for tape. So
>it is very nice to have it here on one cd. Gaburo also had a special
>interest in the use of the voice. Some pieces on this cd gave evidence of
>this. In the early pieces there is a very obvious mixtutre of
>electronically generated sound and concrete sounds. In the case of 'The
>wasting of Lucrecetzia' (1964) this results in a very wild piece with some
>very recognizable techniques like speed-up. When listening to this piece I
>said to myself 'the Residents must have heard this when working on 'Third
>Reich 'n' Roll' and other stuff'. Voices, percussion and sax playing are
>used here to create a very appealling madness. 'For Harry' (1966) is
>something different. It is dedicated to composer Harry Partch, a friend of
>Gaburo who maintained that his work and electronics do not go together. But
>Gaburo proves the opposite here. With a self-built acustical string
>instrument Gaburo creates sounds and timbres that are very similar to the
>instruments Partch designed. 'Lemon Drops' (1965) is Gaburo's
>jazzcomposition. In any case, it is a very jazzlike piece that proves that
>tape music can swing. All in all this is an interesting cd. There is not so
>many music available from Gaburo as far as I know. The booklet gives
>interesting background information, written by Warren Burt (DM).
>Address: pogal@frontiernet.net
>
>ROBERT RICH - HUMIDITY (3CD by Hypnos)
>Wow! What's there to say. More then three hours of Robert Rich captured in
>live concert. All from a short time span in 1998, Rich produces three
>entirely different concerts, of course within the limits he has set for
>himself.
>Disc one and three have 'tracks', rather then a ongoing mood piece. The
>tracks are crossfaded into each other to make it a long flow. Behind the
>wall of electronic sounds, Rich occassionally uses ethnic percussion and
>flutes. Luckily he hides that away a bit, because it would be too tedious.
>Disc two has six parts of 'Beyond' and is indeed one piece with shimmering
>textures and an odd bang on some ethnic drum.
>I am sure this release nowhere captures the real thing. Rich likes playing
>Sleep Concerts - music on end. This is just a home version that still gives
>a good impression. Perfect music for rainy sunday nights with nothing to
>see on TV. Utter relax music, or even, indeed, music to sleep by. Beautiful
>rich music. (FdW)
>Address: <mgriffin@hypnos.com>
>
>TARKATAK/ANOMONE TUBE (CDR by Transfixional Entertainment)
From the German underground two 'bands' on one CD. I write 'bands', since
quoted 175 lines they have one member each. Tarkatak slowly gaines a reputation as the
>they have one member each. Tarkatak slowly gaines a reputation as the
>natural successor to Maeror Tri (aside of course Troum). His almost 30
>minute piece is based on, maybe even a 'remix', who knows, something by the
>other band on this CD, a track curiously not on this CD. Tarkatak slides
>through rough and dark edges to built his own world on the guitar, samples
>and who knows what else. Great production with lots of attention of the
>detail, the base end sound good here. Anemone Tube just uses the guitar,
>but not in one great composition, but in 5 smaller. Which are nonetheless
>great. Short excursions into the same sort of territory that Tarkakat is
>inhabiting. Textured ambient drones with a refined character. (FdW)
>Address: <transfixional@t-online.de>
>
>FEAR OF DOLLS - WHEN THE ORGAN PLAYED AT TWILIGHT (CD)
>Sometimes I receive those CD's who seem very much out of place here, but
>the mailer really says: Vital Weekly. Fear Of Dolls are a rockgroup whose
>CD has six tracks of fairly outdated doomy rock. Accidentely I played The
>Cure's Seventeen Seconds last week, and I could remember every song. I
>don't think I will be playing this CD more then one time, even when it's
>not bad in their kind. It just isn't my thing, right. (FdW)
>Address: www.fearofdolls.com
>
>THE FLYING DUTCHMAN - Trip to the Core (CD on Essential Dance Music)
>Hanyo van Oosterom aka The Flying Dutchman delivers here a cd with the
>qualities that we are used from him and that guarantee a certain level of
>musical quality and recognizability etc. But by now it also starts to give
>some predictability to his music. Most of the pieces are built around a
>basis of percussive sounds as we are familiar with since the times of Chi.
