CODES: - Drone Records

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Pyrox creates intense electronic drones, Pholde creates dark ambient soundscapes by the bowing and scraping of self-created metal soundsculptures with hand files, smooth and threaded metal rods, angle iron and blocks of steel to produce atmospheric, haunting soundscapes. Alan Bloor's music was released on many labels worldwide, including Alien8 Recordings, Gears of Sand, Mystery Sea, RRRecords, Taâlem and Troniks. As usually happened with all previous Pholde's works, the two pieces on "Aperture of the Internal Surface" were produced and recorded by Alan in single sessions without any overdub, using only his soundsculptures as source material aided by reverb and some equalization. Clocking at over thirty minutes, the title track is a marvellous example of Pholde's trademark ambiences and it can be ideally divided in five movements: in each of them a wall of sound is built and becomes quite loud at times, then the crescendo stop and music turns quiet and sparse before building up tension and explode again in a spellbinding stainless steel symphony. Bloor's passion for hermetic titles is renewed in "Manifested By the Occurrence", the second and conclusive track on the album. Once again, this is metal reverberation at its best where rich and harmonic drones resonates in a powerful manifestation of tonal abstractions, clanging collisions and morphing condensations." [label description] "The two pieces circulate in spheres of ambience; spheres, that operate in everything from concrete metal sounds to more abstract textures. The source material for these pieces appears carefully selected and consciously restricted, the same effects turning up again and again, but in different contexts and with varying functionalities. Considered as a musical work, the album is extremely fascinating with its many layers of sounds resulting in some immense listening experiences, but the fact that Mr. Bloor manage to extract so many atmospheres and expressions from the concrete source makes the album even more fascinating. Whether you like or dislike noise a musical sounds, Alan Bloor is certainly a great scientist of concrete noises, a scientist OR a composer if you like, that deserves your attention." [NM / Vital Weekly] * PHOLDE - That which tends to dissolve CD-R (Gears of Sand, 2006) € 11.50 "Bloor certainly has a directly noticeable and unique style going for him, which he has carefully refined and expanded on in a career spanning more than five years. While his knurl moniker is clearly bent towards noise, Pholde has been his Ambient project – but who would have thought that you could create Ambient with the use of metal and engineering tools “My biggest influence was working in welding shops.”, Bloor says, “I used to love the sounds of the cutting and scraping steel. That influenced me to start Knurl. Pholde branched out from that after meeting the guys at the Ambient Ping (then a weekly ambient music event) in Toronto.” The Ambient Ping’s very own record label, Gears of Sand, has also released Pholde’s latest offering,”That which tends to dissuade”, which is a perfect example of Alan’s work: Metallic surfaces rub against each other in vast and empty halls, chains are clanging in the distance and rusty tubs are being moved by invisible hands in cold basement vaults. It could be frightening, but in a mysterious way, the music ends up being infinitely consoling. Pholde is not about collecting random noises and simply adding a bit of reverb, it is about creating extremely minute and precise soundscapes: “I feel a composition has to be something that is planned and can be recreated.”, Alan stresses, “I don't agree with people who say that something that is improvised is a composition. I understand that a composition can be partially improvised such as Giant Steps by John Coltrane. But I have a hard time believing people when they say John Cage's 4:33 is a composition.” Even though his methods may be miles away from Eno’s, he may actually be one of the latter’s closest heirs: After all, his works hold the same duality of magical intensity and and ideal aural background. And unlike many of his colleagues, Bloor has only good things to say about the Ambient scene: “I think it is very strong and close knit. I find there are no big egos and everyone is friendly and willing to help each other whether it's setting up shows or releasing material.” [label info] * POLARIS - Nishkatup mCD-R (Abgurd AB-31, 2006) [lim 90] € 7.00 Beautiful 3-track EP (almost 22 min.) of subtle & dense soundexpanses with mysterious chants from this russian project. Numbered edition of 90 copies. "Drone Ambient. Hazy structures of shift. Hissing melodies of dimensions. Remembrance. [label info] * RABBIT GIRLS - Demonizer do-mCDR (Roil Noise RNOCDR042, 2006) € 8.00 Two one-trackers that sound like studies in abrasiveness, Sounds that seem to jerk you around, quite undescribable weird acoustic objects fool around everywhere... worth to discover for low-fi noise fans! "layered cassette tape massacres. 