CODES: - Drone Records

overheard speech from tourists. Later, in his Stockholm studio, he
added a series of feedback rotations to suggest crows (guardians or
enemies?) encircling the conceptual tower. The result is this belching,
super dense, low-end drone work. hausswolff's new piece is his
rumination on security and paranoia. What makes us safe? Is it better to
dwell in a cave or in a skyscraper penthouse? Could be another lecture
on sound and architecture. We hear a secret gastrointestinal message.
Say what?!“ [label description]
* WALDRON, M.S. / STEVEN STAPLETON / SIGTRTYGGUR BERG
SIGMARSSON / JIM HAYNES / R.K. FAULHABER - The Sleeping
Moustache CD (Helen Scarsdale Agency HMS007, 2006)
€ 13.00
Akustischer Surrealismus in Reinform auf dieser aufwendige Ketten-
Collaboration, Drones und Collagiertes zu gleichen Teilen,
Sprachexperimente, Geräuschaftes, Weirdes, abenteuerlich und schön!
Anhören und staunen !
„... Im fünfmaligen Wechsel von gut 10-minütigen mit 2- bis 3-minütigen
Tracks jonglieren die Fünf mit den elektronischen Schatten von
Nähmaschinen und Regenschirmen, wuchten nackte Eselskadaver auf
Konzertflügel, klingen nach der Nachtschwester und lassen sich das
Schamhaar neu friesieren [...].. Auch wenn sie das Pissoir nicht neu
erfindet, ist sie doch Frucht einer langen Erfahrung aquis submersus.“
[Bad Alchemy #51]
“....Each with a peculiar understanding of the audio arts, these five
artists came to the proverbial table and thought it a good idea to
collaborate. Given the predilection for the surreal and the sidereal that
each of these five employ in their many audio and visual projects, those
agendas oozed from the recordings that became known as The
Sleeping Moustache.
An epiphany of controlled disorder, a convulsion of beauty, a cascade
of thought from delirious minds, The Sleeping Moustache is an
exquisite manifestation of sound poetry scattered into a tortuous collage
mired in an oblique melancholy. Magnetic tones extracted from the
ether, mechanical sounds smeared into a lugubrious growls, horns
trumpeting straight out of John's Book of Revelation, ululations sliced
into information overload that Schwitters himself would be proud of. The
Sleeping Moustache presents a psychically instable landscape, where
dreams and nightmares wreak havoc upon the drudgery of daily life.
The closest audible territory for The Sleeping Moustache might be the
psychoactive constructions of Nurse With Wound's Homotopy To Marie,
although the characters in this drama happened upon an entirely
different map of that terrain.
The artwork for the first edition of The Sleeping Moustache features five
letterpress prints from each of the artists with an edition of 1700.” [from
the label description]
* WATERMANN, JOHN – To be taken seriously it has to be long
mCD (Waystyx 22, 2006) [lim. 100] € 22.50
Collector’s item coming in special cover. Two pieces, fabric pressed,
art-cover, only 100 numbered copies available !
* WATERMANN, JOHN – Neurotic Jesus Cash Boy CD (Waystyx
Records WR27, 2006) [lim. 150] € 14.00
„Vormals auf Tochnit Aleph herausgegeben, versammelt dieses
Rerelease drei Stücke von John Waterman, die, wie auch in vielen
anderen Veröffentlichungen von ihm, eine Mixtur verschiedener
Fieldrecordings und Synthesizerklänge sind. Meist unterlegt von
sparsam aufbereiteten Rhythmen und Einspielungen textlicher Art.
Donnergrollen und Brandungsrauschen verströmen eine naturalistische
Atmosphäre von der die rhythmische Komponente unmerklich Besitz
ergreift. In „Neurotic Jesus Cash Boy“ ist wiederum ein
melodieunterlegter Rhythmus bestimmend, durchgossen von
Einspielungen repetitiver Klangkürzel, meist auf Synthesizersounds
basierend. „Somewhere Over There“ greift erneut das Seethema auf,
um es in dichten Clustern zu einem sirrenden Anschein des
Unheilschwangeren zu führen.
_Originally released on Tochnit Aleph the CD assembles three pieces
from John Waterman. Like in several other releases here he also deals
with a fine mixture of minimal rhythm tunes and sounds from various
field recordings or synthesizers. You hear some tunes from the seaside,
a lonely voice only repeats the number 19235, rhythm finds itself and
remains modest. The second tune shows also voice samples
underlayed with a monotonous rhythm and synthesizer sound originate
from 70s kraut rock. The last piece deals again with recordings from
seawaves. It contains convergent sounds of dripping water, sustained
buzz tones from synthesizer again. Constantly floating but with the
touch of a disastrous atmosphere.” [Peter Schlewinksi / Drone Records]
* WERREN, PHILLIP – Electronic Music (1968-1971) do-CD (Cast
Exotic cat # 003, 2006) € 20.00
Wiederveröffentlichung einer extrem seltenen LP-Box dieses
weitgehend unbekannten nordamerikanischen Elektronik-Pionieres !
