Tagged: Norway

December 16, 2013

Monster Rock and Mushrooms

Seid
Among the Monster Flowers Again
GERMANY SULATRON-RECORDS ST1202 LP (2012)

Among the Monster Flowers Again marks the debut of Norwegian band Seid. Described ominously as ‘psychedelic space-rock’, the vinyl album mixes electronic sounds and sixties organ vibes to produce something highly listenable and surprisingly accessible, especially for people slightly spooked by the phrase ‘psychedelic space-rock’.

The psychedelic overtones are especially strong on ‘The Monster Flowers’, which opens the album with a real sixties hippy vibe; segueing nicely into ‘Fire Song’ which retains the hallucinogenic theme while incorporating more thrashing guitar rock sounds.

This is a theme that continues throughout the album, with each track perched somewhere between the mosh pit and Haight-Ashbury. It’s a delicate balancing act, but, for the most part, Seid manages to keep all the plates spinning without the whole thing falling down.

The space vibe really kicks in midway through the album on ’5/4′, which is the harshest and most distorted on the album, sitting somewhat at odds with the melodic sounds that reverberate through the rest of the tracks. Fortunately, this is followed by one of the album’s standout tracks, ‘Lois Loona’, which is a bit more restrained, but nonetheless a powerful piece.

‘The Tale of the King on the Hill’ is a bit of a downer, but things pick up again for tracks eight and nine, banging out more of what this band seems to do best; gentle, melodic sounds that draw you in then build to an ear-rattling crescendo. The final track, ‘Among The Monster Flowers…Again’, unsurprisingly brings us back where we started; picking up on the vibe from track one and gently setting us back down on earth after one exciting trip.

The band describes the album as ranging from “totally tripped-out mushroom dwarves who walk through bizarre landscapes to heavy psychedelic rock”. Whether that makes you start to salivate in anticipation, or run screaming for the hills, you’re likely to find something to enjoy on this album. In short, put those flares on, get that lava lamp fired up and turn the Monster Flowers up to eleven. Just watch out for those tripped-out mushroom dwarves.

September 28, 2013

Eine Kleine Jazz Musik

Mats Eilertsen Trio
Sails Set
NORWAY HUBRO MUSIC HUBROCD 2524 CD (2013)

The second recording from Mats Eilertsen Trio is a gallery of vignettes neither perfected nor perfunctory, but briefly stated sentiments seemingly abstracted from memorable scenes. This peripatetic piano, drum and bass trio locates their work somewhere in the liminal terrain between improvisation and composition – a claim far from uncommon – but one ratified by a supple, intriguingly intangible sound, which is fortified by a finely-tuned harmonic rapport as the three flow in and out of a shifting array of formations with a sense of equality and equanimity evident in every note.

The eponymous ‘Sails Set’ provides a nonchalant entry: Harmen Fraanje’s piano tumbles like a winding mountain stream, pillowed by vibrations drawn from a slowly bowed double bass. This carefree manner is abruptly more angular in ‘Stellar’, in which a stark solo piano pans through an abandoned house in monochrome. Drummer Thomas Strønen wields a range of sticks throughout the album, mostly catalysts for calmer climates, but in ‘Orbiting’ his off-meter rolls of tinkling percussion stand as the most striking feature, complimented by a newly springy and staggered bass sound. Overall, it is Eilertsen‘s bass-playing that I’m most drawn to, being expressive of the group’s warm, non-committal personality, but laced with a soft, all-adhering resonance.

The moods pass effortlessly from one instrument to another as easily as the leading role. A sparing attitude towards instrumentation resides among the group’s many graces, and the negative space that surrounds and permeates every musical event is often as expressive as the performance. At times it has the air of a good film noir score (with a hint of zen minimalism in the core), albeit one lacking a theme tune. It is not dissimilar to some of the better material from John Zorn’s recent jazz output, though luckily lacking the exhausting pace and vibes.

One might assume that on record the trio further explores themes discovered while improvising, though forsaking motifs and melodies for the sake of a more impressionistic array of atmospheres. Their avoidance of distinct phrases suggests a series of extended segues, not scenes. The credo that ‘less is more’ is articulated perfectly in this short set, where even in its evident freedom there is ever a sense of restraint. The group sets out not to dazzle, but to enchant with careful attention to duration and detail.

