\ / | ----- /\ | \ / |== |== | / | \ / Week 9 \ / | | / \ | \ /\ / | | |/ | \ / Number 215 \/ | | / \ |--- \/ \/ |__ |__ |\ |__ | contents: ALESSANDRO RAINA - Colonia Paradi'es - (CD by Cane Andaluso) FULL METAL KLEZMER - SAME - (CD by Cane Andaluso) MM (Compilation CD by World Serpent Distribution) KID KOALA - CARPAL TUNNEL SYNDROME (CD by Ninja Tune) VICTORIA JORDANOVA - REQUIEM FOR BOSNIA (CD by Composers Recordings Inc.) EXTREME MUSIC FROM WOMEN (CD compilation by Susan Lawly) KOJI ASANO - PREPARING FOR APRIL (CD by Solstice) AUBE - BLOOD BRAIN BARRIER (CD by Ytterbium) KOJI ASANO - PREPARING FOR APRIL (CD by Solstice) GIACOMO SPAZIO VS. OUTOFFBODYEXPERIENCE - M4SC (Book & CD-R) JAVIER HERNANDO - LUZ NACARINA ALAIN WERFIGOSSE - DEEP GRAY ORGANICS ESPLENDOR GEOMETRICO - LIVE IN UTRECHT (all CD's by Geometrik) "I SAW IT ALL HAPPEN FROM BEGINNING TO END AND I STILL CAN'T BELIEVE WHAT I SAW" - LIFE EVERLASTING, AMEN (CD by Firework Edition Records) SATOR ROTAS (CD by A-Musik) DAT POLITICS - VILLIGER (CD by A-Musik) SMOOTH QUALITY EXCREMENT - BIRD AND TRUCK COLLISION (CD by Influx) HECKER - [R*]ISO|CHALL (CD by Mego) PAN SONIC & CHARLEMAGNE PALESTINE - MORT AUX VACHES (CD by Staalplaat) Plus announcements ALESSANDRO RAINA - Colonia Paradi'es - (CD by Cane Andaluso) FULL METAL KLEZMER - SAME - (CD by Cane Andaluso) A label from Milan, Italy. Well, label might not be the right term. Both cds come with very nice hardpaper booklets, so it might be more just to speak of little booklets with a cd as an extra. Anyway these booklets impressed me more then the music did. Especially in the case of Full Metal Klezmer we have a beautiful catalogue of photographs in our hands. All photos show normal household objects, one of which is free floating in the air. The photos are made by Alessandra Spranzi. I could not discover a link between these photos and the band presented on the cd. I don't know what you expect when hearing the name Full Metal Klezmer, but certainly not the jazzmusic that can be heard on this cd. Only in one track eastern Europe-klezmer influences are obvious. For the rest we hear a very capable but not very original jazzquartet consisting of guitarist Fabio Basile, alto sax player Roberto Lanciai, Drummer Zeno de Rossi and Teo Ederle on elastic bass. It is a band you can find in every city. Lyrical and sophisticated playing with occasional outburts. It's certainly not boring fusionmusic. It's more like a Knitting Factory sort of jazz music. The solo cd by Allesandro Raina is of a different kind. With guitar, tapes, etc. he paints 12 short pieces of music. They sound as an echo coming from a long time ago. Distorted sounds, noises, unprofessional playing and recording make it sound as if it comes the past. Dreamy and nostalgic music. Sometimes reminding of the early work of Franco Battiato and Giovanni Sturmann. The booklet contains old photos coming from an family album. Music and photos together may bring you in a melancholic mood. Especially after the last track 'Generazione Electica' a great blues tune, you surely are 'in the mood' (DM). Address: airstudio@tiscalinet.it MM (Compilation CD by World Serpent Distribution) Algiz speeds through a welter of French - and how deep are the roots of the concept of time in folk music? Flute, guitar; sudden swelter of bongos. The music moves swiftly - to what end? I mean that literally. Backworld effuse through violins about "The Devil's Plaything." Are folk music and semiotexte two tribes never destined to meet? Are there inroads in folk music, yet to be explored? Or, are those inroads in ruins? Der Blutharsch rain drums and tubular bells upon the earth that excoriates titles. Bryin Dall states that he is so lonely he could cry, stretching out the fingers of this mood through guitar and strings. Cyclobe curve through the strings and drums bursting into a ringing of telephone and scuttled voices cutting through the first five minutes after sleep. Darkwood intone over guitars (whither goeth the number of strings?) and German, as if something is indeed waiting in that dark wood - waiting from behind. Dawn & Dusk Entwined unfurl voices and melding tones and those voices build - point, counterpoint? Is there a chance to build something over hours and months and years - is this the legacy of folk music: the gradual build? Leutha take their focus - "Wind" - and breathe through it, into it, around it - or do they mean "Wind"? There is no small amount of crossings and movement in the sounds - bellsbecome air