We have finally cleared out the backlog of great music and present some new episodes.
Episode 711 features music from The Jesus and Mary Chain, Zola Jesus, Duster, Sangre Nueva, Dialect, The Bug, Cleared, Mount Eerie, Mulatu Astatke & Hoodna Orchestra, Hayden Pedigo, Bistro Boy, and Ibukun Sunday.
Episode 712 has tunes by Mazza Vision, Waveskania, Black Pus, Sam Gendel, Benny Bock, and Hans Kjorstad, Katharina Grosse, Carina Khorkhordina, Tintin Patrone, Billy Roisz, and Stefan Schneider, His Name Is Alive, artificial memory trace, mclusky, Justin Walter, mastroKristo, Başak Günak, and William Basinski.
Episode 713 brings you sounds from Mouse On Mars, Leavs, Lawrence English, Mo Dotti, Wendy Eisenberg, Envy, Ben Lukas Boysen, Cindytalk, Mercury Rev, White Poppy, Anadol & Marie Klock, and Galaxie 500.
Skolavordustigur Street in Reykjavík photo by Jon (your Podcast DJ).
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From what I had heard about the Yellow Swans, I expected this album to be harsh, with plenty of layers of static and distortion washing over all other sounds. While those elements are present to a certain degree, Drift is much more varied and better than I had hoped.
I find noise for its own sake to be pretty boring. It’s not enough to come up with a cool sound, it must also be used in an interesting way. Too often it seems that noisicians settle for texture when rhythm, atmosphere, and an overall sense of dynamics are just as important. With the three untitled tracks on this album, the duo of Swanson and Salomon provide great examples of how a wide variety of sounds can be used as compositional tools in music that’s still completely abstract and unpredictable.
Assembled from months of live shows, the group sets the best parts against each other to delirious effect. The first track finds rhythmic clouds of distortion battling mind-cleansing drones over an undercurrent of undifferentiated bass. Later a guitar joins, in addition to other rhythms that appear and then soon vanish. There is a lot to focus on, but not in an overwhelming sense. The next track cools down a little bit, with drones, digital scales, and spectral gasps amid whirring machinery. The last track starts meditatively and slowly awakens into a soaring, triumphant epiphany that’s nearly thwarted by disruptive squeals before regaining its balance.
Both rejuvenating and exciting, this album unfolds and rewards after repeated listens.
Bastard Noise, Sissy Spacek, and Sunn O))) member John Wiese concocts an arsenal of blistering eruptions that’s sure to blow both eardrums and speakers alike.
Using material recorded at places mainly in the Midwest and on the East Coast, Wiese has assembled a gurgling catalog of sounds that zoom past like fireballs of static, countered by a subtle yet disruptive low end. Many of the more interesting sounds pass by too quickly for me to appreciate, and are often buried under dense layers of distortion. The album’s most consistent characteristic is that it’s hard on the ears, which is also its downfall. The biggest flaw is that it only has one speed, and I never thought such a wide variety of rushing sounds could become so monotonous.
The songs are basically an interconnected series of explosions, a tactic that soon loses its power to shock and leaves me with a pummeling headache. One of the best things about it, I have to say, is how Wiese plays with the stereo channels in a manner that’s truly unpredictable and enjoyable to follow. As far as his albums go, I prefer something like Ghost Call, which gives me time to absorb its nuances rather than rushing me through the exhibit before I have a chance to fully explore it. I respect the extremities of the sound and the envelope-pushing going on here, but an album’s worth of this convulsive material relegates it in my mind to something to be savored for its shock value rather than its ability to both provoke and compel.
As much as I hate to admit it, I found little magic in this recording.
England's Eden Maine might appear all bluster and bark from first look: a blood-red album cover and song titles which hit on everything from Satan to homicide to strongly-worded exhortations not to breathe. It seems a little bit contrived and postured. But once past the introductory wispiness of "Solstitium," Eden Maine's bite becomes painfully apparent. And yet the bark persists.
The vocals are a barked scream which sometimes descends into a more conventional yell, the disparity between the two people making the yell seem altogether dulcet. Around all the throatiness is some calculated and masterful metal. The music is begotten from the Hydra Head records genealogy, more in line with the Converge camp than with bands who have incorporated a little more irony into their themes (consider Botch's song titles, for instance; especially that one about C. Thomas Howell).
