============ VITAL WEEKLY ============ number 362 ------------ week 10 ------------ VINCENT BONDET & CEDRIC LEROULEY - 4 3 2 1 (CDR by Comma) VINCENT BONDET & CEDRIC LEROULEY - PREMONITION (CDR by Comma) CEDRIC LEROULEY - CHAMBRES DOUBLES (CDR by Comma) CEDRIC LEROULEY - RESERVE-NORD (CDR by Comma) AC - HARDDISK (CD by Cronica) PEDRO TUDELA - LA OUJE DORS (CD by Cronica) FREEFORM - CONDENSED (CD by Nonplace) KK NULL - ERG PER GALAXY (CD by Opposite Records) REWORK - FALL RIGHT NOW (CD by Playhouse) SCANNER - PUBLICPHONO (CD by Mr. Mutt Records) NOBUKAZU TAKEMURA - SONGBOOK (CD by Bubblecore Records) ASMUS TIETCHENS & JON MUELLER - 7 STUECKE (CD by Aufabwegen) TAPE 10 (CDcompilation by Ware Records) VEER - LIDESKAPE (CD on Source Records) VESSEL - DREAMING IN PARIS (CD by Expanding Records) THE HAFLER TRIO - THE MOMENT WHEN WE BLOW (10" by Crouton) TIMELESS PULSE - LIVE CNMAT 2002 (CD by Deep Listening) RHODRI DAVIES - TREM (CD by Confront) MR. SOON - PLACES IN ARIZONA (CD by Psyrecords) MNORTHAM - A GREAT AND RIVERLESS OCEAN (CDR by Mystery Sea) MNORTHAM - MOLT AND ANECDOTE (CDR by S'Agita) ENTRELACS - UNDERLEAF (CDR by S'Agita) LORI FREEDMAN - A UN MOMENT DONNE (CD by Ambiances Magnétiques) VINCENT BONDET & CEDRIC LEROULEY - 4 3 2 1 (CDR by Comma) VINCENT BONDET & CEDRIC LEROULEY - PREMONITION (CDR by Comma) CEDRIC LEROULEY - CHAMBRES DOUBLES (CDR by Comma) CEDRIC LEROULEY - RESERVE-NORD (CDR by Comma) This is certainly no easy task. So much work by one person... I'll try to review one day and not everything at once. The main works here are by one Cedric Lerouley, a guy of whom I only know he did a Dieter Muh remix before, on a CDR release by Naninani (see Vital Weekly 337). On his CDR with Vincent Bondet he presents four lenghty tracks, simply titled 1, 2, 3 and 4. Although the cover doesn't reveal much as to what has been used before, it's most likely some sort of experiment in feedback. These have been generated by contactmicrophones - some crackles are still audible - but they culminate in processed feedback (some people would call this a no input mixer I guess). However do not expect senseless and pointless noise, as the pieces are delicately made, with great care for depth. The low end is of as much importance as the high end. A simple release but made with care - and that's important. The other work by the two is called 'Premonition' (and has nothing to do with the various Legendary Pink Dots tracks of the same name) and is along similar lines, but there is somewhat more upfront mixing of contact microphones and more recognizable sound effects applied here (delay, reverb). The second piece even seems to bear free improvisational elements and is the one that is most conventional musical of the lot here. Chambres Doubles (double rooms) is a solo effort by Cedric. Again four pieces of an even more drony and minimalist kind. There isn't much to define in terms of sound sources, but Cedric arrives at pieces of music in which not much seems to be happening. It could be of feedback nature, but here it seems, well, as usual I'm guessing, that whatever generates the sound, it's being fed through a whole bunch of MSP plug ins. Changes arrive but only at a very slow rate, but they are most certainly there. Very ambient approach on this one. 'Reserve-Nord' is also a solo work, but of an entirely different nature. Here the sound sources are very concrete, picked up with a contactmicrophone, sheets and metalpipes, which are transformed over the course of twenty minutes by adding reverb and extra sounds, which I think are basically derivated (slowed down) from the original contactmicrophone recordings. Quite a raw (not as in noisy) work, but quite nice also. All in all nice work, with not everything being brilliantely good, but certainly someone who will grow. (FdW) Address: AC - HARDDISK (CD by Cronica) PEDRO TUDELA - LA OUJE DORS (CD by Cronica) Cronica is a new Portugese label, who rather use cryptic information then anything straight forward. Oh well._ So apperentely they have money to spend, and then, at that, why not on some CD releases? AC's second CD (after '+' on Variz in 2001) is made by three people: Pedro Tudela, Lia, and Miguel Carvalhais and they all their work outside music, as webdesigner, programmer and visual artist. The text is again not very clear about how they work. It seems to be improvisation, but along pre-arranged lines. AC is probably an all laptop trio, doing both sound and visuals at the same time. They have a strong interest in the rhythmical aspect of music - this CD with seven audio tracks and one video track is filled with the influences of Pan Sonic and other minimalist tecnoids, along with the more abstract doodlings of Mego, but AC lacks the overall harshness of the latter source of inspiration. The result is a nice CD that however is also a bit