and air moves through cylindres. It trembles into the final seconds, vanishing as nature becomes time. Nobody's voice rings clear as the bells that succeed it - fractured blossoms of feedback warble from the sound-sources - and it is not for nothing that the concept of "longing" is the capstone to the arch of folk music. Novy Svet rend the proceedings with rude organ and la la lowing - playing while this Rome burns, like one of the twelve Caesars - "La Aroma Lola"? ? A hey hey, a hey hey. Ozymandias. Look for the coming inter view in which it is revealed that his favourite poem is not, in fact, "Ozymandias". Piano emerges, and slyphs out as gently as it had come. Pantaleimon study the strings of their guitar as through a pastoral life, as though a pastoral life. There is a sound behind them that suggests someplace in the country where someone let fall an arrow. The string section bows for an extended period of time. Much unexpectation. Regard Extreme bring drums and synthetics to trump l'oeil for the joy of the princess. And so it goes. Skald offer their respect to days gone by, with plucking and bowing, plucking and bowing. It is surprising how many of these sounds are intensely visual, telling stories left and right and down again. ...The Soil Bleeds Black feature flute and big bass drum. Would the compact disc format doom the musicians herein to a drowning or a burning at the stake were they transported back to a simpler time? Tor Lundvall, in "My Weakness", calls from a fog - a veil of bells and wails, a mist of sounds not missed; of vice and ether/or - regret? Nostalghia? (DC) Address: KID KOALA - CARPAL TUNNEL SYNDROME (CD by Ninja Tune) Rhythmic music with much instrumentation aside from the tupperwared breaks that could be construed as "fresh." Many samples from 1980s ephemera - and it is a strange situation when a culture which was embraced by "nerds" is inculcated into these dopey beats. "Don't steal" - or, so says the cover, which = much yuks. No reservice on stolen/mysteriously missing copies. Right. The children of Mao and Coca-Cola? Boris Karloff. Robert Carradine. Pac Man (or Pook Man, Puck Man and his endlessly orphaned cousins). Boy that scratching' is makin' me itch. Sorry, that wasn't part of the re view. Much scratching. The dating ritual. And let there be no confusion - this is a highly enjoyable record with which the more erudite amongst the record collectors gathered here tonight shall impress one and all with their highly-developed acumen. Joan Rivers. Cheech y Chong. One thing that impresses is the sense of Mr. Koala's notion that his job is ridiculed - but not ridiculous. How often is that line of reasoning crossed, balanced and fallen over? (DC) Address: VICTORIA JORDANOVA - REQUIEM FOR BOSNIA (CD by Composers Recordings Inc.) The sounds weave forth like the vibrating of a mirror - and there is the sense of a looming something, as from behind and in back and circling again. Is it memory? Is it as realistic as a gun loading, the desired effects and the empathetic response. And this is where the literalist credo winnows its way in - no place is better-suited for reverb than a requiem. These feelings, these pains and sorrows - reverberate through a murder, then to a composer and follow-flow out through sounds and music, travelling through, and onward... The voices of a child hide behind the strains of a broken piano - as though exploring it, for the first time. A toy piano? A toy robot? It is unclear. And is a broken piano truly "broken" to a child, someone who doesn't know any "better"? Four preludes for harp follow. And yet there is a childlike quality to the way those stings are played - as if she herself is learning as the piece is written. Strings smooth tentatively, slightly uncertain - then bolt in a jet of finesse just when expectations lull. The strings themselves seem to ruminate and concentrate - deep inthought? Morphogenetic field redux with composer and daydream? A wind shivers the strings, in such a way that the spinning of the disc and its own laser wind beckon behind it. And silence is not golden - it's a silvery pasture... Once upon a time - is the harp particularly suited to conjure up such notions as "reminiscence" and "nostalghia"? How justly does it strike a chord? (DC) Address: EXTREME MUSIC FROM WOMEN (CD compilation by Susan Lawly) The way to defuse a loaded situation is to see that it is not loaded - just filled with a different substance. Rosemary Malign creates a vibrating reflection in amber