Eden Maine want everybody to truly believe that the sky is falling, the earth is cracking, and that they are the minstrels of the Reckoning. Listening to "Murder Was Her Name" might not bring salvation, but it could genuinely get someone energized enough to kick Satan or Jesus in the balls before you they, (depending on which side they're on). The drums alone pulsate with the terminal velocity of Sisyphus' rock as it falls down each successive hill.
The iron maiden into which Eden Maine slip occasionally is that they rely too heavily on unimaginative guitar parts to underscore the music. When this happens, songs begin to sound the same. The contra-case is a song like "The Hunter and the Hunted," which begins with precisely the kind of infectious noodling you want to hear from this band and retains the theme throughout the song, falling back on it in moments of brave recapitulation. On the other hand, "Do Not Move a Muscle, Do Not Breathe a Word" exhausts the listener in a dogged repetition on lines to the point where both band and listener are exasperated and breathing hard. "The Atheist Light" goes as far as to bring a cello into the mixture, though this instrumental song never really digs deep enough into the regions of Tartarus which the other songs strive for. It's too sugary and saccharine, and we all know Cerberus can't be tempted with cotton candy: something with meat is needed.
Instrumental band Ten Past Seven have been a take them or leave them band whenever I’ve encountered them live. On disc they are a different beast: complex song structures with strong metal, jazz and post punk influences make for a fascinating and fun listen.
Ten Past Seven play in a similar way to the Dillinger Escape Plan; they switch between styles and timings at the drop of a hat, however the music isn’t always as headwrecking. Ten Past Seven are far less aggressive (although still heavy) and have a better sense of humor. The three lads are highly proficient players and play off each other naturally. The transitions between the different parts of the songs are slick and there is little sign of the changes being forced, a fault with many bands with complex song structures. With no regard for traditional song structures the track listing seems like a throwaway gesture. Without looking at the CD player’s display, it’s impossible to tell where one piece ends and the next one begins.
Shut up Your Face ticks along nicely; with so much change there is no point where the music becomes stagnant. When the band clicks the music is untouchable. “Back in Business” is one of the most exciting parts of the album. The riffing is great and the band seems to really be in tune with each other. Ten Past Seven hit this level of white hot brilliance a few more times, songs like “Egg Language” and “Pistachio” being prime examples. Still, there are a couple of patchy places to the disc such as “No Bother” which for a lot of the song is quite difficult to enjoy as the playing is a little clunky. Ten Past Seven’s performance doesn’t seem as instinctual here. However, with the frequent switches in style, it is not long before they return to steady ground.
Next time I see Ten Past Seven I’ll be sure to pay more attention as Shut up Your Face has given me the opportunity to sit down and enjoy the music which is far more intimidating in a live setting. As a debut album, it is a strong start and I hope they continue to entertain me for a long time.
An unhealthy infatuation with American music might earn someone a reputation for tunnel vision, especially with all the different kinds of music in the world. The blues and jazz (perhaps two of America's greatest treasures) have escaped to other shores, though, and there it sounds as foreign as anything an oud or a gamelan could produce.
In fact, plenty of American music has always been popular overseas. Many of the greatest jazz musicians in history enjoyed more success in Europe or Japan than they ever did in America during their lifetime. Swing music was powerful enough to be outlawed in some countries and the blues came back to this country after the British got ahold of it and put some fuzz in its bones. American music is, regardless of popular and rebellious opinion, is rich with history, power, and influence. It's no wonder, then, that Tetuzi Akiyama's focus on this release from Utech sounds more American than Japanese, despite the "improvised music from Japan" sign hanging from Akiyama's website.
