\ / | ----- /\ | \ / |== |== | / | \ / Week 10 \ / | | / \ | \ /\ / | | |/ | \ / Number 265 \/ | | / \ |--- \/ \/ |__ |__ |\ |__ | contents: KOJI ASANO - THE LAST SHADE OF EVENING FALLS 1 - 4 (CDs by Solstice) JOHN HUDAK - MY EYE MY SON'S EYE (CD-R) CAMP - FEMINISTE (online by Notype.com) DICK RICHARDS - INCONGRUENCE SIGNAL (online by Notype) TORE HONORÉ BØE - SERUM (10" by Komkol Autoprod) MIKEAL STAVOSTRAND - REDUCE (CD by Mille Plateaux) ANDREAS TILLANDER - LJUD (CD by Mille Plateaux) MORPHOGENESIS - IN STREAMS VOLUME 1 (CD by Paradigm) CHAS SMITH - NIKKO WOLVELVERINE MICHEAL BYRON - MUSIC OF IGHTS WITHOUT MOON OR PEARL JIM FOX - LAST THINGS (CDs by Cold Blue Music) WALDCHENGARTEN - WAS KOMMUNIKATION (10") ELLEN BAND - 90% POST CONSUMER SOUND (CD by XI Records) KALLABRIS - CONSIDERATION SUR/SOUS LE CAFE (7" by Genesungswerk) KOJI ASANO - THE LAST SHADE OF EVENING FALLS 1 - 4 (CDs by Solstice) This is a four-CD long transition phase. The music has no sense of beginning or end, or development. It just moves. It moves through an ever-shifting tangle of microtonal chords. Most probably drawn from electronic sources, though the sounds may come just as well from processed guitars or warped keyboards - they're vibrant, strident. Yet, however poignant those colors are, moving about these microtonal grids they seem to keep reaching out for answers, without ever attaining a state of resolution. Their strength is their weakness. Koji Asano is relentless in endlessly stretching this musical dusk. Even after the final CD has run its course, you're left with the feeling that he could easily have gone on extending it to eternal limits. These four disks have apparently not been set up as one continuous piece. They rather seem like autonomous chapters in a moody continuum. The visuals tell tales of rain soaked twilight. Time is off duty blowing bubbles in the puddles. (RvP) Address: http://personal4.iddeo.es/koji/ JOHN HUDAK - MY EYE MY SON'S EYE (CD-R) This CD by John Hudak consists of two cuts. The first cut consists of two layers - one is an ongoing broadband hissy ribbon, the other a hesitant doodle played on a keyboard set to sound like an oversize glockenspiel in a reverberant space. The second calls to mind a lullaby that somehow has gotten lost in a mind dazed by drink, and is now straying about in a sodden stupor. No mention of how cut one and two, being quite dissimilar, are related other than that they are live and studio versions of the same piece. Perhaps if cut two was speeded up and played in an echo-rich room, it would sound like layer two of cut one. Whatever Hudak may think of eyes that run in the family, this album suggests he does not regard it as a thrilling concept. (RvP) Address: http://www.generatorsoundart.org CAMP - FEMINISTE (online by Notype.com) I am usually on my guard when No Type describes its release as a recorded improvisations. They tended to be wild and chaotic. Well, I stand corrected this time. Although there still is chaos at work here, it has been structured into rhythmic frame and there is plenty time for quietude. The whole set of songs (album?) is coherent and pleasant to listen to. The sounds range from voices, radios, bass samples, grey (i.e. not white) noises structured by oldfashioned drumcomputers (Rebirth at work?). I am not sure where the Camp part is or where the Feministe, but hey! this 2001; ideologies are for the dogs. I guess. (IS) http://www.notype.com DICK RICHARDS - INCONGRUENCE SIGNAL (online by Notype) Who the BEEP is Dick Richards? Who cares? Notype presents another artist working at the cutting edge of experimental electronics and ongoing thuds (as opposed to click stuff). Some of the material leans more towards electronics whereas other compositions are downright minimal techno