faceless in the current flow of micro-techno musicians. Many of the ideas have been performed already before and not always more better or worse. So, one could sigh and think: another one of those. Nice, not brilliant. A solo CD by Pedro Tudela is also now available from Cronica and was commissioned by the choreographer Isabel Barros, 'for whom dream were the subject of work'. Tudela followed from the beginning onwards the process of the conception of this work. This work follows the lines of the AC work: minimalist techno music, which never hops the 4/4 floor beat, but with enough rhythmical underpinnings to make it euh dance music. If there is a difference between AC and Tudela solo, I'd say that the latter has more ambient influences in his work. The darker and dronier lines hint at that. The beats are sometimes flooded by bath of extraterristial sounds and over the whole, this is a more varied product then the AC, and at that, also a more composed one. And that is always a great advantage with music like this. (FdW) Address: www.cronicaelectronica.org FREEFORM - CONDENSED (CD by Nonplace) Freeform (Simon Pyke) continuously evolves its sound base. From its former funkier roots this has resonance and at times delivers purely ambient washes. This time around his work is given treatments by Burnt Friedman on the Nonplace imprint. These pieces have lift, kick and aura. A batch of quirky, jerky percussion and other assorted sounds blend with a certain Nintendo sensibility. Though this is not strictly the gaming sounds from beyond, Pyke has created an alternate space for introspection and cursory dalliance. His antics on Phu Qouc and throughout allot for eastern Asian influences with West Coast edges. This is great music to download for long walks on alien terrain. In what could seemingly be the decoding of language, the balance of lingual vs. beat is not forgotten. Freeform has planted a fine (and unearthly) seed. (TJN) Address: http://www.nonplace.de/ KK NULL - ERG PER GALAXY (CD by Opposite Records) Suffern NY's Opposite Records has released the latest from the ever-morphing world of Kazuyuki K. Null. Recorded between 2001-02 this ten-track is like spacetime continuum. Breaking sound barriers, traveling at light speed, you name it. This is a filtering stretch of contained and somehow harmonious white noise. The metallic tones have screetchy blurred edges but sound like some prototype for a future flotation technology. This is science fiction. This is Pink Floyd and Dr. Who meeting in the Land of the Lost. I am grinning listening to this. Circular rhythms seemingly at their outermost edge, a blast-off, hoses out of control, dam broken and watery destruction ensuing. Am I reading too much into this or is this a modern day sound drama minus the actors? And that’s just track one. To me this disc represents newly discovered territory for Null, though the man has been at it an awfully long time, this is a breakthrough - a channeling of complex timbre and subharmonic exploration. He may be our modern day Sun Ra or maybe he has just evolved to a higher interplanetary system where his fingers are sensing the voices from the residual dusts of alien static. The steady pitter patter of an engine becomes a multi-channeled communication device and is short circuited suddenly by warbling, technological jargon gone haywire - still maintaining the clear direction of its leader. With full respect to recent rockets in spaces never flown, this is never crash 'n’ burn. Null has warped and transcended himself in a brilliant light on ERG per Galaxy. (TJN) Address: http://www.oppositerecords.com REWORK - FALL RIGHT NOW (CD by Playhouse) Rework is a French/German/Hungarian quartet. This outfit reminds me of a contemporary Liquid Liquid with its vibes and repetitive androgyny. They sing (or hint) of love, and its endless contentions. They use old scratchy record samples and sing of Sharon Tate on the catchy Not Quite Like Any Other which has singer Laetitia sounding like a modern-day Velvet Underground-era Nico (I wrote that before I read it in the press release). Having taken Chris and Cosey's October Love Song and reprocessed it, it's now a Frenglish’ 80s glossy pop hit with essence au dub haus on a hot tin roof. This record is a lazy day clash of the sensibilities previously brought forth by likely candidates Stereo Total and Ladytron with a finite gusto and exhilaration, in a pop-trip package take on modern melody. I Think You Think reminds me of something you might have heard live by Lene Lovich or Romeo Void circa 1983, but add an edge of perhaps X Ray Spex for good measure. These people have a great sensibility for musics that had impact and will gain them a long shelf life ahead. Fall Right Now is almost a dance record but keeps a safe distance from being too accessible, coming closest to dance