============ VITAL WEEKLY ============ number 387 ------------ week 36 ------------ contents: KONTAKT DER JUNGLINGE - N: AMSTERDAM, STEDELIJK MUSEUM 18-5-2002 (CD by Die Stadt) ASMUS TIETCHENS - BIOTOP (CD by Die Stadt) SMOKE & MIRRORS - THE PERFUME OF CREOSOTE: DESERT EXOTICA PART ONE (CD by Aural Fixation) NOCTURNAL EMISSIONS - COLLATERAL SALVAGE (CD by Soleilmoon Recordings) SCOTT HORSCROFT - 8 GUITARS (CD by Quecksilber) SACK & BLUMM - KIND KIND (CD by Staubgold) AF URSIN - 2ME FASCICULE (CDR by La Scie Doree) ANDY McWAIN QUARTET - STARFISH (CD by Fuller Street Music) KEN IKEDA - MERGE (CD by Touch) TSUKIMONO - SKETCHES 6-27 (CDR by Mechanized Mind) JULIEN OTTAVI - NERVURE MAGNETIQUE (CD by Sigma Editions) DISCO DISCO VOL. 2 (CDR compilation by Absinth Records) PALSECAM - ZENIAL (3"CDR by Absinth Records) SCOTT TAYLOR - POSTCARD (CDR EP by Sijis Records) MIL.ORG - ADMINISTRATIVE DEMO (downloadable MP3 from Tib Prod) THE REMIX COLLECTIVE OF NORWAY (downloadable MP3 from Tib Prod) ORGANUM - DIE LETZTE MUSIK VOR DEM KRIEG (7" by Die Stadt) FREEK LOMME/BAS SCHEVERS - DAYLIE (7") ANDERS OSTBERG - TONRUM (CDR) J'EE-HAW! (2CD-R compilation by j'ee-haw!) MOE! STAIANO'S MOE!KESTRA! - TWO FORMS OF MULTITUDES: CONDUCTED IMPROVISATIONS (CD by DKM/PAX/Edgetone) MARK SQUIRREL - MANOEUVRES (2xCDR by An Polarity) FRANCISCO LOPEZ - WASPS (3"CD by Longbox Recordings) FRANCISCO LOPEZ - ADDY EN EL PAIS DE LAS FRUTAS Y LOS CHUNCHOS (CD by Alien8 Recordings) DROPP ENSEMBLE - THE EMPIRE BUILDERS (CD by Longbox Recordings) HEARINGS (CD compilation by Transacoustic Research) HOWARD STELZER & JASON TALBOT - FOUR SIDES (2x7" by Crippled Intellect Productions) THE ABSTRACTIONS - ARS VIVENDE (CD by Pax) ROTHKO & BLK W/BEAR - WISH FOR A WORLD WITHOUT HURT (CD by Trace Recordings) KONTAKT DER JUNGLINGE - N: AMSTERDAM, STEDELIJK MUSEUM 18-5-2002 (CD by Die Stadt) ASMUS TIETCHENS - BIOTOP (CD by Die Stadt) After '1', '0' and '-1' of course follows 'n'? The titles chosen by Kontakt der Junglinge (being Thomas Koner and Asmus Tietchens) are not very clear to me, but I don't think it's very important either. Each of the four releases so far have been live albums, this one was recorded a year ago in Amsterdam's Stedelijk Museum, who on a very irregular basis organise concerts in their auditorium. The previous albums were styled by their 'submarine' sound: dark sounds, like they seemed to be recorded under water, but without sounding drowned out in spacious reverbs. This concert in Amsterdam shows their refined moments so far in their playing together (and I hasten to say, playing live together, no studio album have been made yet - hey, what about those, boys?). The aqua marine sounds work best here, stretched out, fed through some filtering, but leaving the sounds enough air to breathe. From the four releases so far the most ambient one. Whereas especially '1' sounded like Tietchens, this one sounds more like Koner's solo work. Isolationistic drone music, with dark touches, tinkling bell like sounds and creepy ambience. Like said, their most refined moment so far, and after four very nice to excellent live CDs, I'd be curious to hear what they would come up with in a studio. (FdW) 'Biotop' is the second release in the ambitious project by Die Stadt to release all of Asmus Tietchens' previous LP's. After Nachtstucke (see Vital Weekly 361), Asmus signed a contract with Sky Records in 1981 for four albums. Sky Records was then a big label for so-called cosmic and electronic music. Tietchens' interest in those days was not entirely for that kind of music, but he found himself experimenting with a small Moog synthesizer, composing 'pop music', or at least by his own defintion popmusic. Unlike the 'real' cosmic music from those days, Asmus limited himself to composing songs that were no longer then four minutes, but in turned out most of them are under three minutes. 'Biotop' was the first album to be released on Sky and has sixteen short, sketch like pieces of rhythms and tunes on the keyboard. Despite the attempt to make popmusic, one can't say that Tietchens succeeded very well on 'Biotop'. The rhythms are rather monotone, the tunes are not cheery or cheeky, but sounds like a space craft that is going to land on Planet X. That makes 'Biotop' into an interesting album, because Tietchens fails to play popmusic, but he comes up with a nice mixture of electronic music that could do well as a sci-fi movie soundtrack. By current standards, taking the retro electro music of current in mind, 'Biotop' is not an album that is inspirational. The sound and tunes sound dated by now but a true Tietchens afficinado will certainly enjoy getting this on CD. Address: http://www.diestadtmusik.de SMOKE & MIRRORS - THE PERFUME OF CREOSOTE: DESERT EXOTICA PART ONE (CD by Aural Fixation) Smoke & Mirrors is Michael Ely (keyboards) and Spider Taylor (guitar, bass, recorder), who - according to their bio - have been collaborators since the earliest days of L.A.'s underground. The Perfume of Creosote is a collection of 23 soundscapes. Their construction is simple: electronic generated loops of rhythm and melody give proper background for a lush electric guitar to excel. Each 'song' does create a specific vibe and brings the listener to a different place on this earth. One can compare these cultural coloured soundscapes with those Michael Banabila has been crafting, although his are not that lounge-like. On the long run it's the simplicity that makes The Perfume of Creosote quite tiresome. The role of music in society has changed with the years. What would've been avant-garde in the eighties is your everyday sample pop twenty years later. Therefore the excitement need come only from the six-stringed one. Taylor's playing resembles the so-called progressive rock sound from the seventies and eighties, with names you usually don't see mentioned in Vital: Steve Howe, Ry Cooder, Dave Gilmour or - even - Mark Knopfler. Smooth and perfect. Technically high skilled musicians, that do touch my admiration, but seldom my heart. This one didn't do much to me. (RT) Address: http://www.auralfixationrecords.com NOCTURNAL EMISSIONS - COLLATERAL SALVAGE (CD by Soleilmoon Recordings) Ever since the very early eighties, Nigel Ayers is a true player in the underground scene. Best known as (the) Nocturnal Emissions, but also working under his own name and Transjenic. Apperentely he has released no less then twenty-five CDs as Nocturnal Emissions, and I might be able to say that I heard at least twenty-four of them. That doesn't make me an expert, no way. I heard much of Nocturnal Emissions and I enjoyed a lot of them (both old and new), and some were absolutely no my thing (again, both old and new). But I very rarely find myself pulling an old Nocturnal Emissions CD of the shelf and play one - with the exception