dance material that would fit perfectly on one of those Kompakt samplers. Reader of Vital Weekly are encouraged to explore this release. (IS) http://www.notype.com TORE HONORÉ BØE - SERUM (10" by Komkol Autoprod) Last week when I opened my mailbox there was something hard and shiny in there. When I finally had the nerve to take it out it appeared to be this grey 10" record without a sleeve. On one side there is a label with Norwegian stamps and my name and adress and a green 'B economique' sticker, covering the hole. On the other side it indicates the name and title. Now this is a very nice surprise of course. At the same time the means of transportation indicate the subtitle of the record: postal system scratch dj version. It seems that Mr. Bøe has taken the meaning of the word scratch very literally. Indeed the record is severly scratched by its unprotected journey here. Obviously this is part of the concept, so I put it on without hesitation. After playing it twice I decided on the 33rpm version. It is difficult to hear through the crackling vinyl at first, also because the music starts fairly late. And when it starts its volume is very low. This play between composed sound and random damaging is certainly interesting, although I feel that the music is actually too subtle at times. The same can be said for the other side. I wouldn't mind hearing the music without the scratches, because it is defenitely good enough. Then again, I wouldn't have had such a nice surprise in my mailbox. Last but not least I have to make a note here: the resemblance with Christian Marclay's Record Without A Cover of 1985 is of course very obvious. But somehow I don't really mind. (MR) Adress: www.kunst.no/origami/tore or thboe@online.no MIKEAL STAVOSTRAND - REDUCE (CD by Mille Plateaux) ANDREAS TILLANDER - LJUD (CD by Mille Plateaux) There are many similarities between these two CD's. Both composers are from Sweden, both work under their own name, but both had previous band guises (Tillander primarily as Mokira, see his CD on Rastermusic and Stavostrand as Archon Satani and Inanna) and also musically there are links. Both work in a very strict minimal techno vein. A pulsating beat, mainly on the bass kick, with a rhythm crack and some nifty plug-in to add the melodic lines. So what about the differences? I found Stavostrand's album a bit too static, too empty. He exploits the idea of minimal techno but doesn't necessarily adds his own taste to it. Each track is one static flow, which tend to go on for too long. Tillander adds in most of his tracks dubby elements, more strange cracks and at least it's more danceable. Towards the end of Tillander's CD my attention tended to drift away, but maybe I was getting tired of 2 hours of minimal techno stuff. It was almost a relief to grab for the Greatest Hits of Deep Purple (should I have it of course). Minimal techno where too now? (FdW) Address: www.mille-plateaux.com MORPHOGENESIS - IN STREAMS VOLUME 1 (CD by Paradigm) Since long Morphogenesis belong to my favourite groups of improvising electro-acousticians, with a line up of 4 to 6 people, playing a wide variety of amplified objects (I saw their member Adam Bohman last year in concert playing strings, objects and what have you, and if this is just one Morpho... phew!), piano, biofeedback (by that other active member, Micheal Prime). Seeing those pictures on the cover it must a be crowd, yet over the years and many concerts, Morphogenesis have entered a thoughtfull play of their own. A playing in which there is much space and freedom for every single player. Careful improvising their way, they proof to be good listeners too... And speaking of good listeners, I strongely recommend headphones while playing this CD. There are some beautiful stereo