floor rhythmics on Loin de Moi with its penchant for pulsations. Boppy, trippy fun disc filled with something to please a crowd of frowny faces. This is a great pre-Summer record, serve chilled - but make no mistake buddy, this ain't no appetizer - this is a full-course spin. (TJN) Address: http://www.wanna-rework.de SCANNER - PUBLICPHONO (CD by Mr. Mutt Records) In a short edition of only 200 copies the first release on Mr. Mutt Records is what will certainly become an incredible live cdr series put out by Italian composers known as tu m’. Recorded live at Prix Italia's After Radio events in Rimini Italy in late 2000, Scanner (Robin Rimbaud) was commissioned to create this piece to be broadcast on their public speaker system. His use of sampling radio broadcasts beckoned back to the establishment of the 52 year old organization. An obvious complement to the festive occasion had Scanner presenting the work for which he has been grown best known for - combining sounds and voice scans and electronics to be heard in a public forum. A re-processing of older spoken word recordings taken from their original source and now born as a horizon line for the cross section between documentarian technique and aesthetic fare. Rimbaud has prepared a new colloquialism, a merge of vocabularies. This particular piece was broadcast on the beach to anyone in earshot, out into the sea. The sheer fact that the broadcast took place in a natural environment further deconstructs its initial context. There is a blend of sultry Italian tongues and steely Kraftwerkian voiceboxes (minus the funk). This is a very serious, almost clinical, recording that is bathed in a dramatic soundscape of light vibes and tactile vibrations, filters and the unfamiliar. Scanner has become synonymous as a creator of recordings derived from man-made technology sound sources and their junction with the human voice. On Publicphono he has truly used the spirit of silence to great effect. At times the illusion takes me on a trip from NASA to an Italian airport to archaic newsreels. In other moments this recalls some of the best work from the early/mid 90s EM:T label. This is a pure exploration of the nuances of contemporary electronics as chamber music. There is a uniquely passionate and disjointed symphonic quality about one half hour into this 40 minute single track which travels in an out of private and public space. Rimbaud has inaugurated a new era in genre-bending with his Y2K recording. (TJN) Address: http://www.tu-m.com NOBUKAZU TAKEMURA - SONGBOOK (CD by Bubblecore Records) Bubblecore has found a new spirit that is Nobukazu Takemura. Here the seasoned veteran plays with strings, child-like humming, jazzy horns and percussion. In interesting contrast to Scope (Thrill Jockey) this dischas a more irreverent operatic feel. There are toy vibes and pianos and playful carnival themes illustrated by amateurish Japanese sing-song awkwardness. In a more pedestrian approach Takemura blends Stereolab-styled comfort with the academic stiffness of a third year Julliard cellist. The spirit of Songbook is the theoretical collision of found-sound, recycled vocalese and classical meets jazz string arrangements, with a touch of distant attitude. This new found fascination has only been hinted at in his former recordings, however, on this disc he lets too much in the open, the mystery gets lost surviving in brief passages and on the stand out track Palabra of the Inky Black Manteau. This fusion of Herb Alpert meets David Byrne's Knee Plays vs Sesame Street might play well in Williamsburg or even on Berwick Street, but here there is a tepid imbalance of expectation to be open to anything goes. I think this is the typical fate of the biting-more-than-you-can-chew-syndrome - however, if you listen closely you will hear the core intricacies of Takemura's former self. Mind you, Takemura is a talented, bright performer. Having seen his work live twice I have witnessed some form of magic on stage - some mystical balance between an icy presentation and a molten outcome. This is not a bad record - to the contrary - it is just a major left turn of sorts. It's almost as though he had wanted to re-invent those unfamiliar worlds similar to say The Grassy Knoll who have successfully created funky and distorted jazzy phrasings with the best knob twiddler intentions. Still I see some deeper-rooted jazz being growing. Hmmm, maybe Takemura needs a dual residency with Ornette Coleman. There are some weird similarities, and some scary ones. This disc is worth a second spin, even while wearing a second skin. Good luck if you can crack the nut inside. (TJN) Address: http://www.bubblecore.com ASMUS TIETCHENS & JON MUELLER - 7 STUECKE (CD by Aufabwegen) Fidgeting and burrowing, digging and scraping. At once 7 Stücke reminded me somewhat of the work of jazz drummer