September 8, 2013

Exit! Pursued by a Flare

Fire! Orchestra
Exit!
NORWAY RUNE GRAMMOFON RCD 2138 (2013)

Probably not a precedent, but interesting enough a concept is the power jazz trio that always amounts to more than three. Fire! comprises multi-disciplinary heavyweights Mats Gustafsson (sax, Rhodes and electronics), Johan Berthling (bass, guitar and organ), and Andreas Werliin (drums and percussion), and is typically an extra-curricular venting venue for the three mainstays. Their two previous outings were collaborations with Oren Ambarchi and Jim O’Rourke respectively, but Exit! sees them fortified by a further 24 Scandinavian jazz musicians and the group’s name is expanded in a manner commensurate. Given the injection of so much new personnel, it is unsurprising that this venture exhibits wilder, more chaotic personality traits than the preceding team-ups.

However, with small measures of bemusement and disappointment I found that in spite of this feral enhancement, Exit! frequently stops short of an all-out jazz attack on the listener, articulating an operation somewhat less excessive than it is an exercise in restraint. Mysteriously so in fact, for both of the album’s long-form pieces are themselves bisected into sections of only anecdotal resemblance, when the four tracks that served the predecessor so well might have worked better.

‘Exit! Part One’ adds a beat to the club-footed lope of the last track of the Jim O’Rourke collaboration, (‘Unreleased?’); adopting a self-assured strut, which is realised in rising triplets. Swiftly enough, a sultry chanteuse enters the scene, her piercing ululations signalling the entry of some blazing Batman brass, which flares and fades in succession like a fleet of passing Cadillacs driven by Sun Ra. The vocals recede and return, delivered almost atonally and lacking – alas – the meaty delivery that made June Tyson so much more powerful than her pugilistic namesake.

The lyrics – to my ears – (a further innovation) are nondescript and a tad too rarefied, relating to ‘the possibility of improvising in actual space, and the ties ropes and teachers in many online spaces and programs’. As a consequence, the musical space reserved for voice feels like it could have been put to better use. However, ten minutes in and things start to gel a little more: bass and drums adopt a slower, pendular swagger; shimmering organs and horns render a background full-bodied but non-intrusive for further post-modern ruminations, resorting to shrillness only in the energised, final few minutes.

‘Exit! Part Two’ begins uneventfully, but tension mounts with a urinary urgency that finds a delayed but welcome release as a cascade of shrieking brass, which obliterates all memory of the innocuous yelps leading up, which might well have fled from Bono’s throat during scale practice. The rocking rhythm that drives this one, ebbs, rises and expands even when punctured by stabs of saxophone.

Inexplicably, this titanic machine halts in the eleventh minute, to be usurped by one bleating soliloquy and then another. The searing backdrop that hitherto rendered such ululations palatable is now gone and a full five minutes is spent building steam from squeaky fluttering, only to spazz it again, in the absence of an appetite for vocal histrionics. Mercifully, a fireball booms out of the void and burns a giant cigar hole in the speakers with a comet trail four minutes long, affecting a tentative redemption in the album’s dying minutes.

The flaws (by my reckoning) in this album are quite unnecessary: the weak vocals and the peculiar structure, to identify the principal culprits. The sense arises that errors of judgement are difficult to undo on a project of this scale. A brave face is needed. Which is not to say the album is a dud – probably it will knock many listeners out – and in its stronger moments the band hits a mean stride, sounding unstoppable. I don’t get those lost minutes back, but I do know when to put the kettle on.

July 31, 2013

From Some Faraway Field

1982 + BJ Cole
1982 + BJ Cole
NORWAY HUBRO HUBROCD2522 (2012)

In this latest episode of musical wanderlust, steel guitar raconteur BJ Cole climbs on board with 1982, the trio comprising Nils Økland, Sigbjørn Apeland and drummer Øyvind Skarbø. The atmosphere is – and I offer the cliché without apology – ‘cinematic’. It speaks of sparseness, topographical isolation; the opening tracks redolent of the rural expanses of some Midwestern period drama starring Liam Neeson. In places, there are dim reminders of Bill Frisell.

In the opening, Apeland’s harmonium sets the tone of mournful grace, cueing a handsome entrance from Økland on the violin, which strides with dignity through the sparse, shuffling undergrowth. Like some wood-whittling background extra, Cole maintains a low profile throughout the opening track (entitled ‘09:03’, after its duration); a markedly different persona to the gregarious one I (last) encountered on the Luke Vibert collaboration, Stop The Panic. But moving in to the second track, he assumes a speaking role, gracing us with a voice both dynamic and dynamically varied. Sometimes tremulous, sometimes tremendous.

