============ VITAL WEEKLY ============ number 316 ------------ week 11 ------------ contents: STILLSTAND - PEACE (IS THE END OF ALL MEDIA TRANSMISSIONS) (Cd by Tosom) CONSCIENTIA PECCATI - CHAOS/MAGICK (Cd by Tosom) ELECTRONICAT - BIRDS WANT TO HAVE FUN (CD by Angelika Koehlermann) LIMINAL PROJECTS (CDR) DR. NACHTSTROM - LEIDENSCHAFT (CD by Mego) MOLR DRAMMAZ - BOAZERIA (CD by Mik Musik) DDKERN - GERN (12" by Mego) COLIN A. SHEFFIELD/JAMES ECK RIPPIE - VARIATIONS (LP by Elevator Bath) COLIN A. SHEFFIELD - IN BETWEEN (10" by Elevator Bath) TETSUO INOUE & CARL STONE - PICT.SOUL (CD by Cycling 74) THE FREIGHT ELEVATOR QUARTET - FIX IT IN POST (CD by Cycling 74) KIM CASCONE - DUST THEORIES (CD by Cycling 74) AMMON WOLMAN - DANGEROUS BEND (CD by Cycling 74) INTERFACE - ./SWANK (CD by Cycling 74) JOSEPH SUCHY - ENTSKIDOO (CD by Entenpfuhl) TRANSMISSIONS 003 (CD by Transmissions) TRANSMISSIONS 002 (CD by Transmissions) TRANSMISSIONS 001 (CD by Transmissions) VICTOR NUBLA - SEVEN HARBOUR SCENES (CD by hronir) VICTOR NUBLA - HAMMERHEAD: THE SECRET JOURNEY OF ELIDAN MARAU THRU THE MILKY SEA (mCD by testing Ground) plus announcements STILLSTAND - PEACE (IS THE END OF ALL MEDIA TRANSMISSIONS) (Cd by Tosom) CONSCIENTIA PECCATI - CHAOS/MAGICK (Cd by Tosom) Before these two releases entered my mailbox, German label Tosom was an unknown territory to me. Nevertheless does everything around these albums seem quite interesting. The CDs come in a minimal overall black cover-design with an old gothic looking photography centred at the front. Musically the albums first of all point towards the Industrial-oriented Dark Ambient scene not far away from the style of Swedish label Cold Meat Industry. German composer Martin Steinebach is the brain behind both CD-projects resulting in some musical similarity as regards the gloomy approach to Ambient. Still there is quite some difference between the two projects. Under the name Stillstand, Steinebach^Ňs work represents the quintessence of classic Dark Ambient music. Atmospheric black soundscapes are permeated by masses of found sounds and processed human voices. Stillstand^Ňs ^ÓPeace (is the end of all media transmissions)^Ô, which by the way is a 52 minutes long one-track album, nicely blends brutality and beauty into a whole. Also the Chaos/Magick-album by Conscientia Peccati consists of one lenghty track. Under the Conscientia Peccati-project, Martin Steinebach works in a more tribal ambient-style with discreet rhythm-textures giving a sort of ritual atmosphere. Generally the Conscientia Peccati-album represents a more obscure kind of Ritual Industrial-sound compared to the more classic Dark Ambient oriented style of Stillstand. Nevertheless, two very interesting releases by Martin Steinebach and German label Tomos. (NMP) Address: www.tosom.de ELECTRONICAT - BIRDS WANT TO HAVE FUN (CD by Angelika Koehlermann) Electronicat's career was not really followed by me, apart from hearing the odd thing here and there. I thought he was in the Pan Sonic, Goem minimal beat areas, but never really heard much of his work. But late last year I saw a concert of Fred Bigot, the guy behind Electronicat, and was surprised by his lively act, up tempo rhythms and vocals. So this new CD is a renewed welcome I guess. Here he offers ten mostly up tempo pieces, with fuzzy vocals and even more fuzzy vocals. If those vocals weren't that fuzzy, I would think Electronicat are this millenium's follow up to Suicide. A lot of times I expected 'Rocket USA' or 'Frankie Teardrop' bursting out of my speakers. But basically it's those hard to understand vocals (fuzz more fuzz) that make the difference. Electronicat is not at all (or maybe not any longer) about techno, but he invents his own new style, based on oldie disco, oldie Suicide, old punk guitars and oldie glam rockers. While taking the piss out of popmusic with a title as 'Birds Want To Have Fun'. The old becomes the new. Very energtic stuff that demands to be played at loud volume. (FdW) Address: http:angelika.koehlermann.at LIMINAL PROJECTS (CDR) Liminal Projects are a new band from Canada who have produced this professional CDR in an edition of 500 copies. They are a six piece group who are also involved in multimedia installations, as many of the band members get credited for digital media, video, photo, design etc. Here of course