Matt Wilson, but with a curious proclivity for not piecing things together after experimenting. And curiously going into finite corners does duo Tietchens and Mueller go. Cologne-based label Aufabwegen has pretty much been Tietchens home label - and on this 500 copy pressing I am proud to purify my live-work space with this latest playful and elemental endeavor. From hollow metallics and very tactile movements the formula here is as if they were taking found objects and transforming them into creatures. There is a level of anticipation which is articulated in Mueller's prepared’ drum kit. The silences are weighty here as we are purely indulged by the awkwardness of improvised and unexpected happenstance. There are unexpected distances, play with fore and background and muffled, muted dragging and manipulation of materials. The eighteen minute long untitled track five is the centerpiece of this hour long disc, giving proper way to atmosphere and layering it with austere stillness and timing. To some degree these gentlemen are going where the conceptualists had gone and yet could not possibly have ever ended up. It is in the outcome, which is so patient, that makes a collaboration like this so powerful. (TJN) Address: http://www.aufabwegen.com TAPE 10 (CDcompilation by Ware Records) This is the type of disc that steals my consciousness. The melding between the visual and sound arts is central to my nervous system. Based on photographic work these ten soundsters create a lot of atmosphere. Markthalle by Markus Güntner responds to a eerily green, late night and empty parking lot in a photographic work by Adrian Bischoff. The sounds are bass filled and like long steps, droopy and slow. Benjamin Brunn developed Propeller, his perky lounge track after a work by Frank Hülsbömer. In the image we witness a neo-Bauhausian apartment/hotel-like complex with a five-pronged streetlight that could be a Suessian helicopter (or even a palm tree). It is back to staticky clicks and cut, pops and crackles, and it all sounds good. Laub's tinkering track, Bangkok, has a weightless and somewhat agitated feel. The gentle nervous rocking, the rain and impending storm make Decomposed Subsonic's Aqua a real live set, almost a sound stage. Jeremy P. Caulfield's OK is based on a C-Print by Kai Peters which depicts a sandy camping outpost and the casual candid backs of a family headed in for a rest perhaps. The need for this convergence of visual fine arts and sounds finds delight in only a few fully realized forums these days, but Ware has put together an audio-visual language, or as they say in their booklet "music plus image equals atmosphere". Mathias Schaffhäuser responds to a juicy green homey image of jarred dill pickles on a similarly colored checkered table. Gurken is at once a stark reverberation and toys with the playful guise visualized by photographer Karsten Handke. How sweet the sound. To have a fuller experience you can visit their virtual gallery at www.tape10.com (TJN) VEER - LIDESKAPE (CD on Source Records) A light purring, whirring distant static storm intros this new Source Records release. Veer is Ole Schulte who has created some subtle reverb, some paced and washed out slacker rhythms. The overall feel is congruous to a night of endless creative insomnia. This is what contemporary sound is about. There is a quiet distance, nothing offensive or inclusive. One cannot really immerse themself in this, nor is it intended to be witnessed as a spectacle. It is something you can sense, plain and simply a traveling sound source. At times the beat is contemplative and at once upbeat, though the overall emphasis here is on continuum, the road ahead. This is my first exposure to the work of Veer and hopefully not my last. Great sounds for reclining and staring through space. (TJN) Address: http://www.source-records.com VESSEL - DREAMING IN PARIS (CD by Expanding Records) London-based Expanding Records stays true to its name in continuing to build a catalogue that challenges a variety of pop norms in the world of electronic music. Here, Vessel (Gavin Toomey), delivers twelve dreamy tracks born from airy harmonics and chiming mobile-staring luminousity. In the mix are small sounds, momentary blips and sounds of repetitious production. The energy is light to mild, baring its weight with diminutive percussive hooks. This could be played on auto all night long and most likely act as a dream massage (hence the title?). On Color Queen things change, float higher, tonalities darken a bit. This passage opens for a more buoyant Monkey returning to a pared down dance with golden age techno. More of a cha-cha-cha than a laser lit sub-basement rave, this track illuminates with style. Dreaming in Paris evokes some similarities to Eno and Morricone, but also lapses during the mismatched, new age-tinged Point