that will last and melt and be distilled. There is something writhing inside it that was outside all along but as in most amber, the light plays tricks so that there are twelve ways to pronounce the suffix "-ough". Lisa and Naomi Tocatly move through their sounds in such a way that the old clawfisted bathtub is scraped of older baths and the resultingcleanliness is viewed as through a diamond. Dolores Dewberry speaks a paragraph 64 as the twitters of Kurt Schwitters range their ways through the calm and multilayeredmeanings of the past that inevitably emerge from the numbering of a paragraph. Candi Nook hafts her sounds through a television set and speaks to the broadcast, several of them, several million of them. All twisting and curling and hafting themselves, muchas the sounds are imprinted into a subconscious and this is why one fails to recall the name of the bully from fourth form but why another remembers that Steven Stapleton played live with Whitehouse at one time. Annabel Lee brings forth the wolves from another place, which could be grounds for grievous slander if revealed. Mira Calix pulses several voices and windings and balls them into a piece that creeps out as velvetly as it rolled in. Clara Clamp's answering maschine moves from one speaker to the next, and is revelation ever properly recorded? Are there things left unsaid that lie coiled in the hiss of cassette tape, no matter how small? And, ultimately, recording devices fail to catalogue those nuances, in the way that is vital and living in the face-to-face confrontation and taste. Debra Petrovitch narrates in dislocation - and how long does rationale go through surreality and freeforming until a beat, a cadence, a pattern is imposed on the action? Where is the portion of the brain that imposes order on chaos? And this, even in the apparent face of entropy...two lines of the = sign are equal until you look closer to see that one is longer, one is shorter - yet both remain straight lines, utterly, for an instant. Karen Thomas kicks ticks and pops from the speakers as the deepened glare of a rotating pail crumbles through the air, it is so difficult to figure out from whence comes the sound, and deeper still the mystery of the words because how often will I actually speak with this person? Beth Cannery wishes luck with a capital "F" as the treble clef is rent and at least two distinct tones rise their heads, biting towards the pineal glad and the words are clearer, grabbing those tones by their necks and then. Gaya Donadio storms out the thunder - and it oscillates across the space of a room. If the memory of a piece of music resonates, can we say that it gives a space (cf. of a room) resonance itself? What roles do sound and memory and space play within each other? Maria Moran and the prurient interest - does a conversation immersed in heavy sound make one actually listen more intently? The clouds clear at times, go live in another speaker at others. Fraulein Tost paints a panic as perhaps Rupert writes a rainbow - vastening washes of flange across the canvas that is 2:07, 2:06, 2:05 and onward. Measured. Finite. If one paints with sound, is time the canvas? Wendy van Dusen speaks of dog, saturating and calculating. Much echo, and is this how the dog hears commands, again and again? Is this how the dog tries to speak, barking, again and again? Cat Hope's sounds vacillate in time, and something is broken, many times. It is reminiscent of the aural Rorschach test given to inmates in the asylum - repeating words until they become sheer sound, and Neil Hill, we still miss you. Diane Nelson mounts and subsequently dissects an insect. Wings beat and voices inject outwards through the pins impaling them. The final kick of the impulse, and does it really take so many seconds? I have the gravest regrets that I did not call upon a female colleague to assist me in recording a literalist version for "Extreme Music From Women." It would have been so... (DC) Address: KOJI ASANO - PREPARING FOR APRIL (CD by Solstice) The piano stretches, sand across its wilderness, much like the attendant cover of the recording. Would that an lp version could have been afforded, if only to see the larger view of the photograph! Perhaps one day...and "one day" is the underpinning of a preparation. Is the piano prepared as well - or is it the recording of the sounds that it makes? It's sand through the microphone, a bit, or dust from another time, from an crack into the attic and down to the parlor floor. What