At times the air of mournful contemplation becomes almost nautical, as though fantasising of faraway seas, a ghostly galleon in the frozen morning fog, courtesy of the quiet swells of seabed-still sea shanties that emanate from the harmonium; the lilting, airborne twangs of steel guitar that conjure up Coleridge and vanish without warning like Ahab after his white whale. These are subsumed by alternating episodes of urgency (in which the erstwhile laconic Skarbø rallies his most determined rhythms) and muted pondering, marked by the albums distinctive tendency towards droning and daydreams.

In contrast to its relative brevity (just over 33 minutes here), there is depth to this recording that lends it the richness of the landscapes it evokes. The musicianship is beautifully restrained and intuitive to the point of identity surrender. The listening experience is rewarding and utterly recommended.

May 31, 2013

A burger from Norway with metallic ingredients

Staer
Staer
DISCORPORATE RECORDS DISREC20 CD (2012)
Well, I didn’t really know what to expect with this one. Some Pop-Op packaging; “Noise”, says the info, straight out of Norway. So when a guitar/bass/drums racket of lurching bass-driven chunk that sounds firmly in a Butthole Surfers/Flipper sort of lineage (via, more pertinently, three decades of subsequent, related music) erupts when I press play I am briefly taken aback, having braced myself for Merzbow-isms. I guess there are other connotations of noise in other musical circles. Perhaps if a ‘rock’ was appended to the noise the approach would have been more obvious to me. Although (textual) noises also are made about ‘mind-enhancing’, ‘counter-cultural’, ‘new’, ‘forward-thinking’, these prove red herrings, in most respects. The key to Staer’s music lies firmly in a rock mode, more specifically a largely American tradition of ‘alternative’ rock, metal and various ‘core’s. The rumbling bass and choppy guitar recalls hoary alternative rockers of yore, heavily redolent of the 90s, such as Unsane or even the Melvins, sans all vocals. Something I would not particularly consider ‘counter-cultural’, associated as it is with MTV, burgers, etc. Although, curiously enough, the press release does compare the album to a burger-meal from a certain pervasive red and yellow fast-food establishment. Do Noxagt and some Load Records things sounds like this? I’m not sure, for some reason I think they might well. I think there’s perhaps a sonic connection.

Riff based and workmanlike, clad in oily dungarees (not too oily, mind. In fact on closer inspection, this could be hamburger grease…) this is primarily a bass showcase, prominent thundering and grumbling away under everything. It is certainly has some weight, which I understand is important in heavy musics. It’s also very tightly controlled and played, riveted by the monstrous downtuned bass. The fastidiously geometric riffing also contains clear whiffs of that most arithmetical of modes, ‘math-rock’ (or ‘maths-rock’ as it perhaps could be known on our shores, if it has to be known). It’s recorded very nicely, even glossily, although a bit of dirt never hurt anyone in these circumstances. Incidentally, I never did understand the dichotomy in metal (not that this is a metal album, this is only metal in a post-millennial, post-metal way) between the latent distortion inherent in the music and the pristine recording often aimed at when bands had enough money to access a studio.

There are no melodies or hooks or any particularly unhinged moments (moments in the last track, which is a definite highlight, are an effective exception, where a borderline melodious guitar line is allowed to raise its head from sweaty scrutiny of the fretboard and roam free over a steady kick drum pulse), the dedication to furious, knotty, detuned, riff construction above all is paramount. Overall we are presented with something a little like some monumental sculpture involving heavy iron plates and more rivets than you can shake a bass at, all coated in thick, battleship-grey lead-based paint sitting in an exclusive art gallery. It is heavy, unadorned, feels expensive, and involves a lot of metallic ingredients. If it is cleanly recorded, scrupulously-anchored riffage (health and safety would be proud, none of these riffs are going anywhere, lashed firmly as they are with industrial cabling) and growling bass in a reasonably energetic rock idiom that you’re after, then there is more than sufficient chunk for those requirements contained herein.