taking a sappy turn for the prettier side of the point. Aside from this glowing editorial slip the remainder of the recording plays with the elegance of blurry vibes and metronomic throw-backs to clumsy 80s electronics, but in an arty context. Overall this is a treat for our sensitivities. (TJN) Address: http://www.expandingrecords.com THE HAFLER TRIO - THE MOMENT WHEN WE BLOW (10" by Crouton) The flow that started late 2002 of new Hafler Trio releases doesn't stop after just three of them. Here is a new 10" release with music composed in 2002. Packed in a really nice cover, once again, with the usual cryptic text ("The moment when we blow the flour from our tongues" being an examination of some aspects of another entitiy entirely entitled "germans are people too" but in no wise limited to this _- the cover reads), this record is also a flow by itself. The music on both sides seem to be generated from a single source that slowly evolve, certainly in the title piece. Almost static in approach, but with enough variations. This is music that simply evolves as it happens, it seems to simply unfold before your ears. Halfway through the sound drops to an inaudible level, but slowly builts up again, to a more complex level, letting more various types of sound processing in. The track on the other side is almost like a transmission. It opens with cracked codes from shortwaves until it breaks down in some voices which soon end in a beautifully processed overtone, like on the other side. On this record The Hafler Trio continue the line of releases started with 'Inoutof', with it's seemingely simply drone music that is however vastly layered, and carefully mixed. This record is also the first of the newly released ones to be strictly limited to 500 copies, so I think some rush to the record shop is needed. (FdW) Address: www.croutonmusic.com TIMELESS PULSE - LIVE CNMAT 2002 (CD by Deep Listening) Timeless Pulse is a group around Pauline Oliveros (who plays accordion here), David Wessel (electronics), George Marsh (percussion) and Jennifer Wilsey (percussion). The live recordings on this disc were made March 10th, 2002 at The Center For New Music And Audio Technology. That's about the most relevant statitics about this CD. There are three tracks - varying from 10 to 28 minutes - of improvised playing. A tick here on the percussion, some playing on the accordion - the electronics part is still something which puzzles me after repeated listening. - building waves of sounds, with the accordion playing stretched tones, cymabls likewise and occassionally additional percussion. I had some trouble keeping my attention throughout this disc, the nature of this flow of was like a tidal wave - sometimes you notice it, and sometimes you don't. (FdW) Address: www.deeplistening.org RHODRI DAVIES - TREM (CD by Confront) It's hard to believe that the music on this CD was made on a harp. Of course when I hear a harp mentioned, I think of Andreas Wollenweider, or whatever the name of that new age prat is. No such thing here with harpist Rhodri Davies. Apart from the solo work captured on this CD, he also plays with people like saxophonist John Butcher and in free improvisation ensembles such as The Sealed Knot, Asssumed Possibilities and Broken Consort. He plays his harp in a very un-harp kind of way. The harp is prepared, detuned and played with bows, which is results in a more abbrassive sound than one would ever expect. The pieces on this CD are all recordings from three different concerts from 2001 and it's style goes from noisy to barely audible (like on 'Atam', which hardly exists on the level of sound). He scrapes, plucks and bows his interest to quite some extent, but Rhodri knows how to keep the attention. There is a fine balance between the sounds, wether they are harsh or soft, continuos or broken down. Rhodri seems to be in various places with his playing, not really capturing one style, but keeps it refreshingely open. (FdW) Address: www.confront.info MR. SOON - PLACES IN ARIZONA (CD by Psyrecords) Having visited the state of Arizona a few times I was curious to experience this tour of sonic travelling under the guidance of Mr. Soon. Behind the name Mr. Soon, which I have never had the opportunity to meet before is the sound artist called Joe Jakobs. No doubt does he have warm relations to the landscapes of Arizona, since each moment on this 80 minutes long trip has been created with such a passion that it should be able to attract every visitor or non-visitor of Arizona. Each track refers to one certain geographic place. The overall style on the album is ambient but as it develops the music varies nicely. At the beginning of the album rhythmic textures dominate with some dreamlike floating tunes giving a nice chilling atmosphere, not far away from earliest Boards Of Canada, but the further we