CODES: - Drone Records

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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
than not remains subtle experiments in avant drone and abstract sound." - Aquarius Records "This is easily some of the most evocative proto-drone work to reach these ears in a while, with beautiful almost folk melodies that flutter on the edge of audibility cut up with a thick soup of early-evening smog and long forgotten geographies. Somewhere between early Flying Saucer Attack, Mirror and William Basinski. Highly recommended." - David Keenan, Volcanic Tongue "If Windy & Carl's vision of Antarctica is your idea of bliss, you will drool over this soundscape depiction of Peter Wright's home in New Zealand. Now living in London, these are what the label calls "love-drones," as Wright's memories of his home's wide open spaces inspire slowly unfolding waves of lush guitar." - Jim Steed, Fakejazz “ [label info] XENAKIS, IANNIS – Electronic Music CD (Electronic Music Foundation EMFCD003, 1997) € 13.00 BACK IN STOCK!! „Wichtige Aufnahmen aus dem Werk, v.a. der Frühzeit des griechischen Komponisten: 4 der hier enthaltenden Stücke entstanden 1957-1962 im INA GRM-Studio in Paris bei PIERRE SCHAEFFER. Ein weiteres stammt aus dem Jahre 1970 (nur instrumentale Sounds), das letzte schließlich ist unter Einsatz eines speziellen Computer-Programmes entstanden, welches XENAKIS entwickelt hat (1992). Schön & erstaunlich die geräuschhaft-dröhnig-elektronischen Stücke aus seiner Anfangszeit...“ [old Drone Records info] “Superlative and long desired reissue of Xenakis's early electronic works, including the in-demand pieces from his his pioneering Nonesuch album Electro-Acoustic Music. Issued in collaboration with France's INA-GRM, the studio where the first 3 of these compositions were realized. Although it only makes up a tiny portion of his total composed work to date, Xenakis's tape works are as legendary and significant as those of Schaeffer, Henry or Stockhausen. Powerful, mind expanding listening -- this release certainly will rate as one of 1997's most important experimental musical documents. Includes the following works: "Diamorphoses" (1957): "a study of white noise and its graduations through the process of densification." "Concret PH" (1958): "This very short work is a sound continuum without a single break. Xenakis pre-recorded crackling embers from which he extracted very brief (one-second) sound elements. Then he assembled them in huge quantities, varying their density each time. This work can be compared to his instrumental preoccupations concerning 'clouds of sound'." "Orient-Occident" (1960): "one of the major masterpieces for tape...conceived as a music for a film by Enrico Rulchignoni." "Bohor" (1962): "dedicated to Pierre Schaeffer...an extraordinary and deafening sound continuum where the listener is invited, in a figurative sense, to hear bells chime while standing inside them!" "Hibiki-Hana-Ma" (1970:" "Xenakis recorded and reworked sequences played by an orchestra, a biwa, and a snare drum but never rendered them unrecognizable. Distributed over 12 tracks, the work's sonorities were elaborated in function of a highly pronounced spatialization. The title of this piece means 'reverberation -- flower -- interval." "S.709" (1992) recorded with the GENDYN program: "Both the sounds produced in the piece as well as the global evolution of the composition are literally unheard of: despite the abstract nature of the processes involved and their mechanical nature, the Xenakis sound world is immediately recognizable." [press release] * ZGA – Zgamoniums CD (ReR Megacorp ReR ZGACD, 1991) € 14.00 “.... Musik, die in ihrer Originalität schwer zu beschreiben ist: Industrial- Noise-Rock-Improvisationen zwischen AMM, EINSTÜRZENDE NEUBAUTEN, DDAA (nur um eine vage Klangwelt anzudeuten). Harsche Rhythmen, knirschendes, schrillendes Metall, monotoner Sprechgesang, gequälte Trash-Elektronik – invalide Cyberpunks wühlen als Schamanen der Zukunft im postatomaren Schrott – Lähmung, Statik, gegen die ein archaischer Beat ostinat antrommelt...“ [Rigobert Dittmann in Bad Alchemy Nr. 14 zur ersten ZGA-LP (1990)] “New works from the extraordinary Rigan Quartet; sound bites from 'real' and electrified scrapyard instruments; an indescribable and incomparable group who have succeeded both in defying genre and creating radically new sounds.” [ReR] „ZGA pflegen die Perkussion auf eisernen Objekten, wie es so manche Band in den 80er Jahren tat. Aber anders als diese entfachen sie kein Industrialdonnerwetter, sondern loten mit kratzender oder streichender Behandlung die eher leisen Gefilde bzw. atmosphärischen Möglichkeiten des Materials aus. Die senkrecht aufgehängten Spiralen, Eisenplättchen und -stangen bilden zudem das Herzstück für Stücke, die einen entfernten Rockkontext lediglich in dekonstruierter Form erahnen lassen. Plötzliche Brüche im Aufbau geben den Stücke einen rohen und fragmentarischen Charakter. Wenn mit einem plötzlichen Schwenk die Geräuschkulisse kippt und eine verquerte Klarinette Volksweisen anstimmt, wirkt das nicht als beliebige Geste. In die Aufnahmesession, die die Band erstmals in ein professionelles Studio führte, haben ZGA ihr Erfahrung im Umgang mit nicht vorhandenem Equipment, will sagen die Bastlermentalität des Improvisateurs im Gegenständlichen nochmals mit herüber genommen. Immerhin fuhrwerkeln