Staer home
Staer on Soundcloud

November 11, 2012

Pause and think again

Big Numbers

It’s been a while since we heard from the excellent John Wall, a UK composer who has been continually honing his very extreme approach to the art of digital composition. I was rivetted by his earlier work like Alterstill ¹ which displayed his meticulous approach to layering and assembling samples, producing astonishing juxtapositions and creating “virtual bands” from highly unlikely pairings of selected records. He made most plunderphonics artistes, especially the over-rated John Oswald, look excessive and careless by comparison. Since then Wall embarked on a trajectory, a path of attenuation that was determined to pare down his already minimal approach, and the music became increasingly austere: shorter in duration, far fewer notes, much more abstracted, and even tougher for the human ear to endure. As he evolved this very fundamental take on the less-is-more philosophy, I sensed by the time of 2005′s Cphon that Wall was sacrificing some of his own human spontaneity on the altar of digital perfection, much as I enjoyed the music. That particular trend appears to be reversing itself on this new record 139 (ENTR’ACTE 139) for Entr’Acte. This may be partially because another human is involved; it is a collaboration with Mark Durgan, the English noisemeister whose 2005 Hypertension Classics Vol. 2 (4 CDs of blistering, churning hell released under his Putrefier alias) still causes murmurs of painful remembrance among the few whose ears it has scarred. On these six untitled pieces, Durgan has been issued with a modular synth, but any predilection he may have had for creating a blistering screech assault has been quashed by the iron control of Wall. Or has it? Minimal as this music may be, the compacted strength of a thousand noise firebrands still ticks away at its mechanical heart. Wall may be doing everything in his power to bleed away the rich colours from each inhuman tone, but as many seated behind the mixing desk have learned, you can’t keep a maverick down for long. Which brings us to the additional credit Wall has taken on the record, that of “severe editing”. One can imagine what this methodology involves, not only a ruthless and focussed effort of selection in order to reduce hours of music to a single powerful blip of concentrated juiceiness, but also carrying out the activity with a stern countenance and furrowed brow, thereby presenting the very image of severity. I’m all for it. If I had my way John Wall would be appointed as a sort of musical censor in this country, cutting down overlong contemporary electronica albums to a fraction of their current length. In fact, why stop there? If he could encode his method into a computer script in some way, it could come bundled with each new installation of Audacity or Max-MSP, and automatically curtail the music at source. That would teach a few people a thing or two! At slightly over 33 minutes in length, this is a record which offers you ten times as much vitamin-enriched protein as any given slice of venison…realised at Wall’s UtterPsalm studios, and it’s also nice to see he’s able to incorporate his letterpress skills (title embossed in blind) into the design of the package, which meets the generic Entr’acte packaging conventions halfway. From 29 March 2012.

It had a dying fall

From the Californian Accretions label we have the solo piano record by Nazo Zakkak, A Pause By Any Other Name (ACCRETIONS ALP055CD). This gifted composer who currently teaches music at St Katherine College in San Diego has been improvising at the keyboard since an early age, but his Pause record is a structured composition of slow and very beautiful piano music. Zakkak considers himself a modernist and experimental musician, but tends to embrace harmonic structure and melody rather than the indeterminism and alienating techniques of much contemporary classical music of the 1960s. In short nary a trace of John Cage’s dicta can be found embodied in this music, outside of a passing reference to Morton Feldman, whose piano music this superficially resembles in its use of space and very deliberate timing. According to Cecilia Sun’s liner notes, it is to English composers of the 20th century we must look if we want to find real spiritual forebears to Pause, among them Michael Nyman ², Howard Skempton, and Brian Eno. All those concerned in bringing this release into the light are reluctant to dub this music “ambient” without the application of various caveats, and while many listeners will be instantly reminded of Music For Airports when they hear this, it would be foolish to overlook the compositional methodology at work here. Although recorded entirely by the composer on this release, Pause is scored for four pianists, who are required to pay careful attention to the decay of each chord they play in the series, making use of the sustain pedal and listening closely to the dying chords of their fellow musicians. The act of decay itself plays a part as a trigger in the compositional process, in other words. The album arrives in a rather vague and grey piece of cover art, but it’s a not-unpleasant piece of music. From 14 March 2012.