moments captured and also some subtile parts which may be lost while playing it over a set of speakers. One track is a studio piece, but sounds exactely as the live pieces. Great stuff throughout. (FdW) Address: www.stalk.net/paradigm CHAS SMITH - NIKKO WOLVELVERINE MICHEAL BYRON - MUSIC OF IGHTS WITHOUT MOON OR PEARL JIM FOX - LAST THINGS (CDs by Cold Blue Music) In the early 80s there was already a label called Cold Blue. It primarily released music by US west coast minimalists, such as Ingran Marshall, Daniel Lentz, Harold Budd, James Tenney. For reasons unknown to me, the label stopped after a few years, but is brought back alive by Jim Fox with the release of three CD's. A while ago I picked up a 10" and a LP by Chas Smith. I can't remember exactely why, but I recall it was the catalogue description that made me curious. An American composer playing minimal music on pedal steel guitar, normal guitars and self-built instruments, playing with overtones. Just my cup of tea and I wasn't disapointed. Much to my surprise I got this CD with more works by this man. The first four are for self-built instruments, which look very exotic. The first three a beautiful plays of overtones and sound like Bertoia soundsculptures and Rutman's steel cello's. The fourth one is a dense piece using bowed metal and sounded very complex. For me this was the least piece on the CD. The last two pieces were for pedal steel guitar, of which particulary the last is strongely influenced by country and western, and is close to the edge of kitch. For those who love minimal music that play with overtones this, and other work by Chas Smith which pops up every now and then, is a must have. Micheal Byron is a composer of new music. His CD has three lenghty pieces, two of them are ensemble pieces and one is a piano piece. The title piece is for string quartet, contrabass, two pianos and electric keyboard. The strings are played pizzicato which always give that delicate open feel to music. It floats by gentle and nice. "Invisible "Seeds" For James Tenney" is kinda like a sister piece, but is more apperent. A repeating bang on the piano plays a dominant role. "Entrances" is a piece for four piano's, all played by David Roosenboom and after an initial burst, the piece kinda like explodes. This one, for me, was the lesser piece of the three. I either preferered another ensemble piece or nothing... Jim Fox's CD is an entirely different thing. The first piece 'The Copy Of The Drawing' is an electronic piece with voice. The voice whispers texts that is built of fragments from twenty three letters addresses to the scientists at Mt Wilson Observatory between 1915 and 1935 and are personal thoughts, theories and revelations. The sounds Fox put behind the text doesn't seem to go anywhere, like if they were randomly placed. But they seem to fit the texts very well. Even without close listening you grasp the idea. Beautiful ambient like music. The title piece is a dark affair of a bass clarinet and a pedal steel guitar, the latter producing the droning backdrop over which the bass clarinet plays seven songs, which flow into eachother and each new one being longer then the previous one. Haunting stuff and the opposite of the other piece. All three CD's are worth getting if you dig that special brand of Californian minimalism. (FdW) Address: www.coldbluemusic.com WALDCHENGARTEN - WAS KOMMUNIKATION (10") This is one of those strange things which are hard to describe. Waldchengarten are one Dennis and Lars from Danmark who produce a two sides of heavily distorted music but then again remain on the edge of drone music with their distortions with a far away cry of a piano (or maybe the original source?) in the nearby distance. Very dark music and hardly ambient or industrial, this