2 tracks - running time 39 minutes - 2x3" dual hub cdr w/ insert in a 4 mil clear zipper bag" [label info] * RAJAPINTA - Bootleg Epiphanies CD-R (Some Place Elserelated unknown label, 2007) [lim. 123 copies] € 8.00 "Not on Some Place Else, in a deliberate attempt to create a bootleg, but who found a bunch of old 7" covers and decided to pack the CDR by Rajapinta in them. Rajapinta is/was the collaboration of Ibrahim Terzic and Some Place Else label boss Niko Skorpio. They worked together from 2001 to 2006 and created 'hundreds of hours of work and experiments'. Skorpio set forward the task to edit these recordings and on 'Bootleg Ephiphanies' are the best pieces. Although a lot of the matter is quite noise related, I thought it was a pretty interesting release. Rajapinta doesn't opt for the true all out wall of noise, but rather make a sharp combination of floating samples, letting them bounce up and down the scale, thus creating quite a lively set of music. Plus it's not all noise that rings around here. They know how to pull back and put on a softer tune. Heavy duty musique concrete, turntable madness and enough computer plug ins to create a hard disk crash, it all kind of makes great sense here." [FdW / Vital Weekly] * RAMIREZ, RICHARD - Deprogramming Pornographers CD-R (Mask of the Slave MS005, 2006) [lim. 120] € 8.00 Rare release on this romanian noise-label, sold out there already.. "Richard Ramirez has need no introduction. He is the master of structural harsh noise. American noise artist that founded Black Leather Jesus in 1989 and Deadline Recordings. Other projects of Richard Ramirez: Adipocere, Electro Anal Kink, Ninth Massacre, Shit Organ, Werewolf Jerusalem, Bill Skins Fifth, Dead Air Show, Priest In Shit, Release Helen Rytka, S-21, Slave Labor. "deProgramming Pornographers" is an exclusive 42 minutes (3 tracks) harsh noise release for the fans of Richard Ramirez! Limited to 120 copies." [label info] * RENOU, CHRISTIAN - Gone with the Wound mCDR (Taalem alm39, 2007) € 5.00 Finally, new material from RENOU, very eerie & threatening stuff with rising drones & alienated voice-material. So good & intense.. "Years and years ago, Christian Renou was known as Brume, but already since six or so years he works under his name, and changed his sound a little bit. As Brume the sound collage was his main interest, but under his own name, he seems to have developed a love of sustaining and droning sounds. 'Gone With The Wound', in two parts is no different. Elements of collating sounds are still there, but throughout the pieces, the long journey is the central theme. Still quite powerful stuff. Part one is loud and clear present, whilst the second part uses more covered up sounds." [FdW/Vital Weekly] "it's a great pleasure for us to welcome Christian Renou in the taâlem series. active for more than 20 years, first under the Brume alias, he has released many discs (and countless tapes in the old days) on many international labels like Staalplaat, Release, Ground Fault, Drone Records, Old Europa Cafe and more recently Fario or Waystyx. this in two parts is a highly evocative journey with constantly evolutive sounds between experimental, ambient and drone... processed recordings from various different sources for a captivating & fascinating result." [label info] * REPTILJAN - Archaeodermophagia CD-R (Some Place Else SPECDR07042, 2007) [lim. 104] € 10.00 Limitierte und obskur aufgemachte CDR (mit Haar und Authentifizierungs-Zertifikat!) von NIKO SKORIOs "intelligent noise"- Projekt! "After a two-year hibernation, REPTILJAN is back! The old lizard has shed its skin again and perhaps aged somewhat, but the same explosive power remains. Archaeodermophagia is devoid of fractured beats that dominated The Hellbender Suite (2005), focusing on howling distortion, pummeling low-end rumble and piercing feedback. This recalls the beginnings of Reptiljan (self-titled debut, 2002), hence the title's reference to eating old skin, perhaps Whereas the previous works were boldly digital, Archaeodermophagia was conjured through completely analog means. Distancing itself from "plain noise" there is an obvious compositional (even if spontaneously so) element at work, that defines the structure and space, and invites in hints of melody and a spectrum of emotions wider than the joyous rage that acts on the surface. The disc comes in hand-made sleeve that an uninitiated bypasser commented, "What are you doing That's fucking disgusting! Is that hair in there or what I don't know what you're trying to achieve but it certainly isn't art!" ...each sleeve is more or less unique. Edition of 104 copies, hand-numbered. Includes certificate of authenticity." [label info] * RUCHALSKI, EDWARD - Territorial Objects CD-R (AFE Records afe089lcd, 2007) € 13.00
Das Mailänder Label AFE RECORDS mausert sich zum Spezialistenverlag für "advanced" field recordings, d.h. experimentell kreierte Soundscapes in denen Feldaufnahmen eine Hauptrolle spielen, die jedoch noch nachträglich bearbeitet oder mit anderen Soundquellen vermengt werden. EDWARD RUCHALSKI ist für uns auch noch ein recht unbeschriebenes Blatt, beim Durchhören seiner "Territorial Objects" fiel uns die Unmengen von verschiedenen Klangquellen auf, v.a. dynamische Becken- & Metall-Drones, "Gedengel" mit Glocken, äusserst attraktives Gerumpel & Trötenflächen, Pitchveränderungen führen zu Timbre-Wechseln... insgesamt sehr atmosphärisch & droney, super! "Edward Ruchalski is an american composer currently living in Syracuse, New York, where he teaches guitar. He has been commissioned by the Bang on a Can All-Stars, Helen Boatwright and Syracuse's Society for New Music. Ruchalski has also been the recipient of two Individual Artists Grants from the Cultural Resources Council in Syracuse for his compositions