Layer Cake

After all that composed music, how about something more performed and spontaneous to round out our day? We’ve been receiving quite a number of items from the Norwegian Hubro label this year, many of them real niftaroos. Hubro seem to specialise in bringing our attention to numerous talented instrumental bands, all capable of producing fascinating music which is impossible to classify, freely mixing within jazz, rock or improvised idioms. What also comes across is great fluency and skill in playing. No exception is the trio Cakewalk, whose debut album Wired (HUBRO CD2514) was released in May 2012. Øystein Skar, Stephan Meidell and Ivar Loe Bjørnstad play synth, guitar and drums and while they are more firmly situated in the improvised rock camp than some bands on the label, the classification pigeonhole drops away very quickly on hearing just a few bars of music. It’s just great instrumental playing with a lot of energy, fire, and innovation, without self-consciously trying to imitate styles or genres such as krautrock, jazz fusion, or psychedelic jamming music; all three players make inventive use of their instruments and generate strong, unusual sounds. I suppose it is fair to remark that the band really have only two modes – either taut fast rock riffing or swirly introspective offbeat droning – but the elements fuse together in very satisfying and surprising ways, and each piece evolves and grows naturally. What comes across strongly is the assurance and confidence in the playing, which is impressive for a debut album, but then all three players are quite experienced and have come to Cakewalk from earlier bands – among them Sacred Harp, Highasakite, The Sweetest Thrill, Kramacher, Vanilla Riot, Glow and the Hedvig Mollestad Trio. Quite a list of names there – what current explosions of talent might we be neglecting in that Nordic Realm? At one time the lazy journalists used to summarise Norway as the home of “Norwegian noise” – and nothing else! Excellent bands like Cakewalk are proving what nonsense that is.

UtterPsalm CD2, released in 1995. ↩
In particular his Decay Music (UK OBSCURE NO 6, 1976), which shares some common ground with this record. ↩

September 11, 2012

The Choko King: oddball solo eccentric with a playful and eclectic style

Jono El Grande, The Choko King, Norway, Rune Arkiv, RACD107 (2011)

Not quite my brand of oddball solo music eccentric – I prefer my artistic eccentrics to be morose and cantankerous fellers in the vein of Fastest and Keuhkot – but Jono El Grande is an amusing fellow and the music on “The Choko King”, a compilation of recordings he made from 1995 to 2008, is a great exposition of his style and art. Best approach to listening and comprehending this album is to hear it in one go because it’s the guy’s outlook and style and the album’s mood that are most important: El Grande has a playful, open and easy-going attitude and his music is eclectic and varied, blending in influences from film scores, prog rock, electronic pop and what might be lounge space music from the 1960s in parts. The majority of tracks whiz by quickly and a couple repeat in different versions (“Eva’s Horse Dance”, “Vital Requiem”). The entire recording is happy and exuberant, full of the joy of being and being able to run across a range of music territories, picking whatever pleases our man and combining different elements into one joyful and idiosyncratic whole.

Pride of place is given to the bonus track “Vital Requiem – Complete” which at 14 minutes is the longest song and a veritable circus bizarre of near-deranged tunes on xylophones out of hell and other instruments whose crazy melodies suggest possession by phantoms that escaped from the spirit world equivalent of a mental asylum. A cartoon vocal gibbering in mysterious tongues is the highlight of the song.

The music flies about at various tangents and just when you think you have him figured out, off he goes in another unexpected direction. After a while of constant upbeat happiness, I confess I begin to find the album a bit tiresome and the playfulness not so spontaneous and even rather strained. Back to the likes of Fastest and Keuhkot for this reviewer: birds of a feather flock together, I suppose.

Contact: Jono El Grande, Rune Arkiv / Rune Grammofon

July 27, 2012

Archer Heights

Split for the Coast

The eleventh release on the Spectrum Spools label is Soft Coast by No UFO’s, which is the work of Konrad Jandavs from Vancouver. Once again John Elliott rescues an obscure piece of music from a small-run cassette label origins, and reissues it on luxury vinyl. I like a good deal of what Mr Jandavs is doing here with his synths, beatboxes, sequencers and filters, especially those cuts which maintain a good solid beat to support the layers of droniness. In some ways it’d be nice to hear him try out the long-form La Dusseldorf thing and see what part of the melodic backwoods his Winnebago takes him, but there’s also a lot to be said for his generally economical approach here, curbing any tendencies towards wallowing in self-indulgent filtered ecstasy. No UFO’s also has an uncluttered and fresh approach to the construction of each piece, such that we’re not wading through layers of overdubbed fug; there’s a simplicity and directness which appeals, even if the melodic figures are not especially strong or original. From December 2011, and likely to grow on us with time.