operates on it's own terrain. Rock music without drums, ambient without environment, industrial without fuzz. You catch my drift? Strange, but sort of alright. (FdW) Address: ELLEN BAND - 90% POST CONSUMER SOUND (CD by XI Records) Ellen Band is a US composer who studied music with Pauline Oliveros and David Roosenboom and has worked with a.o. David Dunn. She is 'deeply inspired by the infinitely complex textures, rhythms and colours within the so-called ordinary sounds of everyday life' and this CD with five of those compositions shows us what she is been doing in this field. What I like about these works is that the title of each composition tells you what it's about. 'Railroad Gamelan' leaves nothing to imagine or wonder about: railroad signs that are looped or spliced together in a rhythmic vein so that they sound like a gamelan. Without having to worry about possible meanings, you can sit back and enjoy it. 'Radiatore' is another one. I imagine a dozen or so contactmicrophones attached to a central heating radiator, each picking up a different sound, which are cleverly mixed into a minimal soundscape. 'Swinging Sings' is less clear but is duelling violins: an irritating high pitched sound from the violin. Noticing that this piece was recorded at the Persepolis Studio in Toronto, I was immediately drawn to link Band's piece to Xenakis' piece 'Persepolis' bearing that same intense character. The last piece is the strangest: very soft, paper being ripped apart at great pace. Very nice stuff here. (FdW) Address: www.xirecords.org KALLABRIS - CONSIDERATION SUR/SOUS LE CAFE (7" by Genesungswerk) Kallabris belongs to those mythical groups emerging from the mid 80s 'industrial' music. Over a time span of 14 years, they have released 2 LP's, 1 10", 1 cassette and 2 7"s. Kallabris come from the Cranioclast areas (who, even when a little bit more active, are likewise obscure), but operate within more acoustic music. Piano, accordion and voice play a role. These two tracks, linked by their title, are chamber music pieces to be playedin a cafe. One side is like a slightly electronic treated version of the other. Introspective music, thoughful played. Kallabris are a myth to be cherished. (FdW) Address: www.genesungswerk.de 1. From: Tim Beissert CHAMBER MUSIC AT GROUND ZERO presents: WHITEHOUSE and OBJEKT URIAN friday, 23.03.01 live @ Das Rind, Mainstrasse 11, 65428 Ruesselsheim, Germany admission dm 18.- for further information visit our homepage http://www.daigose.de/villa 2. From: Francisco Lopez "The Machine for Entangling Landscapes" 05 APR (Thu) 22h00 Auditorium Rafael Toral Wave Field (with video Power Field) Engine (with video Glider) 26 MAY (Sat) 22h00 Casa de Serralves Kaffe Matthews 22 SEPT (Sat) 22h00 Auditorium Sainkho Namtchylak 10 NOV (Sat) 22h00 Museum Pauline Oliveros Information: 808 200 543 Reservations: 22615 65 84 Phone: 22 615 65 00 E-mail: serralves@serralves.pt Rua D. João de Castro, 210 4150-417 Porto. Portugal 3. From: "fujui" New live info. from Taiwan. 03/09/2001~03/10/2001 "STATIC RIOT" Taipei Underground Electronique Music Scene 2001 3.9 : Koji Marutani (jp) Toru Yamanaka (jp) 3.10: Dino (tw) Ching-Shen-Ching (tw) Kozo Inada (jp) Date: 03/09/2001~03/10/2001 Time: 19:00 Location: B1, No. 9-10, Lane 18, Sec. 2, He Ping E Rd. Taipei, TAIWAN www.noisetw.com 4. From: Carl Stone Sun Mar 25 DELAND FLORIDA 7:30 PM ELIZABETH HALL CHAPEL [Stetson University tel: 904.822.8983] Carl Stone solo performance at Stetson University.A good chance to see the Epcot Center, look around for some dangling chads and catch his Deland Florida debut! For more information about this event, send email to mdemurga@stetson.edu or check http://digart.stetson.edu -- Music now available for free download from http://www.mp3.com/CarlStone 5. From: stanza THE CENTRAL CITY.... by STANZA.. (Version 2001). www.thecentralcity.co.uk NEW version 3.... includes generative audio and image environments built into three d spaces and user controlled three d spaces. NEW section include. Transortron, maprouter, evolver . Six new section thirty new movies. Each have multi soundtracks and multiple choices of picture, three d environments and generative sounds. 