ZGA seit 1984, noch hinter dem eisernen Vorhang und unter erschwerten Bedingungen, an ihrer Musik herum und da steckt nun mal auch immer der geniale Schuss Punk drin, der die Dinge so erscheinen läßt wie wir sie mitunter gar nicht gern sehen: ständig reparaturbedürftig. _ZGA are working on iron objects like some of the industrial bands from the 80ties. But in spite of them, they are more in the quietly fields sounding out the materials possibilities with scratching and stringing. Coil springs and/ or iron plates played with iron bars are the heart for pieces far away from any rock context. Sudden breaks are disturbing the structures giving them a rough and fragmentary character. When in a sudden move the sound scenes are changing and a strange clarinette starts playing in terms readily comprehensible to the layman, it is not only any gesture they like. Since 1984 they have been existing as a band working behind the iron curtain. Maybe for that reason they developed an improvising talent in dealing with heavy circumstances especially for musicians like them. Now for this session ZGA have worked the first time in a professional studio and they used their brilliant punk spirit which makes that the things seem to be in a way we do not always like to see them: currently under construction.” [Mr. Schlewinski for Drone Records] 4.1. CD COMPS * A FIELD GUIDE TO TABLE OF THE ELEMENTS do-CD (Table of the Elements TOE-CD-90, 2006) € 22.00 Schön aufgemachte Label-Compilation des ambitionierten US-Verlags inklusive einiger unveröffentlichter Tracks…. "Since 1993, Table of the Elements has spoken that truth, focusing on musicians whose light shimmers outside the frames of convention and registering the ripples of music that are too essential to die or dissolve into the common currency. It has prospected for the rarest sort of sonic lode, the uncut goods blessed with a hearty half-life. The label's 100plus releases are a vital contemporary archive, a survey of meaningful eruptions across a broad horizon of improvised, experimental, minimal and outsider musics. Here, on these two CDs, is a field guide to the essential Table of the Elements. This sampler is more than a summary of label highlights; the performances make a statement as bold as their visceral impact and as rich as the conceptual process that underpins their creation. It's the kind of music Table of the Elements is all about. It thrives outside the barricades, where no one else is looking. Where the truth is spoken." Artists featured are: Jonathan Kane, Arnold Dreyblatt, Zeena Parkins, San Agustin, Tony Conrad, Tony Conrad w/ Faust, Rhys Chatham, Leif Inge. Disc one has some previously released material -- (plus tracks by Dreyblatt, Parkins and Conrad that appear to be previously unreleased). Disc 2 is an unreleased excerpt from Leif Inge' "9 Beet Stretch" -- Ludwig van Beethoven's 9th symphony stretched to 24 hours, with no pitch distortions (complete DVD version on TOE forthcoming!).” [label info] * ANTHOLOGY OF NOISE & ELECTRONIC MUSIC VOLUME 4 do- CD & booklet (Sub Rosa SR250, 2006) € 18.00 Der vierte Teil der ANTHOLOGY-Serie, wieder eine bunte Mischung aus Klassikern, rarem Material und Newcomern, umfassend dokumentiert. Die Verbindung von “seriöser” Komposition und experimentellem “Underground”, nirgendwo ist sie so präsent wie in dieser SUB ROSA-Reihe.... „Each compilation in this excellent series so far has proved an essential primer, and this fourth offering shows no signs of letting up on either substance or quality. The compilation begins with something rather special indeed, and for someone like me who is pretty obsessed with electronic music history – it’s about as indispensable as it gets. The track is by Egyptian artist Halim el-Dabh (don’t worry, I haven’t heard of him either) and was discovered by the Sub Rosa gang hidden in a French magazine article. Of course as you’ve probably guessed there’s a good story attatched to this, and the track was actually made in 1944 and subsequently broadcast on Egyptian national radio. Yes, it’s a piece of abstract pre-musique concrete which was broadcast on prime time national radio; what must the locals have thought? That’s not all either, this pre-dates most of what we regard as the ‘first’ electronic concrete experimentations… so why did nobody know about this? As the extenseive book so lovingly provided by Sub Rosa reads ‘Pay tribute to the unknowns, those who work in the shadows...’; never a truer word spoken. As with all of these compilations, the list of artists is endlessly exciting and this time we’re treated to exclusive tracks from Rune Grammofon’s Maja Ratkje, Lauri Spiegel and the psyche-tastic Vibracathedral Orchestra with rarities coming from Steve Reich, Alvin Lucier, Ligeti, Robert Wyatt, Oliver Messiaen and Jean Claude Risset among many more. I don’t think I need to go on about how utterly
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MUSIC for the INNER EXPANSION, EC-S
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Page 35 and 36: * HAFLER TRIO - Exactly as I am do-
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Page 43 and 44: * MNORTHAM & JUDITH EGGER - Andapa
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Page 61: DRONE RECORDS, S. Knappe, GERTRUDEN
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CODES: - Drone Records

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