“Brand new reissue of a impossible to find early Canadian electronic 4
Lp box by composer Phillip Werren. Only 100 copies where ever
pressed of his early electronic work. It was recorded at Simon Fraser
University (Vancouver), McGill University (Montreal) & Radio Warzawa
(Poland). It was recorded between 1967 and 1971. The LP has heavy
elements of tape collage, Modular Synthesis, voice, and experimental
thought. Some of the pieces where conceived by psychedelic and
occult influences. Much of the record was done with a Buchla System
100, the first of their modular synthesizers. Original cover artwork was
created by local Vancouver Artist JAS Felter.
The Album was created for the most part at the height of the late
60's at Simon Fraser University. "1968 was a year of great upheaval: at
SFU, Canada's Berkeley, 114 people were arrested for their part in the
protest over the firing of the entire faculty of the Political Science and
Anthropology department. Marcuse, Baba Ram Dass and others came
to speak to us at peril to themselves; acid and mescaline abounded and
apocalypse seemed to fairly shout out at us in the rarified atmosphere
of Burnaby Mountain. The neo-fascist architecture of the university
seemed to beg for anarchy and chaos and linear thought itself seemed
doomed to extinction."
"The electronic music studio at SFU was at that time probably the
most sophisticated studio in Canada. After working in studios at
Columbia and Radio Warsaw, both of which were small and somewhat
limiting, I found it impossible to continue composing with the
Princetonian precision in which I had been schooled. The SFU studio
contained the most recent synthesizer designed by Don Buchla. I only
vaguely understood what "it" did and realized that I would have to put
aside my rigid preconceptions of how one sound should follow another.
The sequencer, a device which can generate a sequence of sound
events in a more-or-less random pattern and at times seemed to have a
life of its own, became for me a sort-of window through which I could
see/hear a universe of sound I had never imagined possible. It was
necessary for me to "step back" from these sequences of sound-events,
to control them in some other way: through the mix of one sequence
with another in time and space."
This album is a nugget of Canadian Psychedelic Avant-Garde history,
up there with the early works of Bill Bissett, The Nihilist Spasm Band,
and Intersystems. Also in line with early America works by Robert
Ashley, Tod Dockstader, and Gordon Mumma. More currently, this
would site nicely with a oddball release by Wolf Eyes, Double Leopards
or Excepter.” [label description & liner notes]
* WRIGHT, PETER – Red Lion CD (Digitalis Industries DIGI027,
2006) € 12.00
Londoner Aufnahmen von 2004: field recordings von verschiedenen
Plätzen Londons (Red Lion Square, Tate Modern, etc.), feedbackin’
hyper-effektierte Drone-Guitars, merkwürdige Obertonräume entstehen,
Daydream-Akustikgitarren verschmelzen mit Environmentals, sowas
wie Helikopter-Vibrationen(?), einzelne metallische Töne ziehen
Resonanzen wie Schweife hinter sich her, himmlische Vibratos, die in
der Luft schweben & zu schimmern scheinen, sirrend-fräsende
Klangwolken mit Siren-Effekt....
Wie fast kein Zweiter ruft PETER WRIGHT aus seinen Gitarren
manchmal fast aberwitzig zu nennende Obertonresonanzenschwälle
hervor, schafft sirrend-schwirrenden Singsang par excellence, der nie in
langweiligen tumben Noise oder Drone abgleitet, sondern immer in fein-
ästhetischer Balance bleiben....
RED LION ist ein poetisch-verträumtes Werk mit vielen Facetten und
sei hiermit allen die PETER WRIGHT noch nicht kennen ans Herz
gelegt. 9 tracks, ca. 55 min.
“You can remove a Kiwi from New Zealand but you sure as hell can't
remove New Zealand from a Kiwi. Such is the case with Christchurch
transplant, Peter Wright. Over the course of a decade, Wright has
etched his name in glass in the annals of drone-world superstardom.
And while I'm not sure what that really means, the point is that when it
comes to soaring dronescapes, few do it better than Peter Wright. He
has helped pave the way with contemporaries such as Birchville Cat
Motel and Double Leopards, but clearly has his own distinct voice. With
his past few albums, Wright seems the logical successor to native Kiwi,
sound manipulator extraordinaire, Roy Montgomery.
"Red Lion" is Wright's latest incarnation and, once again, pushes the
boundaries of what he can do with his trademark 12 string Danelectro to
the absolute outer limits. He pushes the limits of simplicity without ever
breaking. Wright's albums are a thing of sheer, pure beauty, existing in
a vacuum where nothing on the outside can tamper with their grace.
Even with his lofty intentions, "Red Lion" is immediately approachable
and grabs the listener from the opening notes. As always, Peter Wright
offers up something wholly infectious and undebatably magnificent.
Press about Peter Wright: "The finest in underground free noise /
drone...mostly from New Zealand but all around the world as well. For
those of you new to the CpsiP label, imagine classic Siltbreeze (Dead
C, etc.) mixed with Jewelled Antler (Thuja, Blithe Sons etc.), dark and
deep listening that sometimes verges on all out noise, but more often