The music itself isn't quite up to par with its influences, the work of several classically minded guitarists putting their fingers and sweat to the fret-board of the blues and traditional folk songs. Names I never thought I'd see in popular culture of any kind are suddenly popping up all over the place: John Fahey might be more referenced on indie websites than Yo La Tengo these days. Yet, many of those references fall flat. In some way or another, the link between Fahey and the 21st century has a missing link. This isn't true in Akiyama's music. Akiyama's music is entirely instrumental, much like most of Fahey's work, and it relies on space as much as it does harmony and melody. The recording on this disc is absolutely terrible, filled with crackle and hiss. But behind it all is the very professional, very trained work of Akiyama's fingers. They expertly dive up and down the guitar, exclaiming bouts of dissonance and beauty in short phrases and circular wanderings. The only problem is that Akiyama isn't the writer or, apparently, the historian that his influences were. The result is that this solo guitar performance falls a bit flat. Half way through the disc a creeping feeling comes over me, suggesting that Akiyama's already played this part somewhere in the last 20 minutes.
It is interesting, though, that Akiyama has chosen to play a distinctly American brand of solo guitar. The rest of the world is filled with musicians, experimental and otherwise, that take their influences from obscure names of all parts of the world. This may be the first time I've heard a musician with a background like Akiyama's that expresses vividly an interest in American history, in the decided twang and warble of this country's guitar, its most favorite instrument. Akiyama's techniques are as varied as four or five different guitarists from the past, using non-rhythm and non-melody to counter the rolling beauty and perfect unity of rhythm and melody that pop up on the first half of this disc. In any case, this is very true to a lot of blues guitar and jazz performance I've heard and I'm happy to hear it. The history of blues, folk, and jazz is a weird one, a little mystery that most citizens aren't even conscious of. It's as interesting as any mystery I've ever heard of and its sounds are so exclamatory that one can't help but breathe in the dust of age when listening to it even now.
So while I understand all the awe that comes with discovering new music from new places (I love the sound of the oud and the way northeast African and Middle Eastern musicians play it), perhaps everyone that thinks they love music should take time to discover this stuff in the same way the rest of the world did almost 100 years ago, now. Try listening to the blues with AC/DC in the way, try getting through to folk music minus this new weird stuff that seems so popular. Akiyama has revived its spirit, complete with crackling 78 quality. It's a haunting effect in some ways, to hear the guitar through this kind of noise. It brings to mind old techniques and communal communication of a sort I'm not sure any of us are familiar with. Like I said, this music might be the greatest treasure America has ever had and right now, this country could use a few treasures that aren't the legacy of some violent act or the inheritance of stolen property.
Musically the best thing this standard quartet has to offer is a cover of a Dead Can Dance song. Thematically, the band makes broad, misconstrued statements that make Michael Moore look like a moderate in the lap of Rush Limbaugh.
Had the band stuck to the kind of troubles the song "Monday" confronts, they might've penned a lyrically haunting record. It starts well enough, a tirade against the repetitive machine of capitalistic hunger and redundant reproduction, but it fizzles out at the end, a poetic cry on a song that doesn't need poetry to make it relevant. All in all, that's the problem this band has; they try far too hard to make a point that could be made more subtly, convincingly, and artistically if it weren't trying so hard to be an essay by George Lakoff or Howard Zinn. The band must not know their material as well as they think they do, the above song offering contradictory and confusing anecdotes on living the life of an ant and eventually killing the point they set out to make. "Where for art thou?" is no way to end a song like this.
I'm not disagreeing with everything the band has to say, but I scrunch my nose up at the way they're going about it. "Vehicular Baptism" sounds as though it might take a nice stab at American dependence on vehicles and fuel, but it reshapes itself into a nonsense piece of anti-something screaming about China, Iraq, missles, and God knows what else. Every song keeps this lack of rigor the standard, slowly eroding whatever it was about the band that endeared me at first.
Perhaps the thrashy, malevolent guitars are attractive at first, but over time they wear thin. It's nothing I haven't heard before: a harder punk tempered by the steel of some harder metal. There's nothing particularly exciting about any of it. This is a band composed of the traditional rock foursome: a guitar, a bass, a drum kit, and front man that stands in front of everyone and sings. Not that such a group couldn't write something exciting, but Year Future certainly didn't. The cover of Dead Can Dance's "Black Sun" is actually pretty nice. It's the only point on the album where the band doesn't sound like it is struggling to maintain a facade of hardcore, political, punk nonsense.
