quoted 98 lines RICHARD H. KIRK
>RICHARD H. KIRK
>Loop Static
>TONE12CD / TONE12EP (12")
>UPC: 1753-32875-2
>
>
>8 tracks - 60:53
>
>CD track titles:
>
>Devil in Your Name/All in Vain/With False Identity/Chemicals and Easter
>Bunnies/Do You Transmit/One Zero/Get Our Heads Straight/Monday Morning...
>
>
>12" vinyl - 4 tracks - 31:59
>
>12" track titles:
>
>Devil in Your Name/All in Vain/With False Identity/Crimes Against Humanity..
>
>His work needs no further introduction - check out
>www.touch.demon.co.uk/kirk.htm and see the current feature on Richard in
>The Wire (March issue)
>
>___________
>
>MIKA VAINIO
>Kajo
>TO:43 (cd)
>UPC: 1753-32874-2
>
>9 tracks - 54:19
>
>Track titles:
>
>Kytkenta (Connection)/Osittain (Partly)/Kolmas Piiri (Third Area)/Leslie
>(Leslie)/Lahety (Transmission)/Aleksandrovsk (Aleksandrovsk)/Aaltomuoto
>(Waveform)/Unessa (In Sleep)/Takaisin (Returning)..
>
>The 2nd solo release from member of Pan Sonic (cf TO:34 Onko) about which
>the Village Voice (USA) wrote -
>
>"Techno with the snare turned off is nice to decompress to, but it's not
>ambient music, whose object is to play with a sound environment to change
>the texture of it, as careful lighting would. So the best recent
>atmosphere-altering recordings have moved toward sounds that can't be
>confused with electroglop. That's the beauty of Mika Vainio's Onko (Touch).
>No matter how loud you turn it up, it won't take centre stage - it just
>makes its surroundings seem starker and sharper. Vainio (also of the more
>rhythm-friendly Panasonic) eschews frills like beats and notes in favor of
>sounds that can pass for background noise: tape hiss, appliance hum,
>seashell roar. His constructions are tart, ascetic and razor clean. When
>the title track mutates into a random series of ultra-high pitched ticks,
>you can practically hear your neural connections being severed.....There
>are lots of recordings of unusual pre-existing ambience too, like
>Disinformation's 12-inch single of solar radio emissions, and Chris
>Watson's location recordings - "River Mara, Maasal Mara, Kenya 2130h, 16
>September 1994" is the jam."
>________
>
>HAZARD
>Wood [CD] c/w Bridge/Field [LP]
>ASH5.4/5.5
> (limited edition cd + lp package)
>UPC: 1753-32873-2
>
>The CD is in a printed slipcase inside the vinyl sleeve (both full colour)
>
>CD - 6 tracks - 36:09
>
>Track titles:
>
>Fibre Test/Cut Out-Replay/Location South/Cords and Branches/Pylons/The Logfire
>
>LP - 2 tracks - 35:24
>
>Bridge/Field
>
>The 2nd solo release from Benny Nilsen (cf Ash 4.5 North) about which
>Autoxicity (UK) wrote: Two recurrent themes with the Touch/ASH unit
>resurface here, both stamping their authority on what is essentially a
>purely scientific documentative process, echoed globally with the likes of
>Staalplaat etc. Hazard's 'North' is a continuation on the forces at work
>within the symbiotic relationship between extreme environmental phenomena
>and extreme noise. Whereas Touch operatives like Chris Watson tap the
>directional vector from pure environmental source to tonal representation,
>Hazard works the reverse direction and uses treated sounds, tones and
>samples to evoke visions of his cold, barren and unforgiving Swedish
>landscape. A couple of tracks manage to match the sonic achievements of
>Ikeda's and Vanio's solo works providing sweeping electronic blankets and
>beat-less slabs of noise (especially the opening and closing pieces).
>There's a twisted sense of complacency in the tracks such that they are
>almost guaranteed to find favour anyone who has followed the industrial
>scene from its early days (Hazard's Benny Nilson draws on influence's from
>'old school industrial'), but the challenge still remains for an effective
>fusion of 'new school industrial' with techno. Certainly Pan(a)sonic occupy
>this territory, and further openings have been forced by the few willing to
>push the electro envelope.