Dead By Dawn

Now here’s a lively and spicy mixed-up morgeroon from Anders Hana, who’s a Norwegian loopoid from Stavanger associated with such fine acts as MoHa!, Noxagt and Ultralyd. Also Blodsprut, Circulasione Totale Orchestra, Clifford Torus, Crimetime Orchestra, Ingebrigt Håker Flaten Quintet, Jaga Jazzist, Morthana, and Pokemachine. Matter of fact if there’s any far-out underground music going on in Stavanger it’s fairly likely that Hana will be involved in some way, either organising the venue where it happens or tearing the tickets on the door with a surly grunt directed at all incoming punters. On the single-sided vinyl object Dead Clubbing (DRID MACHINE RECORDS DMR2), he plays all the instruments including guitar, bass and drums, adding demented saxophone noise and groany synth passages, thus performing as his own one-man stoner-rock heavy-metal beat-jazz free-noise experimental-electronics combo. When you’re in the mood for something rich, thick and zesty, Hana is the man who’ll spread hot sauce over your French fries using a trowel for the purpose. Aye, nothing less than high volume and full-intensity performances will satisfy his creative urges on this salvo of grapeshot, and primary colours are the only oil paints he’ll deign to scrape with his nine-inch palette knife. What’s not to like? Well, only the slightly clod-hoppering and clumpy dynamic of the whole LP gives it a slightly awkward feel in places, like a Sherman tank stuck in first gear or a 30-foot giant with impaired motor functions, but that’s all part of the unkempt charm of Mr “no hairbrush for me thanks” Hana. The six dense pieces are generally short, obsessively repetitive and extremely – erm – direct. The label also operates as a fine-art screenprinting joint in Stavanger, and the actual artefact (I only have a promo CD) has visuals printed directly onto the vinyl and onto the PVC sleeve. 300 copies only of this drool-worthy red pancake.

Free Fall

Deeply impressed by Airfields (MAZAGRAN mz005), a new composition by Cypriot genius Yannis Kyriakides which we’ve had in the pouch since December. We noted his double-CD set Antichamber in TSP19 and I think it was around then we started to find a way into this dense work with its blending of acoustic chamber music with electronic sounds and strange effects, whereas previously it had seemed a bit daunting and unapproachable. This Airfields piece, a 12-part composition played by musikFabrik, an ensemble of classical players, with live electronics by the composer, really hits home – a very interesting take on spectral music, all players producing uncanny tones and unfamiliar sounds from their carefully-woven shrouds of woodwinds, strings, piano and percussion. In his notes, Kyriakides tells the story of how the piece came to be, and it’s a tale that involves a composition for the Siren Orchestra (who derive ideas from the futurist Luigi Russolo and the scientific theorist Heimholtz), and another composition for the Seattle Chamber Players. Since 2008, Kyriakides has been developing his own form of unusual graphic scores, working with photographs taken by satellites which he manages to recast into sonic information. As that technique improved, he found ways to render parts of these graphic scores by hand, translating the contours of these aerial views into scores which musicians could read. I like the idea that the musicians playing this unconventional sheet music are “put into a metaphorical orbit”, and it’s no doubt this methodology which accounts for the unusual, dizzying sensations of Airfields – sometimes we feel we are indeed falling through the sky in a semi-controlled way, taking a reverse parachute dive into another dimension. It’s entirely subjective, but I think this compelling and strangely melancholic music would make a perfect accompaniment while viewing Le Drapeau Noir, a 1937 painting by René Magritte. Further ghostly timbres arise in this, the third version of the evolving concept, through his placement of the brass section on the balcony of the performing space, to assist with the natural echo of the other musicians on the stage (a radical rearrangement of orchestral convention of which I’m sure Stockhausen would’ve approved). A live recording made in Amsterdam, the disc is issued with a booklet of full colour photographs.

April 4, 2012

Campomorto

Ronny Wærnes is the Norwegian sound-art semi-industrial noise-guy who just won’t quit…got a couple of CDRs from him in December 2011. Tendentious D (GO TO GATE RECORDS GO TO CD 019) is a collection of eight eerie pulsating electronic drones, wobblers, squealers and whoopers, each more inexplicable than the last. He put these eight together for the RPM Challenge last year, a no-prize event which is intended to motivate musicians by offering them a small audience, a web stream and a guaranteed listen from someone with a pair of ears, which in this over-crowded world of music-making where there seem to be more records than people to listen, is not a bad prospect. The only catch is you have to complete your work in just one month to qualify for the RPM event. While there’s not much content on Tendentious D that’s so novel it’s going to amaze your leathery hide and make it turn inside-out, Ronny creates some quietly compelling non-musical chunterings and ambient-tinted bleatings, and it’s impressive he did it all just by processing sounds through a contact microphone, effects pedals and a mixing desk.

