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s both arcane and stimulating repeated scrutiny is a must ten tin contains materials that seem to mix human snoring chanting monks and bubbling hisses in a conduit the pace defined by a sort of electrostatic rhythm upon which the clarinet sings with unusual peacefulness if just temporarily it s an inexplicably meditative vision sounding a little scary at the same time the grunting tone of harth s voice disloyal to the mental image i treasure of him as a timidly smiling gentleman elf eleven utilizes distortion in large doses mashing and mangling snippets of concrete and instrumental substance in homage to the blasphemy of extreme dissonance the toothsomely vicious results are to be savoured in the restaurant where the finest electroacoustic recipes are served gesternmorgen is an abstraction an amassment of simple melodies clashing in adjacency hyper acrid reed perspirations corrosion of heterogeneously alien harmonies and a pinch of disaffection for the cruel world of ordinary music at the very beginning popol vuh might evoke jon hassell the pulse the nearly tribal atmosphere the differences become obvious when harth starts superimposing the different reeds meanwhile the background gradually transforms the better intentions in an intimidating mutation of a religious chant halfway through a sacrificial invocation and the complete disconnection from corporeality the whole unfolds across undecipherable utterances and other assorted subliminal persuasions twentyhundredtwelve namely 2012 or 20 1 2 as the composer would have it features choi sun bae s trumpet in a ominous hint to the enigmatic year which will define once and for all if those famous prophecies are legitimate or not curiously december 21 the presumed ending date is also frank zappa s birthday again the voice is a fundamental ingredient of the track which grows on the listener memorably amidst drones squeals gurgles vociferous solos and warped lamentations a remarkable episode in harth s recorded output back lantern explores the fringes of the frequency region with a quick wink to the sweet cheapness of certain synthetic patches from two decades earlier more on that later nonetheless the underlying extraterrestrial mantras and ebbing and flowing glottolalia are what actually corresponds to its actual muscle highlighting a type of spiritual quest that sees the fear of the unknown as a regular incidence in an advanced being s daily reflection if someone had taught me to pray like this as a young child i d still be there at the church der schlaf ist eine süsse melodie ends the set in typical a23h fashion and i m not going to reveal the secret go to the artist s website and ask for a copy of this cdr pronto on a first listen the connection between the above milestone and eighties end doesn t appear so easy nothing is when this artist is involved for starters both recordings were realized at the closing stages of a decade 2009 the former 1989 this then a somewhat melancholic clarinet characterizes big chunks of the music s quite profoundly yet the reason behind harth s choice of retrieving this work from the archives is the perception of a reborn interest for some of the sounds in vogue in the 80s with particular reference to notable presets which sure enough this record comprises the collection includes segments from a pair of diverse soundtracks antigone a theatre piece played at düsseldorf s schauspielhaus of which mr 23 was the musical director at the time and lachen weinen lieben a film then broadcasted by zdf if the theatre act calls for something dramatically relating performers and listeners for example antigone nacht offers exactly that in a progression of atmospheres at times reminiscent of thierry zaboitzeff the soundtrack for the television feature shows a new facet of this multi talented man who manages to achieve credibility in that difficult field despite the intermittent use of timbres that everybody knows inside and out mainly from korg workstations lots of musicians including yours truly fell prey of those pads in that epoch but in his hands are meshed and delivered with such subtleness that they often result as adequate even to this day the beauty of a sound always depends on the context and especially on the person who exploits it in that sense harth is invulnerable the control on the mechanisms and the correct sequencing of the sonic occurrences remains inflexible the concepts are expressed without excess of discursiveness which would contradict the music s designed role in this circumstance ultimately this is a slight detour from the renowned capriciousness of the german s acoustic craft that permits a partial relief interspersed with a modicum of weirdness as it happens in antigone ölfässer the general sonority enhanced by the actors via enormous oil cans in a peculiar mad max like scenario a spirale agaspastik another cd released in 2008 this neapolitan trio is composed by mario gabola feedbacks