penetrate the "Places of Arizona", the rhythms disappear or at least turns subtle, giving way to some beautiful tracks of pure ambientscapes. As we approach the end of the album the rhythms return and we stylishly end up with excellent tribal ambient pieces reminding us that Arizona used to be the home of the native Indians. Go to Arizona, get a car and let the album become the soundtrack for cruising the natural landscapes. Alternatively just take a lean back at home and enjoy this excellent album of ambient beauty. (NMP) Address: www.psyrecords.com MNORTHAM - A GREAT AND RIVERLESS OCEAN (CDR by Mystery Sea) MNORTHAM - MOLT AND ANECDOTE (CDR by S'Agita) ENTRELACS - UNDERLEAF (CDR by S'Agita) Micheal Northam, aka MNortham, is a world traveller, he never stays in one place for very long. His music is recorded in those places, using other people's equipment, soaking new ideas, and then moving on. That's maybe the right spirit to keep one's work fresh. MNortham's music evolves around the greater idea of the drone. Either captured via the microphone in some environment, but sometimes also via computered processing. On 'A Great And Riverless Ocean', Mnortham uses 'kelp horn, 20 string zither and 'walfisch computer' - honestly I can only imagine a 20 string zither. In 54 minutes he depicts us an ocean -leaving early morning, when the sea is all calm, but slowly as we move over the waves, thunder and darkness, wind and storm arrive. Halfway through the disc there is short, but powerful outburst. This lasts only a short moment, and the quietness takes over again - but things do seem to have changed, it's not the same calmness as before. The work ends as quiet as it started. 'A Great And Riverless Ocean' is a typical MNortham work: it explores the overtones of sound and takes great pace to tell you a story. If names like Mirror, Jonathan Coleclough, Monos, Ora or their US counterparts as Jgrzinich or Seth Nehil, then I'm sure Mnortham belongs to your repertoire too, if not already. A fine strong work. Whilst 'A Great And Riverless Ocean' was composed in Portland, Oregon in the summer of 2002, the CDR 'Molt And Anecdote' was made in the same period in Port Townsend, Washington. It has three tracks 'Molt', 'And' and 'Anecdote', so they are probably linked together. 'Molt' sounded much to my suprise like computer processed sounds, branches or leaves being fed through some effects. A bit like the more recent works of John Hudak. The second track 'And' is again unlike MNortham, it has the usual drone stuff, but it sort of ends a bit rhythmical and errmm musical. 'Anecdote' finally, the longest of the three, features again, the usual Mnortham processed environmental sounds, but are, again a new feature, presented here in a more collage way, with abrupt fades and changes. Three times new, or rather, kinda new Mnortham elements, makes this into a remarkable disc. Entrelacs is the ongoing collaboration between Yannick Dauby and Micheal Northam, which they presented in various live concerts. I am not sure if this is a live or studio recording, but it uses the sounds of 'a walk along a fallen tree, corbet, oregon' and 'a conversation with found objects, paris, france'. One can see the MNortham influences in this one - spacious processings of the outdoor sounds, but the small tinkling on the found objects work really nice along side this. The crackling seems to be appearing on all possible levels and makes this is quite a complex work. Complex because of all the sounds happening, but it works out as a nice sort of ambient work. Maybe clocking in at almost 49 minutes is a bit on the long side, but nevertheless it is a nice one. (FdW) Address: http://home.planetinternet.be/~chalkdc Address: http://www.sagitarecordings.vze.com LORI FREEDMAN - A UN MOMENT DONNE (CD by Ambiances Magnétiques) Clarinettist Freedman (Toronto, 1958) works in many different contexts: dance, theater, new music, electroacustics and improvisation. She performs with the Vancouver New Music Ensemble, Banff Music Theater Productions, a.o. She is co-founder of the interdiscipline ensemble Thira and played on many festivals among the country. Collaborations include Steve Beresford, Ab Baars, Luc Houtkamp, Maggie Nicols and John Oswald. She encourages composers to write for bass clarinet. This way she gives impulses for a new repertoire for this instrument. These works can be heard on more than 20 cds. But Freedman is not only a well-known interpreter of new msuic, she is also an improvisor. It's from this side that we get to know Lori Freedman on her new cd 'A un moment donné'. It's a solo record with 13 improvisations for solo (bass) clarinet. They show Freedman as very virtuosic player of vibrant and complex improvisations. How great, diverse, etc. the music may be I classify cds with solo-improvisations as only of interest for the