Frans De Waard also has a new cd ot as SHIFTS called Mechanica on k³ .
Another (K-RAA-K)³ released and coming up your ears is the Janek Schaefer cd
called "out".
-----Oorspronkelijk bericht-----
Van: Lance @ Inaudible <lance@inaudible.com>
Aan: idm@hyperreal.org <idm@hyperreal.org>
CC: biophilia@riege.de <biophilia@riege.de>
Datum: dinsdag 16 november 1999 3:24
Onderwerp: (idm) Info about the Microwave label....
quoted 245 lines The Microwave label has been a favorite of mine for awhile now and>The Microwave label has been a favorite of mine for awhile now and
>I've never seen much mention of it on this list. So when Frans De
>Waard posted this message to another list today I figured it would
>be a good introduction to the label for those who arent familiar with
>it. So far I have the Surge, Slo-Fi, Goem. Chartier, and Nacht
>Plank and recommend them all. Definitely looking fwd to the
>new ones! Fans of the experimental & microscopic sounds
>ala Meme, Rastermusic/Noton, 12k, Ritonell, Mille Plateaux,
>1/Tau, BMB Lab, or Mego...
>
>--------------------------------------------------------------------
>
>From: Frans de Waard <frans@staalplaat.com>
>Re: Info about the Microwave label....
>
>1. NEW RELEASE:
>M 011 Massimo (untitled CDR)
>Massimiliano Sapienza a.k.a. massimo (1975), lives in Catania where he
>studies Political and Social Sciences, is currently working on - to use an
>original technical term - <new forms of entertainment and games>:
>generative and 'randomised' processes;
>ambients for interactive manipulation and creativity;
>interpretations and captive actions in real time;
>according to the author these particular recent disciplines, to which he is
>attracted to their mythical and creative potential,will gradually but ever
>more frequently, come to replace the classic social games.
>
>His first release on Microwave Recordings was done using two desktop
>computers a mobile one, all connected via LAN, and tons of cracked
>softwares + some media storage discs ! (no external musical instruments
>were used).
>
>
>2. GENERAL INFORMATION
>Microwave is a new term for electronic music, recentely coined by Frans de
>Waard, entrepeneur and jorunalist. In a review of a CD by German artist
>Komet he wrote:
>
>"maybe I should write again minimal techno. But it's not minimal techno -
>goddammit. Everytime I write about music that borrows elements of
>house/techno, but also from minimal music, ambient and industrial music (in
>general: when we write about Oval, Pan Sonic, Noto, Ikeda, Goem,
>Stillupsteypa, Richard Chartier, Mego, many releases on Touch), we notice
>that our vocabulary runs short. It's a lot of things, but it has no name. I
>have thought about this for some time now, and I think 'microwave' apply
>describes what it's about. Micro in the sense that all the changes appear
>on a microscopic level, small but evidently present, and wave, because
>there is a current wave of serious musicians that take influences from all
>these waves of music that have experienced (note that many of them are
>around for a long time) and take whatever they fit well. "Technology will
>be so small that it will disappear", John Cage once said. That might not be
>entirely true, however it has shrunk over the years. To produce a good
>quality music that can easily compete with the work made in 'real' studios.
>Technology is micro too now." (Vital Weekly 162)
>
>Taking this a step further, Frans de Waard now starts with releasing a
>series of CDRs under the name Microwave Recordings.
>Why CDRs you may ask? Just like cassettes 10 years ago, CDRs are easily
>accesible to fulfill a demand per copy, but with a better quality.
>Paradoxically enough they won't last as long as any conventional medium
>until now, so it is a snapshot of a movement. Microwave is one such
>movement, it's now here and probably won't last very long in the music
>industry were hypes last shorter and shorter. Well fine, it's that we don't
>care anyway.
>
>It's the intention of Microwave Recordings to present a number of albums by
>people that will loosely fit to the ideas of Microwave (we're too old
>anyway to trap into any sort of dogma or believe in eternity). Maybe it
>will last for a few months only. Instead of 15 minutes of fame, we have 15
>minutes of fun (maybe even more).