Artist: Blood Money Title: Axis of Blood Label: Killer Pimp Format: CD Catalog number: PIMPK003 Release date: August 8, 2006
Track list: 1. Russolo (8.04) 2. Delillo (10.23) 3. April (10.37) 4. Following Thunder (7.55) 5. Jet (21.40)
Extras: CR-ROM track with live videos from May 11, 2006, T.T. the Bear's Place, Cambridge, Mass., to play on computers and video iPods.
Blood Money is: Ken Ueno - vocalist; Jon Whitney - rhythm composer; Tom Worster - modulator
Blood Money puts experimental music back into a rock music context where the onslaught of noise can be expressionist rather than intellectual, where music can be enjoyed simply as entertainment, and where musicians are allowed to be rock stars. An award winning composer and vocalist combines extraordinary extended expression with macho beats and extreme oscillator abuse. Simultaneously channelling the sprit of Throbbing Gristle, the mayhem of Pan Sonic, the terror of Diamanda Galas, and the other-worldly artificiality of Xenakis, Blood Money delivers at the intersection of metal, noise, electro and experimental. Axis of Blood, a virtuosic feat of derring-do, will satisfy the most rabid of thirsts.
A former ski patrol and West Point cadet, Ken holds degrees from Berklee College of Music, Boston University, the Yale School of Music, and a Ph.D. from Harvard University. He is a co-founder/co-director of the Minimum Security Composers Collective and is the vocalist in the experimental improvisation group Onda. Currently, he is an Assistant Professor and the Director of the Electronic Music Studios at the University of Massachusetts Dartmouth. As a vocalist, he sings sub-tones, multiphonics and overtones and practices circular breathing techniques. Awards and grants that Ken has received include those from the American Academy in Rome, the Fromm Music Foundation (2), the Aaron Copland House, Meet the Composer (3), the Belgian-American Education Foundation, Sonic Circuits X, First Prize in the 25th .Luigi Russolo. competition, and Harvard University. Current projects include a multimedia theatre work for Kim Kashkashian and Robyn Schulkowsky (a companion piece to Berio.s Naturale); and a chamber orchestra work for the Netherlands Youth Orchestra to be conducted by Stefan Asbury in the summer of 2007. Ensembles and performers who have played Ken.s music include the Bang on a Can All-Stars, eighth blackbird, Frances-Marie Uitti, the Boston Modern Orchestra Project, the American Composers Orchestra (Whitaker Reading Session), the New York New Music Ensemble, the Prism Saxophone Quartet, Relâche, the San Francisco Contemporary Music Players, the Pro Arte Chamber Orchestra, Dogs of Desire, the Orkest de Ereprijs, and the So Percussion Ensemble.
Jon Whitney has played various instruments in various bands since his teenage years but is far too embarrassed to own up to being in any of them. He's more known for being a DJ, VJ, web developer, video documentor, aspiring screenwriter, festival curator, teacher, professional driver, and founder of Brainwashed.com. He has infrequently performed in New England and Canada as R since 2000.
Tom Worster's first solo experimental music performance took place in 1984, the same year he first heard the Arditti Quartet perform Xenakis and one year before he bought his first Derek Bailey record (Notes, Incus). After that gig he kept his music under wraps until 1997, when he began performing and recording as the fsb. He is also hosts a weekly radio program in Boston called New Adventures, rides bicycles a lot, and holds both ambitions for the 2006 Boston-Montreal-Boston 1200k Randonnée and a day job as communications system architect.
SHADOWPLAYERS FACTORY RECORDS & MANCHESTER POST-PUNK 1978-81 a film by james nice
LTM are proud to present Shadowplayers, a feature-length documentary tracing the early history of iconic Manchester record label Factory Records between 1978 and 1981. For screening enquiries click here.
Cat No: LTMDVD 2391
The Facts and fictions are explored through candid interviews with 22 key participants, including Anthony H. Wilson (founder) and Peter Saville (designer), as well as musicians including Peter Hook (Joy Division/New Order), Vini Reilly (Durutti Column), Simon Topping and Martin Moscrop (A Certain Ratio), Chris Watson (Cabaret Voltaire) and Howard Devoto (Buzzcocks/Magazine).
Other interviews include members of Section 25, Crispy Ambulance, The Names, Minny Pops, Swamp Children and Thick Pigeon, as well as other eyewitnesses and insiders such as Richard Boon, Annik Honore, Lindsay Reade, Richard Jobson, Graham Massey and Killing Joke.