is the fine line between "memory" and "reminiscence"? Is it "regret"? Is it something wholly other, undefined yet lying tantalisingly within reach, gotten to by a key in "gee" or even a microtonality? The notes rain down, to urge April closer - the girl, or the season? Starts and stops trickle across the keys, as though this is a very old recording indeed. Is time given to practicing lessons counted in "time lost"? Or has it simply fallen through the cracks between the keys, to be unearthed and retaken at a later date? It's rather like the first time the piano is looked at closely, and how long one can make the plink-plonk sound last. (DC) Address: AUBE - BLOOD BRAIN BARRIER (CD by Ytterbium) "What's that sound?", from the other room. Brain-wave sounds. Electroencephalograms. "Okay, whatever turns you on..." And so on. I think what he meant to ask was, "What were they thinking when they recorded this?" Which is an incredibly salient point. The sounds come from those brain-waves but what thoughts engendered those waves? So often these recordings by Nakajima-san are tied thematically but what lies behind those themes? The rhythmic ravens call names and cross a jungle to fly again, and again. One raven flows into another, and becomes a duck, dipping into the ocean, never coming up - instead flowing into a raven, and so forth, and so forth. The brain-waves travel down through their brother pulse, onetwo onetwo, and then the waves come crashing down across the seashore, filling the fauntanals and seeking their own level. A measured time emits while the chaos of other signals tatters the synapscape. Various high pitches voyage through past the body's systems until gradually fading to pitch-black. The sounds calm unto rumbles, pacing, waiting, as if asleep in some way. The sound - or the brain-waves themselves? It's as if the sounds create a body for themselves - calling to other sounds to join cell to cell, growing and aging into something that will be revealed... As if transmitted over radio waves - much like the body does - the sounds beat together, warble apart and build in intensity, gathering more laboured etchings with each thought carrying through. As the final moments of the piece group into one, they mist into vapor, just another passing notion... (DC) Address: KOJI ASANO - PREPARING FOR APRIL (CD by Solstice) Koji Asano has already released 15 CD's of which this is the first one for me to hear. It seems that his style ranges from piano works to computer synthesis to bands and so on. In his piano works, the environment of the recording is as important as the piano pieces themselves. In this case it may actually not be the environment that is so important, but more the medium on which they were recorded: microcassette. The result consists of monophonic recordings with a lot of hiss and almost no dynamics. The pieces are not dynamic either: they are more or less tapestries of tones withshifting movements. Some of them are slow, some of them fast. In a sense it's like he is trying to blend the (composition of the)tracks with the recording medium, which is interesting for some time, but then questions arise: why 67 minutes? why 6 tracks? The compositions themselves are not strong enough to carry the whole CD, so if we're dealing with a conceptual piece here, it lacks the necessary contextual limitations. This works is not clear and developed enough to be appraised according to the abovementioned critics. (MR) Adress: personal4.iddeo.es/koji solstice@retemail.es GIACOMO SPAZIO VS. OUTOFFBODYEXPERIENCE - M4SC (Book & CD-R) A mysterious release by the man behind Cane Andaluso: a book in b&w with only numbers and a CD-R with a little drawing. I guess the numbers form some kind of secret language (although I didn't take the time yet to find out if my intuition was right), so the content remains somewhat obscure. The (comic) picture on the cover depicts three astronauts from the back, with the letters O, B, E on their oxygen containers. In the text balloons they are referring to a certain Dr. Spazio. The CD contains one track of 52 minutes and starts with spacy sounds, some voice fragments and breathing (Space Odyssey). Some synths fade in and the whole thing is getting pretty ambient. After six minutes more syths arrive, a sequence is started and wehear some distant female singing. This is interrupted by a spaceship landing and around ten minutes into the piece the beat starts. Sort of easy techno (the breathing continues). And then the first song