6. From: Francisco Lopez MontagsMusik zeitkratzer 12./19./26.3.2001 = 20.00 mit Werken von: Lou Reed, Mathias Spahlinger, Francisco Lopez, James Tenney, Luigi Nono, Karlheinz Stockhausen, Bernhard Guenter, Vladislav Delay, Philip Glass, Carsten Nicolai, Anette Krebs Within the MondayMusic series in March 2001 zeitkratzer attend to new works next to Avantgarde classics. Stockhausen's "Mikrophonie I" or Spahlinger's "Ver(über)flüssigung der Funktion des Komponisten" proove to be astonishingly actual and very close to the young composers of electronic music. Different variants of Phillip Glass' early piece "music in fifth" and Lou Reed's compositions from "metal talk/poetry", which have been premiered by zeitkratzer in the summer of 2000, connect the single MondayMusic performances. Besides that there will be one of the pure audio-studies by Spanish Biologist and radical composer of electronic music Francisco Lopez (Madrid), who this time will not only blindfold the audience but also the musicians. The fruitful work wih Carsten Nicolai (alva-noto, Berlin) will be continued as well as the cooperation with Manuel Goettsching (Ashra Tempel), based on his Techno record of reference "E2-E4". Moreover, it can be signified as spectacular that the prominent electronic artist Vladislav Delay is working with an ensemble for the first time. With the invitation of Annette Krebs zeitkratzer stays in duty of outstanding up-and-coming musicians. John Duncan, Bernhard Guenter and the New York composer Michael Schuhmacher stand in for a new generation to whom electronic ways are as familiar as sound installations or instrumental music. 12.03. = 20.00 Uhr Phillip Glass (NY): "music in fifth" (version 1) Lou Reed (NY): Stücke aus "metal talk/poetry" Helmut Lachenmann (D): "Pression", Cello solo Mathias Spahlinger (D): "Konzepte zur Ver(über)flüssigung der Funktion des Komponisten" Francisco Lopez (E): UA James Tenney (USA): "Having Never Written a Note For Percussion", Tam-Tam solo John Duncan (I/USA): UA 19.03. = 20.00 Uhr Phillip Glass (NY): "music in fifth" (version 2) Lou Reed (NY): Stücke aus "metal talk/poetry" Luigi Nono (I): "post-praeludium per Donau", Tuba und Live-Electronik Karlheinz Stockhausen (D): "Mikrophonie I" Bernhard Guenter (trente oiseaux, D): "- the ant moves/the black and yellow carcass/a little closer -", UA Ulrich Krieger (D): "Rote Erde" Vladislav Delay (FIN): UA Gast: Sebastian Hilken (Berlin), Violoncello 26.03. = 20.00 Uhr Phillip Glass (NY): "music in fifth" (version 3) Lou Reed (NY): Stücke aus "metal talk/poetry" James Tenney (USA): "Harmonium" Carsten Nicolai (alva-noto, D): UA Manuel Goettsching (D): "E2-E4" Michael Schumacher (USA): UA Annette Krebs (D): UA 7. From: "Rob Lemeire" INTERACTIVE PARTY FRIDAY 16 MARS KULTUURKAFFEE VUB BRUSSELS PLEINLAAN 2 architecture and musique = 4.5-dimensional DJ Curfew (a.k.a. salami, implosief, fmbrussel) (beats, noice and voise musik) black, white and colors 8. From: "tom saivon" ars morta universum presents "pure form of sonic destruction" WHITEHOUSE (masters of the overviolence, power-electronics, uk) VO.I.D (harsh industrial, cz) GENETIC TRANSMISSION (bruitism, pl) RECTAL SURGERY (noise industrial, ger) Papirna, Za papirnou, Metro C Holesovice 21 / 03 / 01 20.00 200,- www.susanlawly.freeuk.com www.macabre.cz arsmorta@centrum.cz infoline 0723 / 210 931 tom saivon / ars morta universum 9. From: xorgj@xs4all.nl (Gert Jan Prins) L´OOPS (A, NL) Gert-Jan Prins: radio, electronics, Werner Puntigam: trombone, noise Thursday 15.3. 