of 'Viral Shredding', which I regard as a true classic. It's been a while since I last heard some of mr. Ayers, but 'Collateral Salvage' sounded alright, again. Despite the title's political connotation, the music is inspired by Middle-Eastern culture. Sounds from two or three locations pour into your household and blend together - that sort of thing. Nigel takes samples from Middle-Eastern music and adds a drum beat himself. Some of his past rhythm outings were not really interesting ('Binary Tribe' for instance), but this album's rhythm pieces is a fine collection, if not a bit long - as a whole. The pieces are all quite ok, funny samples, strange samples, ethnic samples, even a bit for some alternative dance floor, but fifteen tracks of similar music is maybe a bit too much. It's one of those things were you think it would have been a nice 40 minute LP (and in that respect, I was reminded by that obscure DJ T-1-11 LP that came out of Soleilmoon's headquarters a couple of years back). Cut down to ten tracks a great CD (make your own selection). (FdW) Address: http://www.soleilmoon.com SCOTT HORSCROFT - 8 GUITARS (CD by Quecksilber) This is the first release by one Scott Horscroft from Sydney in Australia. He composed this work for eight guitars which are patched to a computer, which in return record and manipulate these sounds. The guitarists are playing in a very strict, unchanging pattern. The cover lists eight guitarists, but why not have eight samples running if a strict tempo is required? Maybe there is a point of physical interaction that is important. The results are indeed a work of minimalism and overtones. Dense frequencies operate closely to eachother, but the work is kept open and rhythmical. This is not drone music per se, unless you use a wider definition of drone music and the repetitious character of the music is drone enough for you. Although there is some kind of processing going on, it's also kept to a minimum and seem to follow the guitar sounds and change sound colour mostly - it's not a radical change of sound going on here. It's pleasent music, done well from begin to end, not too short or too long, but I must say it's also a repetition of ideas, dating back forty years of minimal music. A good, sturdy record of somewhat outdated music - there are worse things in life, I guess. (FdW) Address: http://quecksilber-music.com SACK & BLUMM - KIND KIND (CD by Staubgold) I never realized that Sack & Blumm never recorded together! That's an amazing thing. Frank Schultge Blumm and Harald "Sack" Ziegler live in Berlin and Cologne and record each at home and send tapes to eachother and the other adds his parts. Their bedroom studios are filled with a variety of ethno instruments (kalimba, tabla), toys (piano, drums) and wind instruments (horn, tuba) and a bass guitar is always at hand. I think part of their instruments is a cheap toy sampler - maybe the casio SK-1, with it's two-bit sample rate. Sack & Blumm have a somewhat dark sound, maybe the resultant of their lo-fi approach, but it's one that fits the character of the music very well. Sometimes the music is naively, childlike uptempo, but it can also be melancholic like in 'Maria Mbira' - with a vague middle eastern sound and a gong that chants in the back or the dub inspired 'Bass Car'. Thirteen miniatures in sound - each is long enough to express the ideas what it's about and there is no bull-shitting about here. Very pleasent music, very naive, very much the product of sunday painters. (FdW) Address: http://www.staubgold.com AF URSIN - 2ME FASCICULE (CDR by La Scie Doree) After I attended a concert by Af Ursin I got this CDR handed which Af Ursin released to promote and pay for his Japan tour earlier this year. I am sure copies are still available, as it contains pieces of music which are not on his - sparse - releases so far. It was a true pleasure to see Af Ursin at work on stage. Sitting on the floor, surrounded by his toys (in some cases, literally!), some ancient delay line and cassette players, he played some very subtle music of close miking and that worked well in the intimate atmosphere of the evening. Improvised music that was somehow close to some older work of Zoviet France. In four of the five pieces I am gently reminded of Af Ursin's concert. The metallic playing, the bows and the cricket and frog choir in the opening piece 'Twilight Silhouette' evokes a similar feel. Dense and atmospheric: two terms that do Af Ursin right. The only piece I don't understand here is 'Mistake Five', which is almost a free jazz improv piece of hectic playing and which sort of breaks the CD (if insisted on being enclosed, it should have been the last track, I guess). Even the jazzy 'It's Raining Clouds' might not be the standard sort of thing one would expect from Af Ursin, but it's still a nice and not out of place piece here. So except for that one miss, four hits. Get this while they last. (FdW) Address: ANDY McWAIN QUARTET - STARFISH (CD by Fuller Street Music) Starfish comes straight out of the jazz department. In the centre of it all is Andy McWain's delicate acoustic piano work. He swaps easily from being smooth and easy listening to a highly percussive and persuasive style. While exploring this different manners of play, conversations occur with passers-by: the notes from Noah Jarett on the acoustic bass, Assif Tsahar and his tenor saxophone and bass clarinet and Chris Poudrier behind the drums and on percussion. Together they discuss fields like classical music, atonalism, chamber music and ˆ obviously - all sorts of jazz. Starfish is an album that works on multiple levels. At first it seems to meander, which makes it of perfect use to simply free the mind. Repeated listening however suits studying new music composition and getting stunned and challenged by the technically high skilled musicianship and interaction. (RT) Address: http://fullerstreetmusic.com KEN IKEDA - MERGE (CD by Touch) Since this is Ken Ikeda's second album for Touch, following 'Tzuki' (see Vital Weekly 256), I will once more state that he is not related to Ryoji Ikeda, who happens to be also on Touch. Apperentely this new CD is based on Ikeda's own library of sound diaries which he has been making since 1990. How he treats the sounds he doesn't tell, but in some Buddist way he informs us about the absence of hierarchy among the sounds and that they are presented as they are. The CD opens with 'Meian (Contrast)' and is a piece of heavy loaded sine waves, which didn't turn me on really. But as the album unfolds, Ikeda treats more common ambient grounds. In 'Gate' for instance has bell like sounds over a nice tapestry of synthesized sounds. Ikeda presents us with eleven tracks, which have a moderate length each. Each time I play this CD, I am wondering if that's a good or a bad thing. Tracks are not really long means more variation, but it also means that pieces can be too short to develop them in a good way and I think with ambient music pieces should develop in some way and time is needed. Certainly since not every idea on this CD is strong - 'Usual Path' for instance is a poor brother here - I have mixed feelings about it. Nice ideas but not overal strongely worked out, this is a nice but very average CD. (FdW) Address: http://www.touchmusic.org.uk TSUKIMONO - SKETCHES 6-27 (CDR by Mechanized Mind) A new CDR label from Amsterdam, which start out with a release by Tsukimono, the alter ego of Swedish Johan Gustavsson, who has had releases before on Garmonbozia and Fukk God Let's Create. His primary instruments are the guitar, the piano and the computer. 