The film runs for 2 hours 15 minutes and is divided into 19 chapters, covering subjects such as The Factory Club, sleeve art and graphic design, genius producer Martin Hannett, the riot at the Joy Division concert at Bury in April 1980, the Factory Benelux connection, the tragic suicide of Joy Division singer Ian Curtis, the beginnings of New Order, and the decline of the post-punk culture in 1981.
Shadowplayers is based exclusively on new spoken word interviews, with soundtrack music by Section 25 and New Order, and rare images and graphics. The cover art is based on the first Factory design (Fac 1) by Peter Saville from 1978.
The DVD is available as a Region 0 NTSC disc. DVD extras include individual profiles for each interviewee. To read auto-interview with film maker James Niceclick here.
SHADOWPLAYERS: detailed content (19 chapters):
1. USE HEARING PROTECTION - The Factory Club, May 1978- April 1980 2. A FACTORY SAMPLE - 2x 7" single (Fac 2) released January 1979, featuring Durutti Column, Cabaret Voltaire, John Dowie and Joy Division 3. FACTORY FOREMEN -Five heterosexual directors: Tony Wilson, Alan Erasmus, Peter Saville, Rob Gretton and Martin Hannett. 4. UNKNOWN PLEASURES - Joy Division's debut album (Fact 10) was released in May 1979, produced by Martin Hannett 5. ZERO - Martin Hannett, record producer 6. SITUATIONIST GROUP - Vini Reilly and The Durutti Column 7. THE THIN BOYS - The first single by A Certain Ratio, All Night Party (Fac 5), appeared in May 1979. With no drummer 8. LARRY AND VINNY - Section 25 are from Blackpool, Lancashire 9. GET IN THE VAN - Heads, tales, Cocks and Jokers on the road 10. RUE DE MANCHESTER - Joy Division and Cabaret Voltaire play Plan K, Brussels, 16 October 1979 11. THE RAINBOW - On 4 April 1980 Joy Division played two London venues, The Rainbow and The Moonlight Club 12. FACTORY BENELUX - Friends in Belgium (and Holland) 13. DISORDER - Bury Derby Hall, 8 April 1980 14. IN A LONELY PLACE - 18 May 1980. On the eve of Joy Division's first American tour, Ian Curtis hangs himself at home in Macclesfield 15. BENEATH THE PAVEMENT - New Order debut at The Beach Club, Manchester, on 29 July 1980 16. OF FACTORY AMERICA - New Order and A Certain Ratio in New York, September 1980 17. FUTURISTS - The first New Order album, Movement (Fact 18), was released in November 1981 18. CHOIR BOYS - Schoolboy lyrics and timbales: Simon Topping and Vini Reilly 19. LIKE PUNK NEVER HAPPENED - 1981: new pop, old ways Read More
This double live album is another impressive release from Keiji Haino. For this concert he was joined by Sitaar Tah! (a twenty strong sitar orchestra) and a throat singer by the name of Fuyuki Yamakawa. It’s as good as it sounds.
Animamima is, as expected, mainly a drone with Haino adding to the foundation of sitars with his hurdy gurdy, sruthi-box and tanbur (all electric). He also solos over the many drones on a flute. For the first half hour it all sounds very beautiful. Haino uses a limited amount of effects (mainly delay and echo) on his instruments to build up a powerful sound. The hurdy gurdy is overwhelming at times, when Haino is in full swing on it the music becomes so dense it is almost a singularity. The addition of Yamakawa adds to this density. His deep chants sound like they are coming from another dimension; subtle changes in his voice make it sound like he’s being tuned in from a great distance away.
As the performance progresses it becomes more dissonant and chaotic. Towards the end of the first disc, Sitaar Tah! play as if their lives depended on it: the sitars are plucked franticly and the previously pleasant mood becomes urgent and disorientating. Haino begins to wail and it sounds absolutely haunting. There is a slight amount of distortion that could be from the recording or direct from Haino’s mic that adds to the effect. The end of the first disc brings me to my only major criticism of Animamima which is that it’s a shame that the concert is split across two discs. I know this can’t be helped given the limitations of CDs but it does interrupt the flow of the performance.