>
>
>3. RELEASES SO FAR ON MICROWAVE
>M001 *SLO-FI
>Unholy the task is of he who writes one-sheets, especially when the release
>comes from *slo-fi. That word, including the *, is everything you will find
>on the cover of his/her/their release, because of course it's one of those
>'no we will not reveal who he/she/they might be, because we don't want you
>to know, because it's not important'. Well or whatever was told. You'll
>have to do with what you get. And if you thought you had any doubt: *slo-fi
>is exactely what is says to be: extremely slow kind of techno music, with
>bpm's at 60 or so, this bears resemblance to dance music (bass drums 4 to
>4, hi-hats, 303 synth), but by keeping the speed slow, it's serve's well on
>home speakers too.
>
>
>M002 GOEM - LOKATIE
>Goem deliver their usual free of everything music, reduced to the bare
>bones of... music itself. Together as a trio since 1997 (before that Goem
>was a duo since september 1996), they have recording sessions every now and
>then. These happen either in studio's or on stage. So far they played some
>15 concerts throughout Europe, at rockclubs, galleries (museum of modern
>art in Stockholm) and technoparties. Oddly enough least understand at the
>last sort of venues, being disconnected in Rennes (France) or a woman
>screaming "Change! Change! Fuck you" (Berlin)
>
>This release documents two of these concerts, one in Privat Klub in Berlin
>and a small part of a concert at the Artooz festival in Limoges, France.
>Even though every concert is recorded and reviewed afterwards, most
>recordings are not as strong as they are in the venue itself. These two
>concerts didn't sound too good at the location, but altogether make a lot
>of sense of home listening.
>
>
>M003 SURGE - LANDSLIDE
>Surge sums almost everything up what Microwave is all about. Two boys in
>their self choosen anonimty, toying around in their own analogue world.
>Rather then buyig the latest G3 Powerbook (yes, they couldn't afford it),
>they have some old Korg Ms20 synth, 4 track and footpedals. Nice and
>affordable. Their first release, apptly named 'First' (a CDR on Bake
>Records), was that joyfull mixture of everything good, new and daring
>electronic music of today is: a dash of Oval, a bit of Pan Sonic, Goem,
>Ikeda and packed with everything they could sample.
>
>While watching the landslides in Europe this winter, on TV, they had their
>title of their second release and went out to record it. Rather then
>packing it again with samples, they still make them, but remove them in the
>mix. The skeleton disappears and the skin remains. The result is an odd
>mixture of hisses, beats, and out of sync tunes. Noisy at times, quiet at
>times. Harsh but with that deep bass - again at times. And not a single
>correct beat in sight (well apart maybe from the Aphex Twin inspired
>opening track).
>
>
>M004 RICHARD CHARTIER - POST FABRICATED
>Chartier is a painter and electronic musician with the love of a deep
>microscopic view of textures - either on canvas or with sound. Previously
>he released a more 'serious academic' CD with Intransitive, but his music
>has been more vivid - will small beats and deep sounds.
>
>Current releases include a CD for release on Japanse Meme label, and a
>collaboration with 0* for 12K (Taylor Deupree's label)
>
>
>M005: TOOL (forthcoming release)
>This will be a 7" based on the first 4 releases. With lots of lockgrooves
>and short pieces. A tool of the open minded, DJ's and musicians a like.
>With one track by *Slo-Fi, eight by Goem, three by Surge and seven by
>Richard Chartier. The master that the cutter will be using, will also be
>released as a CDR. Each track is a static entity for some minutes and
>should not be seen as a music release, but as a tool.
>
>
>M006: NACHT PLANK - 1-12
>Behind the new monikker Nacht Plank we find Lee Anthony Norris. So far he
>produced more regular forms on dance music under various names, but is
>mostly known under the name Metamatics and has releases on Clear Records,
>Skam, and Hydrogen Dukebox.
>Lee remixed Friend & Dr. Kosmos, Roupe, A1 People, CSM and Anthony Manning
>Together with Ichiro Taniguchi and Kenji Taniguchi he produces music under
>the name Tone Language, whose first release will be on Staalplaat.