'Weak End, Weekends' opens up with a lenghty, untreated piano thing, which made me think this guy was some sort of Harold Budd, but slowly processing leaps in and we are in the well-known world of microsound. Of course it's easy to compare Tsukimono with somebody like Fennesz, but it wouldn't entirely justify him. Whereas Fennesz' treatments are usually more radical, Tsukimono's always let you hear the basic material: a piano still sounds like a piano, and a guitar sounds like a guitar. On top of those recordings, you hear the processed instruments. Another difference is that Tsukimono sound more melancholic and has an overal more dreamy touch to his instruments. Each of the five compositions are worked out well and even when it's not something entirely new, I thought this was a pretty enjoyable release that should definetly be heard if Fennesz or Stephan Mathieu are names that means something to you. (FdW) Address: http://music.mechanizedmind.com JULIEN OTTAVI - NERVURE MAGNETIQUE (CD by Sigma Editions) This name might not be very well-known but Julien Ottavi played with people like Keith Rowe, Jerome Noetinger, Erik M and others. He is a computer (read: laptop) musician from Nantes, France and this Sigma release is his first solo CD. Due to it sheer length - over 72 minutes - and the sheer volume - mostly very loud, sometimes very soft - it's not an easy release to digest. The first of the two untitled pieces open up in a nice drone like manner, but after some ten minutes things explode and Ottavi starts working the volumes up to an intense level. This lasts then for quite some time, but when it collapses it is really quiet for a while. If you have turned down the volume in the very loud bit, you won't hear a thing for some time, but beautiful drone music is hidden there. The second piece is even more beyond the level of audibility, with very soft sine wave tones (somewhere at minus thirty DB) but after twelve minutes it sounds very abruptly at plus thirty DB - a true shock tactic, leaving the listener unsure where to put the volume dial (best is to keep your hand attached to the volume while listening to this). As abruptly as it started, so it stops to continue at a nicer level with crackles. Both pieces are extreme plays with the notion of silence and noise and Ottavi does this quite well. My main objection is that he needs a little too much time to tell his story and that maybe one piece would have been enough. My pick would be the second piece, which is the better worked out one of the two, offering the most varied sound palette. (FdW) Address: http://www.sigmaeditions.com DISCO DISCO VOL. 2 (CDR compilation by Absinth Records) PALSECAM - ZENIAL (3"CDR by Absinth Records) Don't get fooled by the title 'Disco Disco'. I am not sure what the assignment was that was given to the people on this compilation, but it's hard to imagine that it sounded like 'give me your disco piece'. Many of the sixteen pieces hoover around in the world of drone music and only towards the end of the release there are some rhythmic pieces. The gathering of like minded drone artists include people that are well-known, like Steve Roach, Andrew Lagowski, Zbigniew Karkowski, Helmut Schafer and Roel Meelkop, but it also introduces people like Surparadial, Sunao Inami, Minuro Yonemoto and Stephen T. Pope. As said the main portion of the beginning and middle part of this compilation is filled with drone related music, mostly alienated and spooky material by people as Roach, Lagowski and Yonemoto. More noisy elements are brought in by Schafer and Karkowski and after Schroth's piece, the final ones are more rhythm related. But none of these sixteen pieces really relate to anything disco - or maybe it's mutant disco from outer space. Somehow the 3"CDR by Palsecam is related to this, if only because there is a Roel Meelkop piece on this one which is related to his piece of 'Disco Disco Vol. 2'. The first two pieces use only text files to create music. Both pieces result in a rather monotone industrial music piece which sounded out of date to me. 'Papa Dance ZX' plays around with sounds from an early ZX Spectrum computer, but here the sounds come from a LP (as opposed to a cassette which was common in the early 80s). The typical sound of computer software is set to music, but again I am not really convinced by the quality. All three pieces didn't do much for me. The final track is a Roel Meelkop remix of Zenial sounds. As usual he treats them beyond recognition and builts a clever collage out of them. As with other recent Meelkop pieces he plays around with similar sounds more, getting more out of less. This piece saved for me the 3"... (FdW) Address: SCOTT TAYLOR - POSTCARD (CDR EP by Sijis Records) Another new CDR label is Sijis Records, this one is from London, to 'promote and enhance the international experiment music scene'. So far four releases have been made available, each by one of the founding members of Sijis Records. I have no information on Scott Taylor, but it seems to me he is blending together (pop?-) music and field recordings in the five tracks on this EP. Whatever it is that he uses, he throws it into the computer and the results are five nice tracks of microsounding electronica with an occassional dash of field recordings (people talking, sea waves and fireworks). Unlike Tsukimono (see elsewhere) it's hard to say what kind of instruments are processed here, that is of course if any at all. Pastoral sounding in 'Moonlight In Arabia' there is an overal melancholic touch in all five pieces. Pieces are kept short, ideas are ok: an ideal introduction to Scott Taylor's work. (FdW) Address: http://www.sijis.com MIL.ORG - ADMINISTRATIVE DEMO (downloadable MP3 from Tib Prod) THE REMIX COLLECTIVE OF NORWAY (downloadable MP3 from Tib Prod) Two more releases which are available for download from Tib Prod. There is absolutely no information on Mil.Org, so we are looking at seven tracks to download. The music by Mil.Org can be described as rhythmical, but in a more industrial way than in a techno way. The opening piece 'Administrative Building (Store Studio)' is related to techno, but the strict monochrome character and the hellish sounds over it are more industrial in the US manner (more Nine Inch Nails like then Throbbing Gristle if you catch my drift). Per track Mil.Org explores a limited set of sounds, mostly derived from the use of synths and rhythms and limit themselves by only using those. 