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No Bullshit
Lovingly curated and compiled by Zbigniew Karkowski’s frequent collaborator and friend Francisco Lopez, No Bullshit is an appropriately titled and presented tribute.  A data DVD containing over five hours of uncompressed audio from 67 well known (and not so well known) artists working with Karkowski’s source material, huge names from both the worlds of harsh noise and the avant garde (genres his work straddled well) appear to pay their tributes.
Representing the less academic noise side of the spectrum, Daniel Menche’s own penchant for extreme low frequencies work appropriately on "He was One and Many," but expanding the repertoire to include rough bowed strings and lots of variation in sound and mood, fitting in with his more recent, complex work.  GX Jupitter-Larsen's "Zbigniew Tribute" sounds consistent with his work as the Haters: a dull machinery roar echoes about a hollow space wonderfully.
Lopez was also able to coax some material out of the less prolific names in this genre, reinforcing the importance of Karkowski's enduring legacy and influence on dissonant music.  Eric Lanzillotta's "Recompression" is built mostly from deep, subsonic sine waves that change in pace, but stick to the rumbly side of the spectrum until the latter moments.  Scott Arford's "Untitled (ElectroStatics)" keeps mostly to mid-register sounds, but static heavy and lots of variation in texture and sound to make it a standout.  Damion Romero's "170358" focuses on the careful manipulation of feedback that he is known for, evolving from a idling hum into a distorted roar in a beautiful progression.
Representing the more academic world, Phill Niblock supplies "Bells & Timps," an understated composition of bell tones that results in one of the more quiet, and definitely melodic, compositions here (even though the song's duration is far shorter than his usual works).CM von Hausswolf’s "Still Through the Door" is a swarming, dense wall of digital insects that might not vary a significant amount, but works as a pensive, meditative accompaniment.  Francisco Lopez himself presents "Untitled #316 (for Zbigniew Karkowski)," a first half of deep rumbling and static fragments, seguing into a crystal storm of digital noise.
Some artists' contributions are collaborations with Karkowski, such as Masami Akita's as MAZK.  "Untitled Mix" stands out with its subsonic drum pulse and spacy, psychedelic synth noise, as something far more techno (and unique) than I expected.  John Duncan's "SHATTER" collaboration is all a mass of digital tinged loops, clattering about brilliantly.  "Zimny Poznan", with Robert Piotrowicz, is perhaps the most forceful and intense:  a wall of modular noise and low-end drone that refuses to relent, while constantly changing and evolving throughout.
Noise orchestra Zeitkratzer's composition, to me, symbolizes the spirit of this collection.  All boisterous noise and dissonance, it presents just the right amount of drama, reverence, and pure heavy sounds to culminate in a respectful, and fully appropriate goodbye.  Presented as the title would indicate, this simple monochromatic digipak is anything but ostentatious, and the lack of pretense and overwrought, grandiose posturing fits perfectly in with Karkowski's life and body of work.  Much like his work, the artists here let the music pay tribute, as I imagine he would have wanted it to be.
samples:
- MAZK - "Untitled Mix"
- Phill Niblock - "Drums & Timps"
- Zeitkratzer - "Zeitkratzer's Farewell to Zbigniew"
 