Private Harmonies, a series written for motorized string and percussion instruments, and Kafka Resolution, written for speaker and percussion. For the last ten years he has been creating sound installations, motorized string and percussion instruments and playable percussive sculptures. His music has been released worldwide on labels such as Humbug, Pseudoarcana, Foxy Digitalis and Taâlem; he also contributed to many compilations. We had the chance to listen to Ruchalski's music for the first time when his "Refined Localities Part One" MiniCD-R 3" was released by Taâlem in France a few years ago. We instantly fill in love with his beautiful experiments and approached him. Edward proposed us a new work and the reissue of one of his older and out of print albums. We didn't have any doubt at all and steadily decided to release both of them on Afe... (please also have a look at afe090lcd). "Territorial Objects" is his latest full-lenght work, a collection of thirteen untitled short pieces recorded during 2005-2006 with the help of Michael Burton and Matt Broad. According to Edward's own words, "primary source materials used on the album include Michael Burton standing in Butternut Creek, playing cymbals, bells and artillery casings, sometimes using the water to vary the pitch of a cymbal or casing. Also, the two of us improvising on various drums and cymbals at Michael's house. Secondary source materials consist of Matt Broad playing long single notes on his tin whistle. Additional source materials include field recordings, bells, guitar, toy piano, various old recordings of motor instruments and samples from two old keyboard compositions. Source materials were transferred from minidisc to computer in order to create a library of sounds. Multiple copies of each sound were made so that variations could be created by envelope manipulation, filtering and pitch altering." "Territorial Objects" is a complex and powerful work focusing more on the percussive and mechanical side of Ruchalski's music rather than on the droning elements. The artwork for this release features original pictures taken by Paolo Ippoliti of Logoplasm." [label description] * RUCHALSKI, EDWARD - Dark Night CD-R (AFE Records afe090lcd, 2007) [ed. of 100] € 13.00 Wiederveröffentlichung dieses ebenfalls sehr hörenswerten RUCHALSKI-Albums von 2004, fliessende & warme Klänge generiert aus Wasser, Klangschalen, Piano... dream-ambience... "....The first edition of "Dark Night" was released on Foxy Digitalis back in 2004 and is probably one of Ruchalski most well-balanced works. The following description is a long excerpt taken from a review of the original edition written by Steve Rybicki, the original page with the complete review is available here. We really couldn't find a more appropriate way to describe this intense and beautiful album. "Close your eyes and try to imagine yourself as a child on a farm nestled in a bucolic New England valley. It is late, but you cannot sleep. As you listen to the sounds of the night, you might hear the restless nocturnal piano tinkling of your insomniac older sister from the parlor downstairs, or the sonorous tolling of the grandfather clock just down the hall from your room stolidly announcing the passage of time. Turning your attention away from whatever lurks in the dark corners to the open window beside your bed, you might hear the red shifted whistles of freight trains rumbling by, or the whisper of a sprinkler tapping out its watery arc. Fog banks roll across the pastures so dense that although they should be silent, they have almost willed themselves a voice capable of eerily wailing their whispered name into your ears. Welcome to the ever-maturing world of Edward Ruchalski. The audio portrait your mind has "visualized" is Ruchalski’s latest release "Dark Night". The disc begins with a swelling ringing drone that rolls and sways like wheat in a gentle breeze. Over this lulling undulation one can hear the whistles of distant trains passing by. The second track marries lightly stroked piano with resonating bells and chimes that are overshadowed briefly by screeching harmonics of bowed metal before the mournful cry of the train whistle returns. Underneath this swell, the steady insistent sweep of a sprinkler hovers into range Over the next several parts of the piece, these basic elements are manipulated and modulated expertly to build a narrative in which individual events can be discerned (the slightly spooky piano figure from "Part Three", the "clock" striking the hour in the middle of "Part Four") but never interrupt the leisurely movement of the whole. As "Part Five" begins with gently plucked guitar frames chiming bells, one can easily picture the easy harmony of an elemental duet between a solitary farmhouse occupant and the wind chimes on the back porch. It is the first hint that acceptance and peace can be attained even amidst the turbulence of nocturnal noises. Once the delicate piano chords at the start of "Part Six" have been swallowed by gamelan-like echoic bells, a babbling brook emerges as the underpinning for Rebecca Klossner’s "singing bowls". The presence of unfettered water (as opposed to its earlier appearance in sprinkler directed form) is emblematic of the softening the piece has undergone over its length. The final "Part Eight" breaks like dawn illuminating the previous evening’s sinister room corners as merely an innocuous and essential meeting place