'Morgenrote' is the ambient counterpart of some of the other pieces. The material is interesting, but sound at the same time rather naive and not very well recorded (and in this case lo-fi doesn't help!). I have mixed feelings about this release. It's nice material, but not worked out well-enough, not much structure or organisation. The potential is there, but the finishing touch isn't. I am not sure what The Remix Collective Of Norway is. A band? A project? Who is remixing who? Involved are people who had their releases on Tib Prod before, such as Jan Iversen, Chefkirk, Guignol Dangereux and Koff Koff. In this seventy four minute remix piece all of these and more come by, mixed by Tib Prod themselves I guess. Although a track list is available, it's hard to tell which piece is which. It's a nice showcase of music available from Tib Prod, emphazing the more beat oriented material and the rawer edges of ambient music, although I heard some pieces of improvised electronica too. I guess it won't be easy to download one piece with such a length, but it serves as a nice introduction to the world of Tib Prod. (FdW) Address: http://www.tibprod.com ORGANUM - DIE LETZTE MUSIK VOR DEM KRIEG (7" by Die Stadt) Over the years it has become harder and harder to distinguish the differences between Organum and David Jackman. David Jackman = Organum, but he releases under both names. This new Organum 7" contains two tracks recorded this year and has only a vague hint to the classic Organum sound. The drone material is there, but so is some rumming about, slightly similar to The New Blockaders sound and on top on side one there are random piano chords. On side two, called 'Happy', there is the distorted sound of Tibetan horns added on a similar bed of sounds. It's distinct break away from the pure Organum drone sound, with an interesting addition of new sounds that especially in 'Happy' works well. David Jackman/Organum still knows how to suprise his followers and is a remarkable conceptualist. (FdW) Address: http://www.diestadtmusik.de FREEK LOMME/BAS SCHEVERS - DAYLIE (7") A split 7" by two Dutch artists of which I never heard before. I saw Freek Lomme a while ago presenting a film with Kosten Koper (of Diskono fame) and he told me he was a poet. His piece on this split 7" is a story - in english -, read by himself against a backdrop of churchbells and bird sounds. A piece of isolation and alienation. I have no information on Bas Schevers. His piece is a sort of singer song writer song that just before the end breaks with a short interlude of sinewaves. For me the strangeness of that thing in there made this side into an enjoyable one. Strange work this is, really sort of outsider music and poetry. (FdW) Address: ANDERS OSTBERG - TONRUM (CDR) This release is the soundpart of a light and soundinstallation which will take place from October 25 to November 2nd at the Form & Fargverstaden in Eskiltuna (that is in Sweden). Anders Ostberg is so happy with the soundpart that he released a CDR of the music which people can play at home. He asks you to replace the lightbulbs in the space you are listening with green lightbulbs. I played it while it was light outside and no artificial light was necessary, so I still hope I captured the real idea. The music, a thirty minute piece, is a minimal piece of lighthearted processed sounds. I don't think it's a bunch of synthesizers, but some software interaction playing a highly minimal piece of music. True ambient music that is. You can turn it on, play it at nice volume (nice meaning here, so it's present and not demanding) and you can move about doing the things you like to do, in my case I read a book. Thirty minutes of hardly moving sound although microscopic changes can be noted, no big bang, no wild outburst, but a rather pleasent piece of background sound. It makes me wonder about the installation though, but my guess is that it's something rather minimal and green... (FdW) Address: http://www.andersostberg.uni.cc J'EE-HAW! (2CD-R compilation by j'ee-haw!) Okay, imagine this: at a certain point a CD-R comes in the mail, with the request to do a remix of one of the tracks or all or whatever. Upon listening to it, one discovers that all the tracks are silent, except for one single classic cowboy shout on each track: j'ee-haw! This is very enigmatic to say the least, if not downright hilariously minimalistic. After some inquiries it becomes clear that many dutch artists of quite different but mostly electronic backgrounds have been asked to make the same effort. The result has now been released on two CD-R's, that give a broad overview of the dutch electronica scene of this moment (if possible at all, of course). I will go through this track by track, spending a few lines on each. Freiband has done his usual timestretching on the yell untill it becomes something altogether different. Radboud Mens simply made one of his funky minimal techno pieces without any overt reference to the original. Jonx is up with a dubby track with acoustic guitars, the yell on top every now and then. Parkside have done a mostly understated drum 'n' bass version with some freaky outbursts and the yell on top. Sasker Scheerder has done something quite incomprehensible and mysterious with synth and voice cutups. Xaf have done the obvious: they've turned the whole thing into a bluegrass track, albeit a totally digital version of the genre and therefore a very funny one. Stijn (mijn label) goes electro: I actually believe he's using a Casio VL-Tone 1! Humobisten (feat. Der Versucher) turn the thing into a very dry, but funky tecno piece with excellent breaks and the yell on top. Maga does something similar, but rougher and freakier, less dance floor material. And he fucks up the yell on the fly. Jesse Smale uses the yell to create a sound of cows mooing and by layering these he creates a true herd of the digital beasts. Funny in a double sense really. Duo Teplaky take care of the semi acoustic french cover version, including bad playing. A true late night version. DrBadVibes takes the thing to the next stage of breakcoreany , as in: these are only breaks and destruction fx! Maga again with the 2 steppin' version; hardcore funky breaks of high intesity. Ios Smolders closes disc 1 with a very eerie and minimalistic track, based only on the yell. Scary stuff! Disc 2 opens with Mr. Dion, whose track is slow, but groovy and rather short. Next