really takes off. We can dance now (probably not easy in space...). But it sounds nice enough. And so it goes on basically. Personally I'm not too enthusiastic about one track CD's (unless there's one very good track on it), but this is more of a concept album, so it does make some sense (we are waiting for the movie). Oh, only 33 copies! (MR Address: airstudio@tiscalinet.it JAVIER HERNANDO - LUZ NACARINA ALAIN WERFIGOSSE - DEEP GRAY ORGANICS ESPLENDOR GEOMETRICO - LIVE IN UTRECHT (all CD's by Geometrik) Three new releases on Geometrik, a label that has been going since the mid 80s but who were quiet in more recent times. They started a new sub-division Microgama, which releases music from Spanish musicians. Javier Hernanda was a member of groups like Xerox, Melodinamika Sensor and Sinusoidal (all unknown for me), but he now produces his first solo CD under his own name. The best thing to say it's ambient, even when this might sound negative. It's more hinting towards Oval or that school of thought, but it remains 'normal' electronic to be really daring or challenging. Hernanda has certainly his own touch in playing his sounds, but overall he stays too close, for me, on the sweet side. The second release on Microgama is by the sympathetico person Alain Wergifosse, whose name in the only thing Belgium. His title is a very apt one: it's gray, it's deep and it's organic. A highly synthetic sound, despite the fact that there is a bassplayer helping out. All of these tracks were "improvised, spontaneously composed" (what's the difference?) over a year or so. Sometimes I was reminded of Conrad Schnitzler or Asmus Tietchens. Nice stuff which works best for me in the shorter excursions. The long longer pieces towards the end of the CD are for me a bit redundant. Without these pieces it would have been a very nice CD. Maybe Esplendor Geometrico belong to those bands who make their best work when they start. Their first LP, first cassette and first 7" were powerful statements at their time and still sound surprisingely fresh. Me personally I lost my interest after those early releases and only heard EG sporadically. It was many years after the release of the 'Live In Utrecht' that I got it. Now, eleven years after the concert, there is a CD re-issue of it. It was a nice reunion, a bit of nostalgia. Their pounding rhythms, shouts and radiointerferences now may sound a bit outdated, but for me, as one of the gold guys, quite nice. I doubt it will bring the band new fans, but some of the old might be pleased. Address: "I SAW IT ALL HAPPEN FROM BEGINNING TO END AND I STILL CAN'T BELIEVE WHAT I SAW" - LIFE EVERLASTING, AMEN (CD by Firework Edition Records) This recording somehow seemed such an obvious idea after I'd heard it for the first time, and so perfectly timed when I consider how we stand with a foot slightly raised and move it so slowly into a new millennium, while all around us technological developments hurtle forward at breakneck speed like some unstoppable virus or Frankenstein's monster on amphetamines. (I read an article the other day concerning the relationship between the increasing pollution in the [Western] world and its related obsession with cleanliness - vacuum cleaners with micro-filters, designer detergents that would have saved Michael Jackson a fortune in skin creams, bleached air in controlled environments, oxygen therapies and genetically modified everything. It raised the point that the number of allergies amongst children born in the last ten years or so of the twentieth whachamacallit have leapt up by an alarming degree as a result of this streamlining, which again underscores the requirement for rapid advances in medicine, already overtaxed by its paramount task of finding some way to cope with Alzheimer's Disease.) 'Life Everlasting, Amen' is a simple, yet unnerving comment on this state of affairs. The major part of this 80'00 CD consists of 'a recording of a life-support machine and its relentless quest to keep the patient alive. In doing so, it becomes part of that patient, attached by tubes through which the fluids of life pass, pumped by a metal heart into one made of human tissue.' The patient and the machine are engaged in a dance of life and death, when the meat falters the robot helps it to regain its balance, when mute organs fail, the robot's voice cries for assistance. This is an extract from a 6 hour long recording, played live on an octophonic audio system as part of Sonic SeaAir in Brighton, May 1999. The piece was