limited to audio, all of the sound sources are listed (ranging from synths to drummachines to metal percussion to water, gravel, trees and insect song). Main person here is the improvisational vocal talents of Susanna Hood. There are eight lengthy pieces to be found on this CD which have an unearthly ambience, combined with dubby, trancey rhythms and subdued vocals. At times the whole beat stuff reminded me of some Chain Reaction records, but it all sounded a bit more cleaner then the fuzzy productions from Berlin. The trancyness also has a strong tribal elements, with the whispering vocals it sounds like an early evening equator ritual. Although much of this must read like an add for an ambient house record, it's much better then that. The subtle rhythms and vocals, make it into a haunting dark ambience record, which is distinctively different then anything else I heard from people doing this kind of thing. Probably needs to be heard outside the world of CDR releases. (FdW) Address: www.liminalprojects.org DR. NACHTSTROM - LEIDENSCHAFT (CD by Mego) 'Leidenschaft' is Dr. Nachtstrom's second record. I do remember hearing his first LP '17 Songs After Midnight', but I also remember it as one of those Mego releases that didn't do much for me (for some reasons, some Mego releases just don't have it for me). Apperentely this new one is more oriented towards pop songs, and who am I to disagree? Dr. Nachtstrom loves to sample his way through music, lifting a rhythm here and a synth there. Musicwise he goes in many directions, from techno to breakbeats, EBM to ambient. The difference with many others sampling their guts out, is that Dr. Nachstrom uses vocals extensively. Be this his own or of others (females like Edith Giessauf or Zoe or Christian Fuchs and Gerhard Potuznik). This adds a nice extra layer to the music (which probably wouldn't have stand on his own feet throughout). At times he sounds like Khan, but in a raw and untamed way. A diamond from the earth, rather then from jewelry shop. It's one of those CD's that I start playing with the assumption that I may not like it, but the more I play it, the more like it. Especially when tunes stick in the head and become humm alongs. (FdW) Address: www.mego.at MOLR DRAMMAZ - BOAZERIA (CD by Mik Musik) Molr Drammaz are an active Polish band, who claim to have changed from their past releases. Less eclectic, less pretentious, more organic, more organic, more natural, more powerfull. It's their idea to make music so dense, dense as nature itself. Much of their work is based around improvisations on electronica. They sample sounds, feed them through electronica, put them on multi-track and mix them. Sometimes the ideas underlying the pieces are rather simple, or maybe too simple (the 'Love Me Tender' sample is 'Elvo' for instance), but sometimes, when pieces of classical or rock music are combined with swirling masses of electronics (for instance in 'Natoo'). A fine combination of clicks & cuts in combination with plunderphonica - and then the best of both worlds. Luckily most of the pieces are rather short and the whole thing moves all of the place, so one gets a varied picture of their work. Hard for me to say whether this is a distinct break with the past work, but Molr Drammaz are confident it is. This is released as a real CD, as opposed to many of the older works which come on CDR and cassette. (FdW) Address: www.molr.terra.pl DDKERN - GERN (12" by Mego) DDKern is in another life also a DJ and drummer for Fuckhead, Pest and Wipeout, and presents here for the first time his solo work. Mostly minimal techno oriented, with elements of dub in a piece like 'Binary Religion'. All pretty straight forward stuff, which is neither really good or really bad. It just seems to me too standard sort of techno thing for a progressive label as Mego. (FdW) Address: www.mego.at COLIN A. SHEFFIELD/JAMES ECK RIPPIE - VARIATIONS (LP by Elevator Bath) COLIN A. SHEFFIELD - IN BETWEEN (10" by Elevator Bath) Colin A. Sheffield is the owner of the Elevator Bath label and also responsible for the latest of two releases. The first one is a duet with James Eck Rippie who is apperentely a turntablist and guitarist (albeit unknown to me) and Sheffield calls him a sampling minimalist. They have played a couple of concerts together in the past few years, but this is their first