is yours truly with a very minimal, pseudo rhythmic piece that seems to go nowhere, but does of course. Quench take off with a sloooow psycho fx mix, without the yell it seems. Boca Raton pick up the piece with feedbacks and distant voices, taking it into an altogether different direction again. Smoking Oil Project are heading for a more ambient version, with subtle beats and flickering sounds. E_minus is kind of difficult to put into a corner, but it has a forceful drive and a strong beat and would sound good on the dance floor. DJ Harco has sampled the yell and turns it into a beat on the fly. Maga is up once more, this time with a kind of ambient tribal acid mix, the yell on top. DJ Smuthound & Dr. Auratheft present some kind of acid dub electro, also with the yell on top. DL Pausa delivers a short kind of cutup piece, as if the yell has been swallowed by a digital frog and more. And again there is a track by Maga, this time the tibetan mix, way over the top really, sort of Musligauze goes to the far east. Erik en Arjen really go out west with their guitars and horses (the horses are incredible!), Ennio should know. Kodi seems to have taken the whole thing as an inspiration to make a new track, there is no direct reference to the original and things seem more oblique. Edwin van der Heide has sampled the yell and made an indonesian kadjak choir out of it, quite incredible. Last is Peter Duimelinks with a track consisting mainly of field recordings of in- and outside spaces, except for the middle part that sounds completely electronic. This track is probably just as enigmatic as the original. So, there you go: 29 very different tracks by very different people. Of course, probably nobody will like all of them, but it is certainly worth your while checking this out. If only for the great cover! (MR) Address: www.jeehaw.nl.nu MOE! STAIANO'S MOE!KESTRA! - TWO FORMS OF MULTITUDES: CONDUCTED IMPROVISATIONS (CD by DKM/PAX/Edgetone) (Conducted) improvisations for a orchestra or a very extensive ensemble are seldom heard nowadays. Zorn did it many years ago as well as Butch Morris. Problems for this format seem to me above all practical. It must be a hell of a job to get all these musicians together at one time and place for rehearsals and concerts. Most of the musicians are involved in other projects as well, etc., etc. Anyway Moe! succeeded in getting together some 25 musicians to perform his conducted improvisations. So it must be someone with strong motivations and enormous drive to realize his ideas. Why such a large orchestra? Staiano explains: "A mass amount of musicians playing in huge clusters in a dissonant array, forming a wall of musical noise. I have always enjoyed working with al large orchestra using multitudes of the same instrument. I love a large sound or many playing all at once in a massive frenzy". Two of his works were this approach is manifest, found there way to "Two Forms of Multitudes", a co-release of Edgetone, Pax and DKM. 'Musicians for Piece no.5' (37:19) is catched in a live performance at the Oakland Metro in Oakland on 21 november 2002. 'Musicians for piece no.4' (40:05) was recorded live for radiobroadcast on KFJC onm 13th april 2002. Both pieces are conducted by Staiano who plays percussion on the first piece as well. Percussive and rhythmic elements are at the core of his improvisations. Playing short phrases and riffs repetitively, both pieces have their climaxing moments during their 40 minutes. Long notes played by the blowers make the music multi-layered. Soft and slow pieces are interrupted by noisy accelerations. The music has a overall rock feel so that from to time you have to think of Branca. By the way, who is Moe! Staiano? He works as a percussionist, composer, and orchestra leader in the San Francisco bay area. He is member of Vacuum Tree Head and associated with Sleepytime Gorilla Band. Played with Ron Anderson, Tom Nunn, Amy Demio, etc. I won't list all the musicians involved here. Some do ring a bell (Tom Djill, Willam Winant, Henry Kuntz), but most of them are totally unknown for me. Besides, the line up of his orchestra changes constantly. Comparing the instrumentation on both pieces we can say that this is more or less stable. Instruments played are in both pieces more or less the same: Saxes, clarinet, recorder, flute, trumpet, trombone, violin, viola, contrabass, electric gutiar, electric bass, theremin(!), piano, drums, electronic drum pad, percussion, etc. Both improvisations last about 40 minutes. Very long, but my attention was captured throughout. These improvisations surely have their strong moments (DM). Address: http://www.edgetonerecords.com/ MARK SQUIRREL - MANOEUVRES (2xCDR by An Polarity) There must be some joy in packing releases in such an obscure way that it's hard for the reviewer to say anything decent about it. I think this release is called 'Manoeuvres' and that one of the CDRs is called 'Central Business District' and the other is called 'Rural Economy' - but the discs can't be identified as which is which. Likewise I can't say anything about the artist Mark Squirrel. One CDRs has cars passing, people walking but there appears to be no sound processing for the first five minutes, then the piece changes completely and an electronic drone pops in, which sounds like wind. After this the drones continue but get more interesting because they are less distorted. I gather this is 'Central Business District'. The other CDR opens with a very low end bass drone which over the next twenty minutes becomes a more coloured one, and also grows a bit in intensity. Due to the absence of field recordings (or at least recognizable field recordings) and the quiet character, I gather this is 'Rural Economy' - hey, but maybe I am wrong anyway... Some more information would have been nice. (FdW) Address: none given FRANCISCO LOPEZ - WASPS (3"CD by Longbox Recordings) FRANCISCO LOPEZ - ADDY EN EL PAIS DE LAS FRUTAS Y LOS CHUNCHOS (CD by Alien8 Recordings) Maybe it's my perception of things, but things have been a bit quiet lately with releases from Senor Francisco Lopez - but here's a 3" CD. Two things can be noted right away. It's not called 'Untitled', like 97% of all of his releases and it's an older work, this being from 1993, but remastered last year. This release being called 'Wasps', one assumes the sounds of buzzing wasps. Lopez captured few in a jar, and holding a microphone against it. Let's see. After the usual silent one minute intro (that has become another Lopez trademark), things slowly start to vibrate, a massive wall of sound. It's not one or a few wasps, but millions. If this release was called 'inside ship' or 'near motor' I would have believed so aswell (and therefore it would have been better if it was called 'untitled'? hmmm....). The big question here, as usual with Lopez, is it audible? Yes it is. Once the volume kicks in, there is no need for further adjustment. It's present. It's a beautiful work of drone music, endless humming, with small changes to be noted. Another damm fine Lopez work. On the subject of older Lopez works it's nice to see an older release of his out again. 