conceived of and constructed by Jeff Sedgeley, a videomaker from Brighton responsible for the ten-minute track 'After Life,' and an ambassador of a New Country. (If I may side-track for a moment - all of you interested in New Countries should get hold of the book ' How To Start Your Own Country' by Erwin S. Strauss, published by Loompanics Unlimited, P.O. Box 1197, Port Townsend, WA 98368, USA. I heard that Loompanics went out of business a while ago, following the Oklahoma bombing, but have not had this confirmed by a reliable source. If this is true, and the book is unavailable, then this reviewer might be persuaded to provide a Xerox copy of the book for expenses plus postage.) 'Life Everlasting, Amen' is a haunting reminder of how reliant we have become on our technology, most especially its lowest common denominator - electricity. There are many theories, but who knows where our symbiotic relationship with machines, which started with the Industrial Revolution, is headed. We are already cybernetic. Not just a thought-provoking audio document, but a meditation too. (MP) Address: SATOR ROTAS (CD by A-Musik) DAT POLITICS - VILLIGER (CD by A-Musik) Marcus Schmickler never ceases to amaze me. I have been following his work for quite some time now, either as a musician (under his own name, also as Pluramon and Wabi Sabi etc.) and as a producer (name anybody from the Cologne scene) and you hear well-crafted electronic music with additions from post rock (as in Pluramon). Here is his latest work, under the monikker Sator Rotas. Recorded at various concerts in the last two years, this comes off as a one track piece, as it one continious flow. No guitar sounds (or at least not as such recognizable) but a fine flowing tapestry of electronic sounds, which grows organically everytime there is a new track id on your CD player. From soft to wild, with radio transmissions mixed in from above and beyond. Excellent experimental stuff that will please more the lovers of the previous Wabi Sabi then the rockers of Pluramon. Quickly Dat Politics gained a name for themselves. With three people of Tone Rec plus two more members they have a split 12" on Fat Cat, a LP for their own label Skipp and this CD for A-Musik. The 12" and LP were nice already, but this CD blows my mind! Dat Politics are announced as a computer group, or lap-top quintet, so I expected heavy improv doodlings like Rehberg & Bauer or the rest of the Mego posse, but how delighted I am to find something different. Dat Politics bring us 11 cuts of cute music - popmusic maybe. Each track - no titles - is well-balanced, structured around guiding themes. Hardly a weak brother in here. There are hints of hip hop and techno elements, but it avoids falling in these traps. Excellent stuff - I wouldn't be surprised if they soon have a big record deal! Address: www.a-musik.com SMOOTH QUALITY EXCREMENT - BIRD AND TRUCK COLLISION (CD by Influx) The name Ure Thrall I've seen before, I think it was in the almighty cassette business. I never heard his music, but here he pops up in a trio with of likewise unknowns as Paul Locasta and The Fruitless Hand. Five traks (sic), five lenghty improviations over a whole array of instruments, such as midi bass, upright bass, guitar, low tech sampler and more. Armed with this, the trio improvised some 20 hours worth of music and each is doing his own edit. This particular edit is by The Fruitless Hand. Overall a dark and bleak atmosphere, ambience if you want, of moving music. Music that is drenched into sound effects, that slow but steadily moves. Even when this all sounds a bit outdated - ten years ago it would have been more hip - it still sounds nice and well played. Boys that handle toys in a good way. (FdW) Address: announcements: 1. From: "gaya donadio" HINOEUMA THE MALEDICTION present: Susan Lawly Extreme Music From Women project launch event LONDON - 10th MARCH 2000 Candi Nook / Maria Moran / Dolores Dewberry / Wendy Van Dusen / Cat Hope / Karen Thomas / + guest DJ: William Bennett at HINOEUMA the malediction tickets £5 RED ROSE, 129 Seven Sister rd, N7 London, nearest tube: Finsbury Park (Victoria line). from 8pm till 2am info: hinoeuma@hagshadow.fsnet.co.uk www.emfw.freeuk.com ADVANCE TICKETS AVAILABLE NOW! march 12 HARBINGER- HINOEUMA present: LOCKWELD usa. PUTREFIER uk. DACHISE uk. ZIPPERSPY usa. £.4/3.conc. from 8.00pm to 2.00am at the windmill 22 Blenheim garden sw2 brixton hill nearest tube: brixton, buses:45,109,133 contact: hagshadow@freeuk.com