recorded work. The a-side is entirely filled with 'Variations For Harp', which is an extremely minimal piece of stuttering cracks and the harp (didn't I just write that one of them is a guitarist?) playing softly loose notes. But everything goes into repetition and with small changes in speed the sound gets extracted and later on they are in unisono again. Steve Reich's phase shifting technique for analogue instruments and digital processing. The b-side has two pieces, 'Variations of Guitar' and 'Variations For Flute'. The first one is a very soft piece for sustained guitar sounds and softly hoovers by. A very controlled atmosphere. The same goes for the flute piece. The instrument is hard to be recognized there and is soaked up in a deep wash of ambience (and sounds almost like it was recorded out door somewhere). Very minimal music that is simply beautiful. Topped off with a nice full colour cover in a Touch/Ash style. 'In Between' is just by Sheffield and he announces this record as something to play while in between doing other stuff, like writing or reading. Here it's not clear what exactely it is that he is doing, musicwise. The a-side is mainly one large ambient drone piece that almost moves without moving. The b-side is also droney and ambient, but has more changes to offer. Beautiful dark ambience, that is also really good if you don't want to anything else then just hearing (and why not? why should you always wanna do stuff when hearing music of this kind? just dimm the lights and soak up the ambience!). (FdW) Address: www.elevatorbath.com TETSUO INOUE & CARL STONE - PICT.SOUL (CD by Cycling 74) THE FREIGHT ELEVATOR QUARTET - FIX IT IN POST (CD by Cycling 74) KIM CASCONE - DUST THEORIES (CD by Cycling 74) AMMON WOLMAN - DANGEROUS BEND (CD by Cycling 74) INTERFACE - ./SWANK (CD by Cycling 74) Cycling 74 is a label dedicated to releases of artists who use software which are produced by Cycling 74, which are Max and MSP in this case (if you are software spotter, you know what I am talking about. I am clueless in these things). These artists range from traditional electro-acoustic to electronica and 'beyond'. I received their entire catalogue, so here's a complete overview thus far. Tetsu Inoue and Carl Stone are both known produces of ambient music, each with their own perspective of the matter. The software of Max and MSP offers them the possibility to play together, but it's hard to tell wether they sat together to do this, or wether this music was exchanged as files through the (e)mail. I must admit I heard a little bit more of Inoue's work, than of Stone's work, so to pin down the signatures of both is kinda difficult. I was thinking that that's maybe good thing, because I have a fresh approach to it. To classify their ten pieces as 'ambient Oval' may not entirely justify what they are doing, but it sort of describes the areas where they are. It has those skipping/glitching like features of Oval, but it lacks the poppyness of them first Oval albums, and (luckily) the noisyness of the latter. It's all together a much more abstract thing that harks more of its influences from serious avant-garde then from popmusic. Except in tracks which seem to employ rhythms (or maybe a series of repetitions) like '(.ram', of course. But the length of the pieces are more popmusic like and the ambience held within is not a new thing, but it has warmth. So in all not really a spectular release, but operating in a small niche of its own and not much else like this is done (with of course the odd exceptions here and there), so this is most welcomed release. The Freight Elevator Quartet is one of those bands I heard about, but never actually heard music of. This CD is a collection of live recordings made from 1997 to 2000, so from their first ones (the FEQ was founded in 1996) until their recent sound. Originally the quartet had a cello, didjeridoo, modular synthesizer and drum machine, but these also samplers, keyboards, guitars, basses and a laptop (with the you know which programm). As you can imagine, this is not at all traditional laptop musics. Although much of the music was recorded live, the post studio production did the thing. Many tracks are recorded at various gigs and spliced (that's a term from the old days) together, fixed in postproduction. The music from the FEQ is held together