'Addy' was released in 1997 by the ND label (whatever happened to them?) in an edition of 500 copies and was one of the first Francisco Lopez CDs to appear and has been out of print for quite some time. Like 'Wasps' this is Lopez on a mission. Many of his 'Untitled' works are pieces of studio music, in which Lopez doesn't want to tell you anything about his sources or motivations - it's what ever you decide with them. In just a few works, 'Wasps' but also 'La Selva' or 'Buildings [New York]' he lets us in on the recorded subject; so is the case with 'Addy'. Like 'La Selva' it contains recordings made in the Costa Rican rainforest. It would be easy to mistake this music for New Age, but it's not. Lopez records the sounds of the rain forest, but he treats them in the studio. In the title piece he builts a collage of sounds, with sudden changes (something that you won't see him doing on his recent works) and movements. The long piece 'Piloconsor, Tres Mitocondrias Y Lucha Por El Liquido Emporante' forcasts the later Lopez work of sheer inaudibility whereas the final piece sounds like a true Lopez piece: dark drone like sounds of (maybe) wind blowing or a heavily processed (probably not) rainfall. 'Addy' is indeed a great work, which is good to see re-issued. It displays the various sides of Lopez' work, nature recordings and silence and should be a good introduction for anyone. (FdW) Address: http://www.longboxrecordings.com Address: http://www.alien8recordings.com DROPP ENSEMBLE - THE EMPIRE BUILDERS (CD by Longbox Recordings) In Vital Weekly 384 I reviewed a CDR by Adam Sonderberg and Sam Dellaria and mentioned that they used laptops on their recording. Actually I was wrong, the two played clarinet, organ and styrofoam. But they do play with computers in the Dropp Ensemble. This is not an usual ensemble of people meeting. They invited several musicians to send their basic sound material for them to add to their own playing. These people include Brendan Walls, Wolfgang Fuchs, Alexander Wallner (the latter two of Das Fax Mattinger) and Eric LaCasa. On this CD they play music to the Empire Builders, a play by French absurdist Boris Vian. For the live playing they are helped by reed player Aram Shelton and percussion player Steve Hess. I am not sure what Vian's piece is about. The CD opens with a long piece, twenty six minutes, called 'Introduktion' - which is half the CD! Low end hums, organ/clarinet sounds with addition of percussive rolls on cymbals and toms. It tries to evoke a spooky feeling, but it somehow looses it's tension half way through the piece. Track two, 'Gra (1-3)' is a very minimal drone piece that works much better and in 'Dessutom' there is a fine interplay between field recordings (mainly rain) and some far away percussive sounds. These tracks are much interesting that the overlong 'Introduktion' piece. I have sort of mixed feelings about this release, but maybe things work much better if one sees the play... (FdW) Address: http://www.longboxrecordings.com HEARINGS (CD compilation by Transacoustic Research) New labels seem to be arriving everyday and here's a new one from Vienna. Transacoustic Research want to occupy themselves with music that is made with everyday objects and unconventional approaches. The first release is a showcase of various approaches. Iftaf for instance recorded a coffee machine for his piece called 'Coffee' and it seems a pretty raw recording of what it is: a coffee machine making coffee, but taped with various microphones and mixed together. Maybe this track is the most clear example of what the label wants. A piece like 'Crossings' is a short minimalist piece of techno by Helmut Kahlert, and it seems hard to relate that either everyday objects or an unconventional approach. Overall is quite hard to see the everyday objects are work in most of these pieces. Usually they are too transformed by computer means and they could be any other type of computer music. This doesn't mean that this CD is not a nice one. It introduces some people that I never heard of like Gansterer/Geissler, Sergej Mohntau or Matthias Meinharter. The pieces by Boris Hauf, Nikolaus Gansterer and Paul Divjak (almost popmusic here) are very nice. So despite the somewhat high brow expectations, it's still a promising start for a label. (FdW) Address: http://www.transacoustic-research.com HOWARD STELZER & JASON TALBOT - FOUR SIDES (2x7" by Crippled Intellect Productions) In Vital Weekly 376 the first studio CD by Howard Stelzer and Jason Talbot was discussed. In Europe they are not well-known (unfortunally) but they have toured the North-East of America quite extensively the last few years, playing their duo set, but also many improvisations with others (Brendan Murray, Vic Rawlings). Howard Stelzer is the man behind the cassette players and Jason Talbot behind the turntable. Both play their instruments in a very uncommon way. Due to their many live concerts, they have developped a great sense of timing. Noisy bits and easily replaced by sheer silent ones, in which small, isolated sounds play their own role. On this double 7" they have captured two concerts. One from Mills Gallery, Boston and one from Extrapool, Nijmegen (their second European concert ever). I have had the pleasure of seeing the latter aswell as a lot of other concerts by them, and I am surprised to hear it again. I saw various concerts in a row and noted that they actually played songs, rather then improvisations, with the Extrapool as an exception - that contained entirely new stuff. Since this year Stelzer and Talbot go for an all improvised set. They probably feel confident enough to do so. A big leap forward. A highly improvised set of electronics - of a very lo-fi kind - cassette players and one turntable, but they have reached a great level of refinement. A great addition to their recent studio CD and no doubt this 7" will pop up in one of their future live concerts. (FdW) Address: http://www.crippledintellectproductions.net THE ABSTRACTIONS - ARS VIVENDE (CD by Pax) Here we have a couple of totally freaked out people making some of the maddest jazz noise you can imagine. Let me introduce to you the Abstractions: Ernesto Diaz-Infante-vocals (guitars, violin, turntable, field recordings, etc.), Dina Emerson (voice, words, bells), Phillip Everett (drums, autoharp, percussion), Sandor Finta (voice), Lance Grabmiller (laptop, processing) Bob Marsh (cello, voice, accordion), Jesse Quattro (vocals, words, bells), Alwyn Quebido (electric