For Between Nothingness and Entertainment (GO TO GATE RECORDS GO TO CD 021), Ronny teamed up with the guitarist Kjetil Hanssen from Oslo who also has a radio show, his own record label, and plays with a large number of bands and “projects”. This is a good old-fashioned blast of no-nonsense noise music, realised in the studio with guitar and electronics and powerful amplifiers that must have sat there for hours taking all the abuse poured into them like long-suffering partners in a hopeless relationship. It’s got all the airless qualities that make noise music seem, to civilians and infidels, like so much air pollution belched into the clean air like factory chimneys. Though its creators speak of a “massive wave of energy”, it’s not really that energised, and I kind of like the fact that these tracks aren’t especially relentless or propelled by the usual power-house pump-action wheel motions that characterise a lot of evil power noise muck. Instead, Wærnes and Hanssen just pour out generous globules of tasty textured drone-noise action as efficiently as if they were pulling deep-sea fish out of a hole cut in the ice. Wisely, they never look up from their work or pay attention to any distractions, and just keep reeling in the fish.

Here’s another vinyl LP from Boring Machines in Italy. Heroin In Tahiti‘s Death Surf (BM036LP) was realised by the duo of Mattioli and De Figuereido using guitars, synths and drum machines, between them creating a very appealing and agitated, churning surface which somehow blends surf music, garage bands, and exploitation movie soundtrack music with the alienating forces of “cold wave” music. Plenty of distortion pedals, reverb and echo, aimless twanging, and endless drum machine rhythms ploughing across imaginary fields of urban desolation. These musical layers melt together as surely as if the Italians were blasting five wax figurines with a blowtorch. The synth effects aren’t used as tasteful watercolour washes, but more like the impasto layers of a painter like Frank Auerbach, and the rest of the music has to sink or swim in these thick tides of grisly electronic gloop. At worst, the excessive reverb here can tend to disguise the fact that some of these instrumentals aren’t much more than sluggish 12-bar blues or rockabilly jams, but at their best Heroin In Tahiti can do more than hint at the vivid semi-apocalyptic landscapes they are clutching at. I’m intrigued to learn that both players live in a neglected area of east Rome, where the fabric of the city is falling down around them and a local scene called “Borgata Boredom” appears to have formed itself, no doubt a vehicle or framework for unemployed youngsters to find a mode of creative expression for their angst, or just sit around in cafes and whine about the situation. I can’t quite find the Morricone resonances in this music which they allude to in the press release, but the cinematic aspirations of this pair are more than met simply by living in that seedy part of Rome which has been captured by the unflinching cameras of Pasolini, De Sica and Visconti.

April 1, 2012

Three Vinyl Volumens

The Mind Robber

Hobo Sonn might be Ian Murphy. We last heard from him in 2008 with The Thundering Nature of Reality, a terrific limited press LP of mysterious humming which I wrongly took to be made up of guitar and amplifier hum, but Mr Murphy wrote in to correct me on this. “My music is made up of improvised recordings that are then carefully edited together,” he reported in December 2009 by email. “This process takes a lot of time and it is where some degree of composition is involved. Timing/duration is a big factor in my work. Therefore I take a lot of time listening to the music to find exactly where I want the piece to change/progress or end.” I’m glad to have this information as it helps me get my bearings with Wary The Mind (AMEN ABSEN 003), his most recent release which we have had in our paws since September 2011. It’s probably another example of his editing craft, and is meticulously structured and sequenced to achieve quite powerful and mind-warping events, even when the original source material is largely quiet, subdued, and unidentifiable. The first side, for example, contains lengthy stretches of intimate whirrings which to me suggest tiny cogs in tiny machines, malfunctioning or grinding together through a lack of regular oiling. These sonic particles are treated with a sparing degree of studio echo, or digital delay. This side closes with brief passages of piano music which are simply gorgeous in their dreamlike wispiness – they may simply be samples from a classical music record, repeated or looped as needed, their regular sequence disrupted in some way – but what emerges are precious moments from the most beautiful “exotica” album Martin Denny never made. These piano fugues overspill onto the opening of Side B, later to be replaced by continuous analogue drones which morph into Eastern music, or a reasonable facsimile of same. Along the way in this baffling journey, there are fragments of field recordings – a car passing from one speaker to the other, for example – again, very sparingly used. The LP ends with a faint tinkling resembling oriental temple bells and what I imagine to be mumbling in a foreign language, and thereby almost wanders into areas previously annexed by Climax Golden Twins on their gloriously oblique and unexplained sound collages. Hobo Sonn likewise refuses to explain anything here, all sound sources and methods are kept hidden, and the “what-is-it” factor remains highly prevalent. This is a welcome relief from the numerous releases we are sent where the creators feel compelled to tell you in endless detail what they ate for breakfast before they made the LP. In like manner, the cover art is an ingenious collage which drip-feeds us tiny fragments of visual information inside a geometric grid structure. This artwork could almost have been the graphic score for the music within. Recommended. Comes with a free 3″ CDR insert also.