by rhythm and nothing else. The rhythm decides the nature of the piece and the players improvise over the rhythm. It's usually not some straight forward techno rhythm, but more fat break beat and jungle rhythms. Also in most tracks, celli and violins play an important role. The whole thing is a heavy loaded sound. Every inch of free space on the harddisc had to be filled with music, or so it seems. Fat rhythms, fat sounds, loaded and loaded with more sounds. One of the things that I found to recognize was the Max/MSP side of the music, but maybe that's a good thing. Maybe music like this is not so much spend on me. Kim Cascone however is more up my alley. Assuming we all know about the man and his work (and in case you don't know, the CD cover has a biography of sorts), we can move straight on to the CD. Dust Theories offers three lenghty pieces by Kim himself (totalling 46 minutes) and two remixes of the 'Edgeboundaries 123' piece on this disc by Ben Neville and DJ4'33, plus on the data part sound files for Max/MSP, aswell as a standalone version of Max/MSP (now even I finally know what it is about). With Kim's firm background in ambient and related music, we may not be at surprise that much of Dust Theories use elements of ambient. Creating a set of looped sounds, which are mixed with the software so often mentioned, Kim creates fine tapestries of computerized ambient. Unlike so many others who are hoovering the planet with their laptops and plugins (and never know what to do with it), Kim creates something is worth hearing, euh maybe even composes with these sounds. Sort of like to think what he is going to say in the amount of time he has in mind. This sets him apart from the herd. So many people use easy to use computers and software but are clueless how to create something that is captivating to hear. Kim's pieces are usually minimal in approach, but chance over the course of a piece as new, small and smaller particles are added. These chances are so gradually that they are hard to notice and only after a while, you ask yourself: hey, something has changed, but I'm not sure where it happened... The next two releases are by people I never heard of, let alone heard music of. Ammon Wolman divides his time between the USA and his native Israel and some other releases available. Himself responsible for the programming part of the music, he has two people playing instruments on two piecesl; one is Micheal Burritt on marimba and Anton Lukoszevieze on Cello. Not that I recognized any of it in the two pieces. Ammon Wolman seems to be interested in playing extensive, densely layered textured pieces, of which two happen to have the input of cello or marimba. For the other three pieces we are left in the dark, concerning the input. All of the five pieces are lengthy ones, just one under ten minutes. The whole thing is kinda ambient and drony, but the sounds themselves are a bit metallic. This makes this into a less warm and more an alien production. However sturdy experimentalism and blissful drones here. The second unknown people's release is by Interface, a duo of violin player Dan Trueman and bassplayer Curtis Bahn. They have been improvising since the mid nineties, but have recentely been incorporating Max in their work. Many of their instruments are modified in some way to interact with computers. The music on this CD was captured at two nights in Boston, in september 2000. On one track they get help from Perry Cook whom plays a digital didgeridoo). The music is overal hectic and chaotic with lots of small changes and big moves. Kinda nice to hear the traditional instruments versus the electronica. Maybe for the lovers of microscopic sound a bit too improvised, but well enjoyable if you are in the field of improvisation anyway. (FdW) Address: www.cycling74.com/c74 JOSEPH SUCHY - ENTSKIDOO (CD by Entenpfuhl) Joseph Suchy has been a main (guitar) player in the Cologne scene for some time now (having played with Kato Hideki, Kevin Drumm, Jean Marc Montera, Jan St. Werner, Ekkehard Ehlers and FX Randomiz, to name but a few from different worlds), but only recentely he has some solo work out. The first soloworks were going in one direction only (free improv on one, noise on the other, conceptualism on the third), but on this new solo CD he tries to make a synthesis between all the previous