guitar), Rent Romus (alto & soprano saxophone, flute, voice, percussion, toys, CD player), Marjorie Sturm (lyrics) Stephen Ruiz ( turntable sounds). Although some of them are very good musicians virtuosity is not their thing. Their improvisations sound as if they are played by non-players. They create extreme and dark atmospheres, using a wide range of instruments and other soundsources. Human voice plays an important role in most pieces. Be it the recitating and monotone voice of Ernesto or the totally over the top singing of Jesse Quatro and others. A piece like 'The Lurch' offers the same hammering wall of noise as can be heard on Moe! Staiano's disc. Instrumentation differs from piece to piece. On the other hand, each track on this cd tells and demonstrates that the 'ars vivende' is not an easy art for them. Life is viewed from the dark here. This is evocated succesfully if you want. Be aware of this when you play it (DM). Address: http://www.paxrecordings.com ROTHKO & BLK W/BEAR - WISH FOR A WORLD WITHOUT HURT (CD by Trace Recordings) This collaboration is dedicated to the memory of the events of 9/11/01 and the debut of Trace Recordings. British electronica artist Rothko (Mark Beazley) teams up with Washington DC artist and sound bender Blk w/Bear (JS Adams) to establish a most moving and harmonious sense of discombobulation. The title track plays like a requiem, with a simple, lovely piano line. 'I Feel Lost Without You' addresses interference, amidst a parity of low frequency, but yet chaotic lines criss-crossing, possibly referencing Adams' sepia toned cover images from his 'Broadcast Interference Network Appropriations' series. Repetitive highs and lows make this an air-raid vs. the lovely crackle of old fashioned radio. Overall this recording is pretty much steeped in an alegorical sadness, its concept, though, never too top heavy for its output. Like midwestern dusty cinematic memories, that may not automatically fit into the New York City skyline, a reference to a larger world impacted by a single event, a shift in the cultural paradigm. In 'Declaration of Loss' this is established through samples of faded silences and warped guitar lines. Throughout there is an overcast, shrouded in minimal tonal flexes that keep a dramatic tension building. 'Wish for a World Without Hurt' is a soundtrack of an impassioned sadness that captures the stillness of the moment. Instantly I think of papers floating in slow motion, as if I were still sitting endlessly by the TV set watching the news reports of the missing from towers one and two. The haunting bass just hits me in the pit of my stomach. As the conclusion draws near 'Lowering With Wolves' reminds the listener that this is not your typical Rothko disc and that the only dancing you will do upon close listen is to shiver in your boots. The procession seems endless and sadly necessary. (TJN) Address: http://www.rothkomusic.co.uk, http://www.artbear.com 1. From: richard chartier SATURDAY SEPTEMBER 27 ONCE.TWICE:SOUND http://www.oncetwicesound.com JHU DIGITAL MEDIA CENTER 12k/LINE http://www.12k.com present nerven.1 CHRISTOPHER WILLITS [ SAN FRANCISCO - 12K / FALLT ] RICHARD CHARTIER [ BALTIMORE - 12K / LINE / TRENTE OISEAUX ] THEMOONSTEALINGPROJECT [ BALTIMORE - NOTYPE ] DOORS AT 7:30 PM PERFORMANCES BEGIN AT 8:00 PM THE JOHNS HOPKINS UNIVERSITY - MATTIN CENTER ROSS JONES BUILDING / 34TH & CHARLES ST / BALTIMORE, MD / USA FROM NORTH: I-83 S to 28th / L on N Howard, past Museum / L on Charles FROM SOUTH: I-95, to 395 N / R on Pratt / L on Charles to 34th parking on street $6 / $4 JHU student ID 2. From: Paul Devens ctrl-alt-del is a project on sound-art. It has the aim of identifying the current milieu of the aural experimental approaches within the contemporary art sphere. ISTANBUL - MAASTRICHT, 2003. http://www.project-ctrl-alt-del.com coordinates: INTRODUCTORY PRESENTATION and PERFORMANCES September 5th Marres, Maastricht 20:00 Introductory presentation by Basak Senova (TR), Paul Devens (NL) and Emre Erkal (TR) 20:30 Performance by 2/5 BZ (TR) 21:45 Performance by Nathalie Bruys (NL) CD LAUNCH September 5th Marres, Maastricht 20:00 Launch CD Kim Cascone (US), Matt Wand (UK), Merzbow (JP), Scanner (UK), Paul Devens (NL), 2/5 BZ (TR), Natalie Bruys (NL), Hassan Khan (EG), Jozef Cseres (SK), Kippi Kaninus (IS), Anabala (TR), Michel Waisvisz (NL), Zafer Aracagök (TR), Telco Systems (NL), Erdem Helvacioglu (TR), Revolutions on Request (FI). The producer: Paul Devens (NL) Price: 9 Euro PANEL September 13th Istanbul Technical University, Taskisla Campus, Istanbul 14:00 Introduction and presentations by Kim Cascone (US), Emre Erkal (TR), Rahma Khazam (UK/FR), Hassan Khan (EG) and Jozef Cseres (SK). 16:00 Second round and discussions 18:00 Aural demonstration by Cevdet Erek (TR) Simultaneous Translation (English-Turkish) Entrance: Free WORKSHOP September 14th Istanbul Technical University, Macka Campus, Istanbul In co-operation with MIAM (Center for Advanced Musical Research) - Istanbul Technical University 13:00 Lectures/presentations by Kim Cascone (US) and Jozef Cseres (SK). 15:00 Workshop by Pieter Snapper (US) and Cevdet Erek (TR). Concepts of "Good Sound" in the Hi-Fi/Lo-Fi Continuum: Computer Music to Blip Hop, Hip Hop, and Beyond PERFORMANCES September 18th, 20th and 21st Babylon, Istanbul Curator: Basak Senova 18th-21:30: Kim Cascone (US) 20th-20:30: Scanner (UK) - Paul Devens (NL) 21th-19:00: Matt Wand (UK)- Merzbow (JP) Entrance : 8 million /10 million /8 million TL PANEL September 27th Marres, Maastricht 14:30 Introduction by Basak Senova 14:45 Presentations by Michel Waisvisz (NL), Basak Senova (TR), Sarah Leisdovich (B), Emre Erkal (TR), and Ståle Stenslie (N) 16:15 Discussion Entrance: Free PERFORMANCES September 27th Marres, Maastricht 18:00 Zafer Aracagök (TR) 19:00 Michel Waisvisz (NL) 20:00 Kippi Kaninus (IS) 21:00 Telco Systems (NL) 22:00 Gel (FR) Entrance: 7 Euro EXHIBITION September 27th-November 2nd Marres, Maastricht ROR (Revolutions on Request) (FI) WEB-SITE September 2003 PUBLICATION December 2003 ctrl-alt-del project is developed by Basak Senova, Paul Devens and Emre Erkal in collaboration with NOMAD, HEDAH and MARRES. The supporters and collaborators of ctrl-alt-del project are European Cultural Foundation, HEDAH Centrum voor Hedendaagse Kunst, MARRES, NOMAD, The City of Maastricht, the Mondriaan Foundation and Istanbul Technical University - MIAM. note: please contact basaksenova@softhome.net for further information and the press kit 3. From: apo33 APO33 : http://www.apo33.org sound art organisation present : Raccorps : a web-radio project As a continuation of our activities of creation and research, we are setting up, during the year 2003, a research laboratory focused on the relation between audio art and numerical or multi-media tools. The general theme that