Herz Aus Glass

Melt Famas is the duo of Fred Bigot and Nikolas Mallet, and their lovely 10-incher Serial Weather (MUZI-02) is an early release on the new Swiss-German label Musikzimmer – prior to this the organisers been more involved in exhibition spaces and soundart interventions of some sort. This black beauty comprises three loud and joyous tracks of guitar and drum music, but the electric guitar of Bigot has been amplified and distorted to the point where it starts to melt into electronica – he’s achieving wild and woolly effects which most half-baked laptoppers would only manage to arrive at through 18 presets and a sportsbag filled with FX pedals. That said, there’s probably some form of synth or keyboard on this record too, but I love the way everything locks together into this rich and sumptuous sun-drenched racket, allowing for distortion but never settling down into an amorphous blob of similar-sounding frequencies. In short, great dynamics! There’s a cover version of ‘Heart Of Glass’ where the singer appears both alarmed and bored by the love affair which is breaking up around his ears, but by the end of the song the situation has become little short of cataclysmic, with walls falling down around us in chaotic fashion. ‘Plastic Swing’ is a five-minute gem of semi-industrial instrumental march music with a plangent melody which D.A.F. would have been proud of, while the flipside is fully occupied with 11 minutes of ‘Ice Age Fire Cage’, its melodic and trebly guitars to the fore in another highly rich and addictive mix, concocting excessive acid-trip music that is a fine homage to all things psychedelic. Bigot impressed us heavily with the Holy Mountain compilation of his avant-techno 12-inchers, a CD which appeared in 2009 – but the music was already ten years old by that point. Now with this guitar-heavy record, I’m beginning to see the rockabilly connection with Bigot more clearly. With tremendous instrumental prowess on display and no restraint on the volume control, this record is an unalloyed delight.

Sei Still, Wisse ICH BIN

I’ve played two of the four sides of Twenty-One Pieces (EARLY MORNING RECORDS EMR 018), a double LP by Taming Power which came out in 2009 but was sent to us in August 2011 by its creator Askild Haugland. So far I’ve heard many beautiful instrumentals made with electric guitars, Casio keyboards and other instruments, interspersed with abstract sound-art experiments produced with such devices as singing bowls, handsaws, field recordings, the human voice, and tape recorders. The guitar pieces are melodic and sweet, stirring unnameable feelings of nostalgia for this listener. The abstract works are very varied, sometimes creating impressions of the elements, the wind or the weather, or simply exploring an intriguing effect of “acoustic noise”. Tape recorders and cassette recorders play a big part in the work. It’s strange, minimal, affecting. Haugland seems to have some quite unique working methods – he refers to “pieces recorded in stop-motion” in his enclosed letter – and not one of these instrumentals ever falls into the usual stumbling blocks or clichés of drone–ambient music. His guitar work in particular reminds me strongly of the American outsider, Wilburn Burchett; there’s the same studied deliberation in the playing, the inner core of beauty to the music, disrupted by unexpectedly loud or wrong-sounding notes, which are seamlessly incorporated in the whole work. It’s all about the playing, the exploration, the process; and while the finished pieces may appear mysterious and odd sometimes, Haugland is doing nothing to obfuscate or mystify his methods, which are clear and open, declared with honesty. This Norwegian player, himself something of an outsider I expect, has been patiently carving away at his craft since 1987, and when he began his use of the tape recorder as an instrument in 1996 and 1997, he found himself in a purple patch of creative output. Early Morning Records is his own record label for his music, and to date he’s released 18 LPs and 40 cassettes. Collectors who take an interest in the work of single-minded mavericks releasing their own home-made LPs (step forward Jandek) should investigate, but I can recommend this beautiful, singular and seriously-crafted music to just about anyone. Haugland has a spiritual depth and simplicity in his music that reminds me of Florian Fricke, and believe me that’s not a compliment I would pay lightly.