>This basis is filled up with electronic sounds and many other instruments.
>The result is a collection of 12 well-balanced compositions. All played by
>the Dutchman himself, assisted by a few guestmusicians. New - to me as far
>as I know his work - is the extensive use of (a narrative voice), similar
>in effect as Zazou did on his 'Sahara Blue'. This makes Ciska Ruitenberg to
>the most prominent guest-appearence. But in spite of the obvious qualities
>of this cd , it failed to succeed any impression on me. More 'roughness'
>would be very refreshing for this kind of music that inevitably develops in
>the direction of muzak (DM).
>
>BRUME - HYSTERICAL (CDR by Transfixional Entertainment)
>To some people Brume has been a household name since ages, and to others
>may be just his recent CD output is known. For the obsessive collectors the
>CDR medium is a gift from heaven: Brume too started to wipe off the dust
>from old tapes and release them in beautiful digital sound. This is a
>collection of music that was released between 1989 and 1997, mainly on
>compilation cassettes, CD's etc. Brume's signature is all over this
>release, even when it contains older recordings. Brume, or the main man
>Christian Renou, is a master at putting together sound collages with a
>no-silence-included attitude. Everything is smeared on multitrack
>recorders, and mixed in one run. Voices, either recognizable or not, play
>an important role, together with percussive sounds. A massive, yet ever
>changing pallette is the best foundation he could get himself. It's not
>important if you are new or old to Brume, it's a damm hysterical music
>here. (FdW)
>Address: see elsewhere
>
>SONIG COMP (CD by Sonig)
>Of course you know Sonig - that small label run by the lads of Mouse On
>Mars and Cologne keyfigure Frank Dommert. Here they collect some moments of
>Cologne musics by Mouse On Mars and their friends. From the jumpy all over
>the place electronics of FX Randomiz, Mouse On Mars, Scratch Pet Land to
>the glitchy warm popmusics of Microstoria, du (= FX Randomiz and Jan St.
>Werner of Mouse and Microstoria - yes, this is an incestious city) to the
>dubby basses of Lithops. Out of place seems, but only seems, is Vert with a
>piano piece and small amplified weirdness going on. It seems out a place,
>but if you hear the CD everything seems odd and that makes it a strong CD.
>We also finally welcome C. Schulz and Hajsch. Both made great records a
>decade ago, but disappeared from the Cologne scene. Their piece is built
>around drones and intercepting sounds. In terms of 'heavy', the heaviest
>piece to be found here. Wang Inc.'s sweet love song closes the collection.
>If you still don't any Sonig release, because you don't know were to start,
>start here. If you have everything: this is all exclusive material and the
>cover is large fold out poster... (FdW)
>Address: sonig@a-musik.com
>
>I8U - I8U (CD by Multimedia Pandora)
>Sometimes I open a package and my mind drifts away: ah gothic induced
>lettertype, a girl badly picturedand a label called Pandora. No thank you.
>But when I started playing this, I was very surprised. Behind i8u is a
>woman who has been in the music industry for 10 years, but recentely
>started doing solo dark ambient. Special thanks go out to David Kristian,
>so that should have warned me. It sounds indeed inspired by David, in his
>more experimental, non rhythmical moods. Slowly envelopping sounds of dark
>textures and occasional bubbling of basses. Spooky stuff that could go well
>with movies. I was reminded of David Kristian's Cricklewood CD and I
>thought if i8u are such anonymous persona I wouldn't be surprised to find
>out it's David himself. Very dark, not at all gothic and thus very nice.
>(FdW)
>Address: <geninfo@pandoras-box.net>
>
>1. From: "kevin van volcem" <cling_film@hotmail.com>
>
>saturday 11 march
>theatre DE KELK, langestraat 69, 8000 bruges, BELGIUM
>starts at 20.30
>
>MIKAEL STAVÖSTRAND (sweden)
>BETA-SEED (belgium)
>
>2. From: misanthropy <misant@ic.net>
>
>FOR IMMEDIATE RELEASE
>
>Artcite Inc. Presents:
>John Duncan (Udine, italy)
>Artist's lecture: March 30, 2000, 7:30 pm @ ARTCITE INC.