lovers of the instrument that is played or for the die-hards into improvised music (DM). Address: www.actuellecd.com 1. From: MRW44 in association with G-Tank Dynasty presents an evening of avant-sounds with: Low-end drone/ sludge-core from Leeds outfit LIKE A KIND OF MATADOR, Hood keyboardist Gareth Spencer Brown's laptop/ vauderville project THE UNPLEASANTS (Steve Reich meets Keith Harris), and local free-noise improvisation unit GIANT TANK, who have recently recruited Idlewild's Bob Fairfoull to their ranks. Sunday 16th March, The Tron, Hunter Square, Edinburgh; doors 8.30pm, £3 http://www.mrw44.co.uk 2. From: extra247@another.com SLOW SOUND SYSTEM a walk on the mild side 'avant chillage' BBCi 'quiet, considered music' The Wire The slow club returns on 16 March. Thinking space for relaxed audio: digitals, scapes, collage and ethnographic forgery. This month our guest artist Gagarin (Geo Records / Moon Palace) previews his forthcoming release, 'Earthling': expect pure tone colour and pristine electronic beats. Plus, The Legendary Jesse Belle (Raya / The Big Chill / Not Clickable / Sonomu) promises a dj set of 'twisted, melancholic, downtempo' electronica ... ... Short films and digital stills courtesy of new kids Tom Keene and Ailsa Anderson, plus Jay Ropinsky, Foundry CCTV and slow sound system regulars. The show will be simulcast on Resonance 104.4FM from 3-5pm GMT. Set your receivers, or go to www.resonancefm.com for live streaming audio. Join us. Full details below. Plus, visit www.slowsound.net to hear Dual's set, plus a nex mix from imax, all in RealAudio. ----- Sound: gagarin (geo records) : live the legendary jesse belle (raya / the big chill / not clickable / sonomu) : dj imax (53 degrees) : dj albert (scatsa sound) : dj datamath (ladytron) : dj Vision: tom keene : digital shorts ailsa anderson : new video action aus berlin jay ropinsky (klik klak / hardman, berlin) : latest flash manoeuvres imax (53 degrees) : slideshow and photography the foundry : live CCTV and spy camera ----- Details: 16 march, 3 - later, free. the foundry, 84-86 great eastern st, london ec2. corner of great eastern st and old st. nearest tube: old st. ----- Online: New RealAudio content: go to www.slow-sound.net/sound%20and%20vision.html for more. ----- Contact: the foundry: 0207 739 6900 info@foundry.tv www.foundry.tv slow sound system: 07977 190 141 team@slowsound.net www.slowsound.net 3. From: Bauke van der Wal the [law-rah] collective live: urbana - april 19th - also performing wilt and emulsion. doors open at 7:00, first band at 8:00. at the urbana - champaign independant media center, 218 w main st, urbana, IL 61801 chicago - april 25th - also performing are miles tilmann + mark denardo, tamarin, wilt, dj's cliff swank and m50 and additional performances by a.o. joshua wentz and glitchgrrl. all ages, no cover, byob, afterparty, 7pm to 1am. at chase cafe, 7301 n sheridan, chicago il 60660 providence - may 2nd - also performing wilt, navicon torture technologies, mindspawn and moment. at the as220, 115 empire st, providence, RI, 02903 -- the [law-rah] collective : http://www.darkambient.net vogon poetry : http://www.vogonpoetry.net ant-zen : http://www.ant-zen.com 4. From: "www.wedelmusic.org" Next fortcoming events in the field of Computer Music and IT. WEDELMUSIC2003 Call For Papers and MUSICNETWORK Open Workshop after the exciting success of past event in Darmstadt 2002. Extended deadline for Paper submission at the WEDELMUSIC 2003 conference. ****15 March 2003**** WEDELMUSIC-2003 =============== 3rd International Conference on Web Delivering of Music 15th - 17th September 2003 http://www.wedelmusic.org/ http://www.wedelmusic.org/wedelmusic2003 wdm03@leeds.ac.uk, wedelmusic@dsi.unifi.it Co-located with MUSICNETWORK Open Workshop 2003 ============================== 17th-18 September 2003 http://www.interactivemusicnetwork.org musicnetwork@dsi.unifi.it ---------------------------------------------------------------- Both at the: University of Leeds Interdisciplinary Centre for Scientific Research in Music (ICSRiM), School of Music Leeds LS2 9JT, UK http://www.ICSRiM.org.uk =========================================================== WEDELMUSIC-2003 ________ CALL ___ FOR ___ PAPERS ________ IMPORTANT DATES =============== Paper submission: ****15 March 2003**** Notification of acceptance: 30 Apr 2003 Camera ready version: 30 May 2003 ALL submissions and proposals should be written in English and submitted in PDF format via email to wdm03@leeds.ac.uk by15th March 2003. PROCEEDINGS will be published by the IEEE Computer Society. For expositions please contact the General chair, Dr. Kia. WEDELMUSIC-2003 aims to explore these major topics in music-related fields, to address novel approaches for distributing music to larger audiences, providing wider access and encouraging broader participation. Legal