and acoustic sax maurizio argenziano feedbacks and electric guitar and massimo spezzaferro drums and little things the press release quotes kevin drumm and bhob raney as imaginary point of reference but what materialized in my mind instead is the centre of a triangle whose corners are occupied by john zorn zu and curlew the latter only in regard to some of gabola s bony phrases on the saxophone hold your horses i m not saying that we re at the same technical and creative level of the above mentioned entities in spite of this there s a freshness a genuine will of having fun while playing without posturing that is rarely met when italians are involved usually in similar circumstances i notice a lot of avant pretentiousness on these shores become friend with kiss the ass of someone important in a certain situation and you ll be able to get all kind of undeserved accolades and the music sucks but it s positive anyway reviews even if you ain t worth a shit hey let s keep the promos comin folks fortunately this does not apply to a spirale who attack the listener with serious ferocity hammering the brain with obliquely wrong riffs superimpositions of dirty upper partials pre explosion quietness clamorous outbursts of semi regular clangour defined by acrid miasmas and convulsively anti pattern drumming this writer thinks it is enough at least for today fratto9 under the sky sunday 29 august 2010 the peggy lee band new code new code 2008 is the fourth outing by an octet previously a sextet subsequently expanded led by cellist and composer lee a woman active in various artistic settings in the vancouver area who has collaborated among others with wayne horvitz dave douglas nels cline and bill frisell the latter s influence is evident in the guitar arrangements the axemen being ron samworth and tony wilson soothingly wavering arpeggios informing compositional milieus that don t allow the musicians to stray too much from the main harmonic establishment more than ever in the pair of covers that open and close the cd by bob dylan and kurt weill respectively three horn blowing men trumpeter brad turner saxophonist jon bentley and trombonist jeremy berkman execute clean and tidy designs amidst which the leader s cello often seems to hide instead of fighting or moving at the forefront which is a bit of a trademark in a way bassist andré lachance and drummer dylan van der schyff complete the line up i ll be brutally honest this is not an extraordinary album overly meek as it is even in its improvisational traits it is played well of course but with a perennial smile on the face not biting for a second overeducated is perhaps the best adjective to use in this case every now and then we need a little sting in between the cuteness and it never happens and you know what a piano replacing the guitars in the orchestration would have worked better all things considered this music can work as a pleasant complement to quietness sometimes this is just what s required from a record sometimes drip audio saturday 28 august 2010 dave stone solo born in 1971 dave stone grew up as a multi instrumentalist but as an improviser has specialized in reeds sharing experiences with several central figures of the st louis jazz scene all of them quite mysterious to the author who doesn t miss a chance to prove his enduring lack of knowledge despite four abundant decades of swallowed recordings in the fourteen episodes of solo 2008 the protagonist showcases irrefutable talent and innate musicality through an array of saxophones and clarinets occasionally naming the pieces with incomprehensible words dundtor ackakaplakakpla belelelell that i instantly fell in love with if you manage to last the whole of the album s duration not easy for a ham fisted listener at over 68 minutes the repayment comes under the shape of serious virtuosity characterized by legitimate intelligence stone chooses the right technique to explore every time knows the value of silence and space between clean notes convulsive spurts and unkind upper partials unafraid of showing that he can play the damn instruments not hiding behind pensive postures and false humility the latter qualities always useful for getting profiles on major magazines in some of the improvisations we were tempted to associate the playing to certain pages from anthony braxton s book but this may just be a silly flight of the imagination the core of the matter is that this is great self propelling music requiring patience and attention exposing the artistic sheen of a man who wants people to really understand what he means translating intentions into a rewarding physicality distinguished by a near flawless command of the instrumental dynamics freedonia wednesday 25 august 2010 blechmann murayama andrea polli son of rose tim blechmann seijiro murayama 347 recorded in paris at la comète 347 this cd presents an episode of the activities of blechmann and murayama intent in capturing different types of resonance in a large room aiding