>Experimental audio performance: Saturday April 1, 8:30 pm @
>Capitol Theatre & Arts Centre, 121 University W., Windsor, ON
>
>Artcite Inc., Windsor's artist-run centre for the contemporary arts, is
>pleased to present a guest artist lecture, workshop and rare live
>performance by internationally acclaimed experimental audio, video and
>performance artist, John Duncan. Duncan's visit is the final presentation
>in the 1999-2000 "Visitors in the Arts" Lecture Series, a cooperative
>project of Artcite Inc., the Art Gallery of Windsor, Common Ground, the
>House of Toast Film & Video Collective, and the Windsor Printmakers Forum.
>
>Currently residing in Udine, Italy, John Duncan is a master of performance:
>creating minimal soundscapes and harshly intriguing collages of noise and
>visuals. He has been creating sound, video, installation and performance
>art projects since the 70s and has collaborated with diverse artists from
>the Hafler Trio to Elliott Sharp and Max Springer. Duncan's audio works
>have been described as "painfully beautiful in their simplicity while
>others border on the absurd in their extremism". Contemporary music greats
>have the highest opinion of Duncan: indie music legend Jim O'Rourke has
>cited some of Duncan's recordings among his absolute favorites.
>
>Duncan's installations, videos, audio and performance artworks have been
>presented internationally, most recently at the Museum of Contemporary Art
>in Los Angeles, at 20,000 Volts Performance Art Festival in Tokyo and at
>the Museum of Pathological Diseases in Vienna.
>
>John Duncan will present a slide lecture on his long and varied art
>career at Artcite Inc., Thursday, March, 30, 2000 at 7:30 pm (109 University
>Avenue West, Windsor).
>
>Additional attraction: Saturday, April 1, 2000, 8:30 pm at the Capitol
>Theatre and Arts Centre: Artcite Inc.., in conjunction with Detroit's
>Misanthropy and the Detroit Contemporary Gallery, is pleased to present
>"INSIDE", a new audio work performed live by John Duncan. This is John
>Duncan's only North American appearance.
>
>For further information, directions, or lodging info please contact:
>Artcite @ (519) 977-6564, e-mail: artcite@netcore.ca
>
>3. From: Oscar Smit <oscsmi@vpro.nl>
>
>To those interested, various special webcasts by Oscar Smit in his programm
>'Vuile Toon'. In each third hour (15:00-16:00) an interview:
>
>13 march: Knitting Factory (guest: Heather Mountvan KF Europa)
>20 march: Meeuw Muzak (7"single label, with Jos Moers as guest)
>27 march: British Post-punk Experimental Pop (1977-1983) (with Martijn
>Voorvelt, who graduated on this subject)
>
>Vuile Toon every monday on internetradio 3 voor 12 at http://www.3voor12.nl
>
>4. From: "DJ 10-4" <ten-four@mcr1.poptel.org.uk>
>
>SOLO #3
>
>Thursday 23 March 2000
>9pm - 2am, 3 pounds in (I think)
>
>Night and Day, Oldham Street, Manchester, England
>
>JJ Howard (UK) - solo electronics
>Ed Sprake (UK) - solo electronics, much madness
>Jonathan Coleclough (UK) - solo Powerbook set from this leading light
>of low-event-rate music who has stuff out on Staalplaat (KIP 016), on
>Siren/Robot and on ICR (with Andrew Chalk) and has just come back
>from the other end of the world
>Oh (Germany)
>Kling Klang (UK I think)
>DJ 10-4 (UK) with an hour's powerful and emotional disc-mixing
>
>Backissues may be found at: www.staalplaat.com
___________________________________________
p i e t r o d a s a c c o a u d i o - n i m b u s
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9745 lynngrove cr, windsor, ontario, n8r 1b8, canada
g r o o v e s m a g a z i n e www.groovesmag.com
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