aspects and the impact of these developments on cultural heritage will be considered, together with their availability to people with limited access to classical archives and libraries. In particular, proposals and solutions benefiting visually-impaired people are encouraged, to let everybody access this large and hidden cultural heritage. Tools for disabled people will contribute to broadening their music playing and enjoyment. The conference focuses on both the challenges posed by the Internet in its role as a major player for business changes and music distribution, as well as opportunities as a new infrastructure for enabling technology. In addition, this conference seeks to promote discussion and interaction between researchers, practitioners, developers and users of tools, technology transfer experts, and project managers. Of particular interest is the exchange of concepts, prototypes, research ideas, and other results which could both contribute to the academic arena and also benefit business and the industrial community. WEDELMUSIC-2003 will bring together a variety of participants to address not only different technical issues, but also the impact of Internet on the preservation of cultural heritage. Topics of interest include, but are not restricted to, the following aspects: * Protection formats and tools for music * Transaction models for delivering music * Business models for publishers * Legal aspects * Copyright ownership protection * Watermarking techniques for various media types * Formats and models for distribution * High quality Audio Coding * Music manipulation and analysis * Music and tools for impaired people - Braille * Publishers and distributors servers * Multimedia streaming and delivery * MPEG-7 and MPEG-21 * Viewing and listening tools for music * Music editing and manipulation * Music education techniques * Databases for institutions: publishers, libraries, theatres, etc. * Content based retrieval * Conversion aspects, techniques and tools * Music imaging, music sheet digitalisation, techniques and tools * Music and pervasive computing * Music transcoding * Music and cultural heritage valorisation RESEARCH PAPERS ==================== Papers should describe original and significant work in the research and practice of the main topics listed above. Research case studies, applications and experiments are particularly welcome. Papers should be limited to approx. 2000-5000 words (8 pages) in length. Of the accepted paper, 8 pages will be published in the conference proceedings. SHORT PAPERS/POSTERS ==================== Shorter research papers on work-in-progress, interim results, advanced topic position paper and current research initiatives are also welcome. Submissions should be limited to approx. 2000 words (4 pages) in length. Of the accepted paper, 4 pages will be published in the conference proceedings. APPLICATIONS and INDUSTRIAL PAPERS ================================== Proposals for presentations of Applications and Tools are also welcome. These may consist of experience reports from actual utilisation of tools, industrial practice and models, or tool demonstrations. Application proposals will be reviewed based on their description and demo (if appropriate). A one-page summary of the accepted proposal will be published in the conference proceedings. SPONSORS: Supporters of the event include: * ICSRiM, University of Leeds, UK; * Fraunhofer-IGD, Darmstadt, Germany; * DSI, University of Florence, Italy; * IRCAM, Paris, France; and * the European Commission for the presence of the MUSICNETWORK =-=-=-=-=-=-=-=-=-=-=-=-==-=-=-=-=-=-==-=-=-=-=-=-== Interactive MUSICNETWORK Open Workshop 2003 ====================================== MusicNetwork Open Workshop, 17th-18th September 2003. For free registration of the open workshop, email musicnetwork@dsi.unifi.it. MusicNetwork is a European Commission supported thematic networking project. MusicNetwork aims to bring the music industry, content providers and research institutions together, to draw on the assets and mutual interests of these actors to exploit the potential of new technologies, tools, products, formats and models. Further details can be found at www.interactivemusicnetwork.org _._._._._._._._._._._._._._._._._._._._._._._._._._._._._._._._._._._ 5. From: jcarey 87 Central concerts: -- March 6, 2003 - Cultureel Centrum, Delft (NL) 19:30, 87 Central, Spek/Vanderloo, Funckarma DJ, Duckband, Dani Meir, Joost Neiwenburg. the flyer is served here: http://radiantslab.com/87central/Klankangst_Web.jpg -- March 29, 2003 - Earational Festival 2003 hosted in De Melkfabriek, 's-Hertogensbosch (NL) 87 Central, Gareth Mitchel, DJ Lonely. check out the festival here: http://www.earational.org -- 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. 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