2130h: RHIZ, Vienna Friday 16.3. 19h: INTERNATIONALES jazzit FESTIVAL SALZBURG 10. From: sroden@deltanet.com (steve roden) ONE WALL: A Video Series Orange County MUSEUM OF ART March 10 to September 9, 2001 Artists: Jennifer Steinkamp and Jimmy Johnson, Kevin Hanley, Steve Roden, Lynne Berman and Kathy Chenoweth, Micol Hebron, Enid Baxter Blader Organized by The Orange County Museum of Art and Guest Curator Christopher Miles Panel with artists: Saturday, March 10, 2001, 3:00pm. Opening reception: Saturday March 10, 2001, 4:00 - 6:00pm. Trailers and excerpts for all projects on view March 10 & 11, 2001. On view March 13 - April 8, 2001 Jennifer Steinkamp and Jimmy Johnson's X-RAY EYES, 1999 Courtesy of the artists and ACME. On view April 10 - May 6, 2001 Kevin Hanley's RECOUNTING A DANCING MAN, 1998 Collection of Mr. Tadashi Yuzawa On view May 8 - June 3, 2001 Steve Roden's BOOK OF SECONDS, 1996-2001 and COSMIC DANCER, 2001 Courtesy of the artist On view June 5 - July 1, 2001 Lynne Berman and Kathy Chenoweth's WORK-ACTIONS VIDEO, 2001 Courtesy of the artists On view July 3 - August 5, 2001 Micol Hebron's RUBY SLIPPERS, 1999 Courtesy of the artist On view August 7 - September 9, 2001 Enid Baxter Blader's SWEETEMO, 2001, WISE BLOOD, 2001, and Excerpts from BLIND TOWN and THE REVIVAL OF LEE MACKEY, 2000 Courtesy of the artist Orange County MUSEUM OF ART 850 San Clemente Drive Newport Beach, CA 92660 949-759-1122 Open Tuesday - Sunday, 11:00 a.m. to 5:00 p.m. (closed Monday) Admission is $5 for adults, $4 for students/seniors, and free for children under 16 and OCMA members. From the San Diego (405) freeway, take the Jamboree exit and travel west. Turn left at Santa Barbara Drive and left at San Clemente Drive. There is ample free on-site parking. 11. From: Francisco Lopez Hibiki / field for Electro-Acoustic music "Hibiki" is the breakthrough of the thick wall of the "Japanese Electro-Acoustic music scene." We will invite Electro-Acoustic artists who are playing worldwide. Since the beginning of the 1990s, Electro-Acoustic music has been evolving in the West. Electro-Acoustic artists compose and play with computers and live-electronics, and attempt to make new connections and approaches between music and art. There are many Japanese Electro-Acoustic artists who influence the scene, and are in the forefront of worldwide activities. These artists are limited to playing only in galleries, museums and clubs, because of the biased perception of Electro-Acoustic music in Japan. While the content and importance of the music in the Electro-Acoustic scene is equal to the modern classical music scene, they are not seen and heard in the same prestigious performance spaces. If we see the "real" Electro-Acoustic music as a pure music work, the present situation is inadequate. Therefore we conclude that a hall with the ideal sound system for "real" Electro-Acoustic music is required. This is the idea and the ideal of "Hibiki." : RECITAL The best quality of Electro-Acoustic music is produced by the best sound system. The artists will be supported by the professor of sound effect/makers of sound systems/the engineer of hall/the planner. : INVITED ARTISTS Nobukazu Takemura + Tsuyuko Aki Francisco Lopez (from Spain) : DATE 19:30 28 wed/Mar/2001 Nobukazu Takemura + Tsuyuko Aki 19:30 31 sat/Mar/2001 Francisco Lopez (from Spain) : PLACE Osaka Municipal Space Of Arts 3F code 535-0003 1-11-14 Nakamiya Asahi-ku Osaka JAPAN : ENTRANCE FEE 2500yen (day ticket only) : WEB SITE hibiki : www4.osk.3web.ne.jp/~kaaai/ Nobukazu Takemura : www.alles.or.jp/~childisc Francisco Lopez : www.franciscolopez.net