themselves by various boxes of speakers and a snare drum this is a classic case of document that exists just as a testimony of a live event for getting tangible aural satisfaction from these successions of charged silences diminutive noises and percussive patterns at home is not warranted unless you re a member of the anything goes reductionist party what i did welcome instead was the hushed echo of the urban and inside environment caught by the microphones including the alarm of an ambulance that at one point keeps company for a while until it dies the alarm not the transported person hopefully nothing much to say in addition except that we re convinced by the seriousness of the intentions but not overly enthusiastic due to the scarce depth of the acoustic messages nonvisualobjects andrea polli sonic antarctica quoting from her website s biographic notes polli a woman gifted with an impressive curriculum vitae go check yourselves works in collaboration with atmospheric scientists to develop systems for understanding storms and climate through sound called sonification therefore it doesn t come as a surprise that this is another audible documentary though quite different from what i had expected having read the title in fact the large part of this disc is taken by the above mentioned scientists speaking about lots of things all of them related to the central theme of course and the inner reasons for what they do moral obligations role of the scientist versus the community you get the picture the verbal material is mainly interspersed by the continuous irregular pulse of the electronic signals that come from various weather stations placed in the explored areas and very infrequently other types of sound such as walking on a glacier the inside of helicopters in flight radios and even a short snippet featuring penguins therefore be warned this is more a spoken record than a collection of antarctic sounds an interesting listen from an intellectual point of view a little less in terms of power of evocation elicited by field recordings but ultimately it s indubitably a sincerely purposed mission gruenrekorder son of rose all in iranian kamran sadeghi aka son of rose utilizes the voice of a piano an ebow and drums whose primary components get heavily processed during a live interaction with electronics his interest lies in finding a way to render the timbral traits of popular instruments unrecognizable which he achieves quite successfully the problem might lie in the almost complete nonattendance of a compositional temperament which despite the solemn dignity of certain extended reverberations and the interest generated by accumulations of self harmonizing hybridized tones is felt as a slight impediment after a while rendering all in more a gathering of simple experiments and ideas than a fully fledged inventive creation this notwithstanding some of the pieces are clearly the fruit of an attentive work of deconstruction and the title track features the kind of impressively luminescent drones that will cause many aficionados to perk their ears however we re not talking about can t miss stuff blanket fields friday 20 august 2010 lucio capece sergio merce casa at last i managed to listen to a cd that was floating on my desk since ages ago shame on me as always at any rate casa means house in spanish and italian too the title comes from the recording place you guessed right at sergio merce s home in merlo argentina the pair has been playing together since 1993 originally in very different contexts baroque polyphony anyone the duo as a separate entity started in 2002 two tracks are presented the first and longest one virar virar was realized through a sruti box in essence a harmonium a filter and a tapeless portastudio played by merce via small metallic objects manipulated in the recorder s head area it s basically a drone piece with various gradations of engaged frequencies sparse interruptions of the fundamental accumulation leaving a few moments to the mind to be relieved a little bit lots of under skin activities sounding like controlled feedback and random impulses impressive in parts sporadically nearing niblockian atmospheres in any case a serious approach which needs to be carefully examined headphones are necessary to become conscious of what happens also in the rear of the mix whereas by listening across a room all we get is a series of wheezing slabs that oscillate and move but ultimately result less striking vieja casa nueva is a duet for bass clarinet and tenor sax much in the vein of low frequency exploitation in regions bordering with onkyo parallel blowing synchronized pauses breath again new matching whispered currents that buzz and throb it goes on for about eight minutes and it is nice to hear although the former track is clearly more developed organized music from thessaloniki thursday 19 august 2010 jesse stacken monroe golden yannick dauby jesse stacken magnolia jesse stacken is a member of the peter van huffel q...