for the walls of home." The graphics of "Dark Night" are based on a picture taken by Paolo Ippoliti of Logoplasm." [label info] * RUHLMANN, MATHIEU - The Earth grows in each of us CD-R (AFE Records afe097lcd, 2007) [ed. of 100] € 13.00 Neben LOGOPLASM und EDWARD RUCHALSKI gehört der Kanadier MATHIEU RUHLMANN für uns zu den besten Neulingen auf AFE Records. Der poetische Titel des Albums verweist schon auf innere Wachstums-prozesse des "wahren Selbst", was durch die melancholisch warmen, tief nostalgischen Sounds unterstrichen wird. Das erinnert in den loopigen Wiederholungen von Harmonien an WILLAM BASINSKI, setzt aber auch auf leise field recordings & eine Vielzahl von Objekt- & Instrumentalklängen und schafft eine intensive Atmosphäre von Brüchigkeit und Fragilität.. filed under: fragile sensitive ambience... "Mathieu Ruhlmann is a visual and sound artist. He first began composing soundworks to accompany his visual art based on found material. He has created works for various labels in Europe, Canada and the United States as well as contributed to several compilations. He has also produced sound installations and held performances thorughout North America. He currently resides in Vancouver, British Columbia. The Earth Grows in Each of Us" was composed and recorded during Spring/Summer 2006. Instruments and sounds used on the album include: violin, piano, autoharp, accordion, bell, shruti box, voice, vinyl, wasps, seafoam, glass, tiles, fireworks, water, tree branch, metal, seedpod, pine cone, tone generator and stones. Here's a description of the album according to Mathieu's own words: "The main concept behind "The Earth Grows in Each of Us" was to create a soundwork addressing the regeneration of the life cycle. This work was created in 2006, the year of my 30th birthday. On this release there are five tracks. The first four track times refer to the numeric year of my birth, 1976. So the first track is 1 minute, second is 9 minutes, the third 7 minutes, and the fourth 6 minutes. The fifth track is 30 minutes long, my age, and is separated into 3 ten minute segments (each segment representing a decade of life). While creating these sound works, this regeneration of different life cycles became very personal. My son was just born so I was experiencing this new life and seeing his growth/generation and also during this period my sister, who is very close to me, was in a serious near death accident. So my thoughts were constantly meditating on these two elements or dichotomies and also these micro and macro cycles we experience. Coming from a very visual art background my process or method is much aligned with how I approach a sound work. In my visual art work I collect a lot of found material and objects and use that as a structure or basis for my work very similar to my approach with sound. I am constantly collecting field recordings, found objects and sounds as well as traditional instruments to compose with. My initial influence to creating sound works was going out to these environments to collect material for my visual art and being so drawn into these acoustic environments (railway yards, abandoned factories, mountains, old houses, etc.) that I started recording them and presenting them with my artwork. Soon I began to be more captured by the sounds and working with them. In this release though I had a conceived idea of the piece and sought out the locations/sounds that related to the concept. Usually I try not to work under such a structure." "The Earth Grows in Each of Us" features a beautiful artwork created by David Ruhlmann." [label description] * SECONDS IN FORMALDEHYDE - II CD-R (Gears of Sand GOS24, 2006) € 11.50 Neuer "Guitar Drone" aus deutschen Landen, sehr reduziert, entrückt und von einer bemerkenswerten Klarheit und Einsamkeit, mitunter geht es in verzerrt-noisige Gefilde: Berggipfel-Musik. "It's pretty impossible to not be intrigued by a record that features the legend: "This music was created with the pure power of the guitar drone." Especially when those words prove to be absolutely
Page 1 and 2: DR-85: MURMER - In their homes and
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Page 5 and 6: edition of merely 100 copies - the
Page 7 and 8: * FEAR FALLS BURNING - Once we all
Page 9 and 10: they're definitively one of the mos
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Page 17 and 18: 1.1. VINYL COMPILATIONS * KKH 1 LOC
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Page 33 and 34: * Yuri ELIK / NOISES OF RUSSIA - Vo
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es einen Bonus-track von 1970 (eine
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psychedelic experience to behold. I
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the band main inspiration at the st
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album. Ten powerfully heavy and del
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to all the people who try to simpli
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atmospheric even when experienced w
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estimmte musikalische Parameter wie
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from Algerian artist Nepa Ios. Also
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5. BOOKS & MAGS * AUF ABWEGEN Nr. 3
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CODES: - Drone Records

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