directions. After hearing the album, I think I can only approve: Joseph Suchy is all over the place. From free improv to noise to clear guitar playing, it's all there in some way. There are bits and pieces in which I think Joseph uses a bit too much sound effects, but in general this album is storm blowing out of speakers. In high speed, with abrupt changes, from sheer silence to sheer noise, ending in a strange collaborative free piece with vocalist Yvonne Cornelius and Tim Elzer (of Don't Dolby), this is a very nice album. For anyone who loves the guitar, be it if you like Fennesz or Loren MazzaCane Connors. Defintely the highlight of his solo career thus far. A well succeeded mixture of styles and ideas. (FdW) Address: www.entenpfuhl.com TRANSMISSIONS 003 (CD by Transmissions) TRANSMISSIONS 002 (CD by Transmissions) TRANSMISSIONS 001 (CD by Transmissions) Transmissions is a yearly festival held in Chapel Hill, North Carolina and since 1998 there are also CD's documenting the events. The latest available is the year 2000. Bit clueless though wether it was just recentely released, or that mail was very very slow. To get all three documents at once, it's nice to see the festival progress over the years. In reverse order, I could say that the edition of 2000 deals a lot of with electronica, with such known laptop artists as Kim Cascone, Pita, Hrvatski Fennesz and Hazard. But it's good to see Dean Roberts being present, who tinkles away on the guitar and even sings a few words (a feature of him new to me). Highlight is Kevin Drumm's drone piece cum crackles and improvisations of contact microphones. The two years before found the festival in a more guitar/drone vein. More lo-fi drone guitar stuff on the 001 by people like Pelt, Conjunto Ivanovich or Azusa Plane (who are way out space rock here). Also on 001 is a lenghty free jazz improv piece by the Gold Sparkle Band. In general I though the 001 had lesser known people on it and seemed more locally oriented. 002 was more a mixture of lo-fi drone stuff and controlled experiments and improvisations, but seemed to be lesser dwelling on the use of laptops. Here to only US artists, well as far as I can judge: Phil Kline, Chuck Johnson, John Hudak, Zuerichten, Micro-east collective, Loren Maazacane Connors, FM:xpanse and Windy & Carl. All three are excellent documents of what seems to be an intruiging festival. (FdW) Address: VICTOR NUBLA - SEVEN HARBOUR SCENES (CD by hronir) VICTOR NUBLA - HAMMERHEAD: THE SECRET JOURNEY OF ELIDAN MARAU THRU THE MILKY SEA (mCD by testing Ground) Victor Nubla is one of the old blokes on the Spanish experimental scene, being involved in the Gracia Territori Sonor Label, aswell as what he seems his own label, Hronir. On the latter a new full length CD by him appeared in what is called the MCO series, but I must admit I am clueless what the MCO series is, but the cover says 'recorded at The Hronir Factory on an MCO unit' - so there you go. Nubla's CD 'Seven Harbour Scenes' does indeed have seven pieces. The first two display a firm interest in very deep ambient music, but in the other five there is also interest in using samples of instruments such as guitars, orchestras, voices. These pieces too display his interest in ambient music, but it's altogether a more lively, and less static thing. Maybe the whole thing reflects life in the harbour: from the washes of water to live in the small cafe and moments of loneliness after drinking too much (such as in the more desolate song 'After The Auction'). Very personal music, personal music for a personal film. Volume six in this series (the other one is volume seven, mind you) is also by Victor Nubla, but is released by Testing Ground. The two pieces here also deal with samples, but also with voices. The first one, "The Voice Of Ancient Travellers" is rhythmic with small pulses and cut up voice samples. The second one, "The Voices Under The Sea", is a more alienated piece. The voices, choir like, start out loudly but as the piece evolves sink more and more in the sea of sound. With it's small changes, this is a very nice piece. (FdW) Address: http://hronir.org Address: www.testingground.com 1. From: denzler LAPS yukiko nakamura . dance david chiesa . double bass bertrand denzler . tenor saxophone jean-sébastien mariage . electric guitar . tuesday 12.3.2002 . 