directs our research is: the virtual. The purpose of this research laboratory is to conceive and invent, through an artistic realisation, new possibilities of use and development of numerical tools. In this idea, we developp many projects using audio through internet : - Automation : AUTOMATE1 play Ralf Wehowsky (during 1 month) at http://www.apo33.org:8000/playlist.pls?mount=/automate&file=dummy.pls Ralf Wehowsky create two pieces to be interpreted by a robot which use some automatic action to transform sound (Sound artists, composers, musicians..., could propose piece to be played by Automate1, please listen it and contact us to know how you could submit to this project). - Interaction(?) : Every Action (movement, pression, light...) in our office changes the pitch and delay of the sound materials proposed by artists. Manu Leduc & Luc Kerléo propose sound materials to the INTERPRETATEUR at http://www.apo33.org:8000/playlist.pls?mount=/bias&file=dummy.pls - Soundscape : Apo33's artists propose non-stop soundscapes of their own house. You could listen 12RJJ (a microphone on a window + filter & reverb) at http://joe.apo33.org:9000/playlist.pls?mount=/out.mp3&file=dummy.pls and Patate (a microphone in a house, and everyday life experimentation) at http://boniface.apo33.org:8000/playlist.pls?mount=/patate&file=dummy.pls Also we give acess to the people (directly in the street) to listen all this live streaming (Headphones, Speakers on a wall, in the stairs, toilets...etc). And sometimes we use this sound materials when we participate to an event with the CIA (Cell of Intervention of Apo33) with his DRM (Radiophonique mobil device). You could read our first research article exposing our artistic position at http://joe.apo33.org/pub/Raccorps2.html (this is a temporary location, before to finish to translate our Raccorps web site in english at http://www.apo33.org/raccorps) 4. From: John Rickman Contact: Jonathan Matis Director, Washington DC Chapter, American Composers Forum 301.270.6240 http://www.composersforum.org/dc SONIC CIRCUITS FESTIVAL OF ELECTRONIC MUSIC RETURNS TO D.C. The 2003 Sonic Circuits festival will take place throughout the greater D.C. metropolitan area from September 5th through September 28th. For complete info and updates, please see the festival website: http://scdc.alkem.org The Sonic Circuits Festival, sponsored by the American Composers Forum, Washington DC Chapter, brings to Washington a showcase for the latest artistic uses of technology. From the commercial to the classical, arcane to mundane, for gear-heads and neophytes, students and pros, Sonic Circuits promises to provide something intriguing. The D.C. Sonic Circuits Festival is part of an international series of concert events sponsored by the American Composers Forum. Each year, the ACF curates a group of works that form the basis of a travelling concert series. Each locally produced festival draws from this pool while augmenting the programs with both local artists and nationally known guests who perform in regionally underrepresented genres. The D.C. area festival has generally been among the biggest and best in the nation, as evidenced by the wealth of talent and top-end performance venues at our disposal. 5. From: 386 Dear citizens of the world, it hasn't been too often recently that old box 386 DX showed up on public. But now it's got something special for you! Check out 386 DX MEGASHOW (yeah, something different!) at the opening party of Ars Electronica (right!) on the 6th of September, 22:30, Peter Behrens Haus (Alte Tabakwerke) If you will happen to be around there but are not a happy holder of AE V.I.P. pass - drop a line to 386dx@easylife.org with your name and you'll be included into guest list. Another news is that a new video depicting some moments of 386 DX 2001 tour can now be downloaded from 386 DX site. Peace, http://easylife.org/386dx 6. From: Jochen Schwarz DIE STADT presents: LIVE: JOHN DUNCAN (6 Channel performance of 'Phantom Broadcast') C.M. VON HAUSSWOLFF LEIF ELGGREN DITTERICH VON EULER-DONNERSPERG Bremen - 'Lagerhaus' - Fr.26.9.2003 - 20.oo Uhr Tickets: 12,00 EURO (reservations possible) Special: Release of a limited 7inch (DS64) incl. exclusive tracks by DUNCAN, HAUSSWOLFF & ELGGREN. The first 100 copies come on clear vinyl only available on the night of the concert (the remaining stock being sold through mail order afterwards). The first 100 copies may also include an insert feat. a poem by DONNERSPERG (t.b.c.). Other Live dates: 19.9. Berlin 'Podewil' DUNCAN & ULLRICH KRIEGER + MORE 22.9. Berlin 'Podewil' HAUSSWOLFF & ELGGREN 24.9. Hamburg 'Hörbar' DUNCAN, HAUSSWOLFF & ELGGREN 25.9. Köln 'Kulturbunker Mühlheim' DUNCAN, HAUSSWOLFF, ELGGREN & DONNERSPERG 28.9. Rostock 'MS Stubnitz'(t.b.c.) DUNCAN,HAUSSWOLFF, ELGGREN & DONNERSPERG 7. From: "info@suctionrecords.com" S K A N F R O M live! L O W F I S H (solo) live! S O L V E N T -vs- L O W F I S H live! Wednesday September 3, 2003: H A M I L T O N Futursonic @ The Underground, 41 Catharine Street North doors 9pm, 19+, $5 _live music starts at 9:15_ Thursday September 4, 2003: W I N D S O R The Avalon Front doors 9pm, 19+, $5 _live music starts at 10:00_ Friday September 5, 2003: T O R O N T O The Rivoli, 334 Queen Street West doors 9pm, 19+, $10 in advance / $12 at the door _live music starts at 10:00_ Saturday September 6, 2003: M O N T R E A L La Sala Rossa, 4848 Boul.St-Laurent Presented by Angle Rec (www.angle-rec.net) doors 9pm, 18+, $8 in advance / $10 at the door. _live music starts at 10:00_ 8. From: "staubgold" * * * KLANGGOLD club festival * * * Friday 5th September 2003, doors: 21h @ MAGNET CLUB, Greifswalderstrasse 212, 10405 Berlin live: Kammerflimmer Kollektief (Karlsruhe/D) Mapstation (Duesseldorf/D) Minit (Sydney/AUS) Mondomarc (Berlin/D) Guido Moebius (Berlin/D) Echokrank (Berlin/D) djs: Ekkehard Ehlers (Frankfurt a.M.) Bomb Mitte Sound System (Berlin/D) DJ Frathese/Toys (Berlin/D) visuals: Dis_sign (Berlin/D) -- 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 - Acaciastraat 11 - 6521 NE Nijmegen - The Netherlands All written by Frans de Waard (FdW), The Square Root Of Sub (MP ), Dolf Mulder (DM), Meelkop Roel (MR), Gerald Schwartz (GS), Niels Mark Pedersen (NMP), Henry Schneider (SH), Jeff Surak (JS), TJ Norris (TJN), Gregg Kowlaksky (GK), Roger Teeling (RT) and others on a less regular basis. 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. Announcements can be shortened by the editor. Please do NOT send any attachments/jpeg's, we will trash them without viewing. There is no point in directing us to MP3 sites, as we will not go there. Any MP3 release to be reviewed should be burned as an audio CDR and send to the address above. the complete archive of Vital (1987 - 1995) and Vital Weekly (1995 onwards) can be found at: http://staalplaat.com/vital/