>
>
>M007 DISCMEN - PART HUMAN PART SIMPSON
>That Which Is Not Cyber
>Man created machines. Their codes are our codes: insert, pause, end, home,
>control, auto-reverse, search, balance, contrast, brightness, play, and so
>forth. Our spontaneous compositions, as much improvised as a cd-player is
>able to improvise, are sketches of our personal lives. We call them songs.
>These are broken songs.
>These songs transport our codes.
>Some Pocketable Philosophy
>This is a world of perfecting technology. Better machines, better sound
>production, risks are fewer and fewer. As others did before us, we embarked
>on a crusade against clean methods of production, by subverting the
>technological perfection of sound as reproduced by cd-players. A
>compact-disc is supposed to be durable, to provide endless hours of
>comfortable listening. It is a passive object par excellence. It is there
>to serve us. But as a result of our experiments we have concluded that the
>same passive object can be changed into a dynamic one, much in the same way
>that a Lego set can be used to create a multitude of different
>constructions. A CD-player is also a passive vehicle built to be stable and
>protect the territory of high-fidelity. Now you feed it a strategically
>scratched CD and it then becomes an active instrument with a voice of its
>own instead of a mere vehicle for the reproduction of music.
>
>
>The Music of Chance
>The CD-player assumes the main role, that of a random organizer or
>chief-engineer. It is the CD-player who (and we feel this "who" is
>pertinent) selects and maintains a given sound pattern. We just make it
>stop or else try to force the CD-player into reading another sound pattern
>by touching its body in order to provoke a loss of stability - we are
>touch-sensitive.
>
>Discmen are not musicians nor technicians. We are listeners. The machine
>speaks for itself. We merely interpret the sound of machine error and
>record it. One take, no treatments. Only editing is allowed.
>
>
>M008 ANDREAS BERTHLING - 1000-1001 KHZ
>"Andreas Berthling is my name I´m from Sweden but at the moment I live in
>Trondheim/Norway studying at the Academy of Fine Arts in the second year of
>study! The Academy gives me (almost) unlimited amount of time and space for
>trying out ideas I got concerning the relationship between sound and
>vision, taking it´s form in music/sounds and film/video´s. Together with a
>colleague of mine R. Sundin a.k.a. Bad Kharma a eight day long performance
>took place in a cargo container in Trondheim/1999. (read about it at
>berthling.cjb.net go to live_conflicts and read about it there!...
>short description of how 1000/1001Hz was made:
>the most recording is made with a MD (contact miked and all that) but then
>"processed" through a VCR. The process is mainly just rewind and forwinding
>the tape multiple times (up to 100 times) back and forth until the sound
>disintegrates and blends into a blurry "picture" on the magnetic VHS-tape.
>Then it´s digitized into a computer, using a basic ANALOG<->DIGITAL
>video-editor-software. At that point I have the raw material for putting
>together a complete tune (which may consist of only one up to sixteen
>different samples). The title comes from the idea of the doppler-effect
>occurring when one sound is pitched in two different frequencies from two
>different sources (L & R in this case). That creates a feeling of space
>while hearing the tune while moving about in a room where it´s played
>(well hopefully)."
>
>
>M009 IMMEDIA - REPEAT PLAY
>A duo from England with an unusual soft mix of electronics. They are hard
>to compare with anything we've heard before. It's a bit like Francisco
>Lopez - but different. High pitches scratches and beeps are intelligentely
>mixed in a brand of relatively short pieces. They have done their own CD-R
>releases before, but were asked to do this for us. They limited themselves
>to analogue synths only, but with a fine treat of electronics.
>
>
>M010 MICROWAVE - A MANUAL
>A compilation of sorts, in the works of sorts. Is this an open invitation?
>Well, yes, maybe. Only for open minded... write for more info.
>
>for more info: <microwave@staalplaat.com>
>
>Microwave releases are unfortunally not available from any good store.
>In Europe contact: <mailorder@staalplaat.com>
>In the USA contact: <info@soleilmoon.com>
>
>-->-Lance---
>lance@inaudible.com
>p.o. box 450715
>westlake, ohio 44145
>united states
>
>
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