www.geocities.com/hagshadow 2. From: STAALPLAAT-Berlin/musique korrekt Hallo ! In the past few years the Staalplaat-Berlin Audio-Galerie has proofed its flexibility innumerous times (Podewil, Volksbühne am Rosa-Luxemburg-Platz, Prater, Maria a.O., Schmalzwald, Hybridraum, Insel d.J./all Berlin, focus/Dortmund, Sidan/Leipzig, Untn/Saarbrücken, ZKM/Karlsruhe, ars electronica/Linz etc.). But now, we are about to take one step beyond. We follow SPK's invitation (SchoenyPeyfussKurzmann) to present Staalplaat-Berlin in the Künstlerhaus, one of the most traditional museums in a country where art has recentlybecome a private affair. Yes, you guessed right, we are going to Vienna/Austria on March 4th and will present "The Sound of Music" for five weeks until the middle of April. The museum's exhibition is named 'sounds&files' and its focus is the visualisation of today's digital sound generation exemplified by several installations, workshops, concerts etc. (incl. an analog mono surround installation by The Staalplaat Sound System). Please note that during our stay in Vienna the Berlin Audio-Galerie will not completely disappear but only be reduced to a charming skeleton. For more detailed info we suggest: http://www.kuenstlerhaus.at http://gegenschwarzblau.cjb.net/ 3. From: annip@gmx.net GARTEN DER VERSCHLUNGENEN PFADE Friday, 03/03/2000, 10pm @ nbi, Schönhauser Allee 8, Berlin on storage media: FORESTOPPER (Berlin) FROZEN (Kein Babel, Berlin) plus: NBI LABEL + CD RELEASE PARTY Saturday, 04/03/2000, 10pm @ Haus des Lehrers, Alexanderplatz 4, 7th Floor, Berlin live: PRODUKT (raster-noton) GRANDEL (deut) TRIKE (Gigolo Rec.) KYBORG (rastermusic) SAMTBODY (fsoj) storage media: CHRISTINE LANG SHIR KHAN THADDI FROZEN (Kein Babel) FLUSH foto + video: ANNA WAGNER 4. From: Michael Hohendorf Saturday, March 4: KÖHN (kraak", Belgien) plus DJ (k-raa-k)" nonsound 20h!!! ZAKK e.V. Sielpfad 11 28203 Bremen Germany 5. From: Christoph Winkler Klangkrieg / Berlin 3.3.22:00 Maria live: Koehn (K-raa-k) first time in germany Kaffe Matthews (virtual violin virtuoso from London) Frederik Schikowski (irritant) weirdo electro noise pop Residents: Miss berlin& Die Axt, Terminal Hz, MC Whuzikan, Massaka 6. From: "Till.Kniola@AufAbwegen" konzerthinweis: so., 05.03. ab 20.00h K Ö H N (kraak, Belgien) & KAPT. MICHI.GAN (Schneider TM, Tuesday Welt) - live - plus Loopgalerie mit den DJs das schwarze quadrat (744) zipo (aufabwegen) plus visuals dm 10,00 c.u.b.a. achtermannstr. 12 48143 muenster naehe hbf. more info info@aufabwegen.de www.aufabwegen.de Vital Weekly is published by Frans de Waard and submitted for free to anybody with an e-mail address. If you don't wish to receive this, then let us know. Any feedback is welcome . Forward to your allies. Snail mail: Frans de Waard - Fagelstraat 40 - 6524 CE Nijmegen - The Netherlands All written by Frans de Waard (FdW), The Square Root Of Sub (MP, ), Ching-Chong Jing-Jong (CP), Radboud Mens (RM), Sister Clika (RTH), BAraka[H] (BAR), Howard Stelzer (HS), Heimir Bjorgulfsson (HB), Dolf Mulder (DM), Meelkop Roel (MR), David Cotner (DC), Rene van Peer (RVP), Jos Smolders (IS) This is copyright free publication, except where indicated, in which case permission has to be obtained from the respective author before reprinting any, or all of the desired text. The author has to be credited, and Vital Weekly has to be acknowledged at all times if any texts are used from it. Backissues may be found at: www.staalplaat.com Vital Weekly is published by Frans de Waard and submitted for free to anybody with an e-mail address. If you don't wish to receive this, then let us know. Any feedback is welcome . Forward to your allies. Snail mail: Vital Weekly/Frans de Waard - P.O.Box 11453 - 1001 GL Amsterdam - The Netherlands All written by Frans de Waard (FdW), The Square Root Of Sub (MP, ), Radboud Mens (RM), Sister Clika (RTH), BAraka[H] (BAR), Howard Stelzer (HS), Heimir Bjorgulfsson (HB), Dolf Mulder (DM), Meelkop Roel (MR), David Cotner (DC), Rene van Peer (RVP), Jos Smolders (IS), Brian Lavelle (BL, ), Gerald Schwartz (GS), Niels Mark Pedersen (NMP), Henry Schneider (SH) This is copyright free publication, except where indicated, in which case permission has to be obtained from the respective author before reprinting any, or all of the desired text. The author has to be credited, and Vital Weekly has to be acknowledged at all times if any texts are used from it. Backissues may be found at: www.staalplaat.com and www.earlabs.org (this one includes a search engine)