8.30 pm "crop n'en revient pas" festival théâtre 347 . 7 cité chaptal . paris 9 . france CHARLES . DENZLER . MARIAGE . WERCHOWSKI xavier charles . clarinet bertrand denzler . tenor saxophone jean-sébastien mariage . electric guitar matthieu werchowski . violin . sunday 17.3.2002 . 10.00 pm cave 12 . 12 boulevard de la tour . geneva . switzerland ... MOMENTUM john wolf brennan . piano bertrand denzler . tenor saxophone christian weber . double bass christian wolfarth . drums . tuesday 19.3.2002 . 8.15 pm wim . magnusstrasse 5 . zurich . switzerland . thursday 21.3.2002 . 9.00 pm wim bern festival dampfzentrale . kesselhaus . marzilistrasse 47 . berne . switzerland . friday 22.3.2002 . 8.00 pm radiostudio zürich . brunnenhofstrasse 22 . zurich . switzerland ... 2. From: "JANEK SCHAEFER" Switzerland/France : March mini tour 27th March Zürich sonique_serie_15 janek schaefer>turntables+electronics j.frede>electronics david brady>gameboy time: doors 8:30 on stage 9pm heinrichstrasse 137 8005 Zürich (Switzerland) tram 4 / 13 > quellenstrasse-haltestelle more info>http://www.cut.fm/sonique_serie.html 28th March Lyon Janek Schaefer solo Venue/address: Kafé Myzik, 20 montée st sébastien, 69001 lyon tel : (+33) 04 72 07 04 26 Time : doors 8:30 on stage 9 PM 29th March Geneva Date: 29/03/02 Janek Schaefer solo Venue/address: CAVE 12 (12, bd de la Tour) --- GENEVA (Switzerland) Time: doors: 9:30 concert 10:30 Price: 10 swiss francs. Tel: +41(0)78.826.48.11 31st March Near Nantes Date: 31/03/02 Janek Schaefer solo Venue/address: FRAC des Pays de La loire - La Fleuriaye - 44470 Carquefou Time: doors 3:30 on stage 4pm Price: free Tel:+33 [0]2 28 01 57 67 3. From: "D U A L" Coombe Records presents... ...an evening of experimental breaks, beats, post rock, glitch, electronica, whatever... with Dual (live mix set) the co. (live mix set) Aphid & Coombe dj's 7.30pm onwards Free entry Saturday 16th March 2002 The Foundry 84 - 86 Great Eastern Street London EC2 (nr tube - Old Street) more info: info@coomberecords.com www.coomberecords.com info@dual.co.uk www.dual.co.uk 4. From: "Zipo @ Auf Abwegen" aufabwegen presents: geraeuschwelten III --- an evening of pure industrial noise --- T H E H A T E R S [USA] J O H N S H A R P [USA/GER] M E T E O [GER] 12. 4. 2002, 21.00h 8 euro cuba achtermannstr.12 48143 münster foyer: .dias .drinks weitere infos: www.aufabwegen.de info@aufabwegen.de 5. From: extrapool EXTRAPOOL Agenda 2nd Walstraat 5, 6511 LN Nijmegen Saturday March 16 3 electronic performances from Denver, Colorado J.Frede / David Brady / Inerex (http://ritualdocument.com/jfrede) Slim Tarra by Herman Geurts Open 21:30 hrs, entry 5 euro April 2002: Sunday April 7 BEEQUEEN in collaboration with GIRLFRIENDS (NL) (concert) NOEL LAWRENCE (USA): "Experiments in Terror" (film) Open 21:00 hrs, entry 5 euro Friday April 12 OPEN = OPEN (manifestation) ^Ő opening of the Halfwithal, 2nd Walstraat #3 (books + cds) by PETER FENGLER and riskjockey EGO ^Ő entourage ELVIS STUDIO (Geneve) ^Ő presentation of ^ÓPortrait^Ô, a publication by ANTI-HUND in collaboration with JIMMY DRAHT (Berlin) ^Ő performance by OSAKA BONDAGE (Parijs) ^Ő Knust publication HALFWIT 2nd Walstraat 3 & 5, open 20:30 hrs, entrance for FREE Saturday April 13 3 concerts: BOHMAN BROTHERS (Londen) ANNE LA BERGE (NL) LUKAS SIMONIS (NL) electronic improvisation Open 21:30 hrs, entry 5 euro Friday April 19 HATERS / Mr. NATURAL / ULTRASOUND (3 x USA) 'industrial' Open 21:30 hrs, entry 5 euro Sunday April 21 HELGOLAND (Hamburg) / S. SPIER (NL) (concerts) avant-rock / improvisation Open 21:30 hrs, entry 5 euro Saturday April 27 & Sunday April 28 TARRA: ANTHEA BUSCH in collaboratin with SEAMUS CARTER Saturday opening at 20:00 hrs, Sunday open from 14:00 til 18:00 hrs, entrance for FREE Location: Tweede Walstraat 5, Nijmegen For more info ^× phone: 024 3888234, fax: 024 3601811, e-mail: extrapol@desk.nl -- 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 - Fagelstraat 40 - 6524 CE Nijmegen - The Netherlands All written by Frans de Waard (FdW), The Square Root Of Sub (MP, ), Heimir Bjorgulfsson (HB), Dolf Mulder (DM), Meelkop Roel (MR), Rene van Peer (RVP), Jos Smolders (IS), Brian Lavelle (BL, ), Gerald Schwartz (GS), Niels Mark Pedersen (NMP), Henry Schneider (SH), Jeff Surak (JS) and others on a less regular basis. 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