The second disc is noisier than the preceding disc. The hurdy gurdy returns with Haino playing as high as he can (aided by a pitch shifter from the sounds of things). The shriek cuts through the music and my ears like a rusty blade. It’s hard to hear let alone concentrate on anything else. This assault dominates the first half of the disc and Sitaar Tah! have a tough time making themselves heard over Haino. It sounds splendid and acts as a worthy counterpoint to the first half of the performance. The second half of the disc returns to the blissful drones of the first disc as Haino steps back and allows Sitaar Tah! to have more space.
I can’t finish this review without mentioning Stephen O’Malley’s gorgeous design for the packaging. An intricately embossed jacket wraps around a simple booklet with a window in the front of the jacket to show a black and white picture of Haino. The inside has a beautiful blurred, black and white portrait of Sitaar Tah! in action. It’s a simple but elegant design that suits the music it accompanies. As a whole, Animamima is a great release and reconfirms my view that Haino with a selection of weird instruments (including his voice) is far more exciting than Haino with his guitar.
Ex members of Windsor for the Derby contribute to this pretty little single, the first from their debut album Fear Is On Our Side: the result is a number catchy enough to have me singing along even though I can't find the lyrics to the song anywhere.
How a name that sounds so emo could get my attention and, furthermore, keep me pressing the repeat button on my CD player is a paradox in and of itself, a virtual rip in the space-time continuum that'll probably leave string theorists in a tizzy for years. On the other hand, once the disc is in my player and spinning, it's a little difficult not to get drawn into this quartet's music. It's not often I find joy in prototypical rock groups. Most of them imitate a style or a period of music so closely that the result is too nostalgic: why have a copycat when the real thing is still available? The ones that don't imitate someone or something often sound dull, reaching for that all important radio market without giving much thought to their music. So it has synthesizers and a drum machine in place of a guitar and percussionist, that's no excuse for ignoring the importance of good songwriting. It isn't edgy and wild because it mimics so much of the eighties. That's right, this has happened in the past.
So, the thing that makes (deep breath) I Love You But I've Chosen Darkness' According To Plan single so great has nothing to do with the fact that it might be described as marginally retro. Interpol got this treatment, but were taken so seriously that I had to puke after reading reviews of their albums, knowing that they just weren't worth the goddamned hype. In the interest of being honest, then, I've chosen to mock this band's name and emphasize the fact that the first song, the only track on the album from their debut, makes me want to dance. It makes me feel like I've just done enough ecstasy to kill a large bovine creature outright. It has all the makings of a tune that will make it to the radio, but none of the trappings that make such songs (especially with the way radio is most places) so drab and laughable. Oh look, another band has a hook I can predict ten seconds into the song! No, I Love You... really does love it's fans, no matter how "dark" they think they are with all those ringing synthesizers and chimey pianos.
"According To Plan" might belong in a club, should probably be remixed by all the usual DJs (and maybe by somebody that actually has talent), and rocks just hard enough to be captivating from the first play on. The chorus opens up like a pass does to a valley, the rhythm staying solid even when the band begins to unfurl its layers of guitar noise and pretty melodies. It's a great song that means absolutely nothing, will not change anybody's life, says nothing about the state of the union or the world of music we currently live in, but it probably will survive all these other pseudo art bands that claim to unveil the world to us.
The other songs are nice, too, both of them non-album tracks that round out this 13 minute ride. The tracks are a bit more sullen, a little more moody, and maybe where the band decided to emphasize their more nocturnal qualities. "Close To Here" is the work of a band that knows how to put on a show, using thumping bass and unusual drones with a rhythm and a vocal part that doesn't seem to fit right away. One half of the band is playing one song and the other half is too deaf to notice they're not really syncing up well. Eventually, however, the winding themes that emerge early in the song end up being part of the same whole and I'm left happy that the band didn't try to follow up their single with another dancey tune that would make both seem trivial. "Better Strangers" ends a little abruptly, but is nice while it lasts. It's a b-side, but it sounds like a thought out piece of work. It's a drone of humming amps and rolling bass lines that eventually fizzle out without so much as a warning.
As a single, this really stands out as a fine piece of work. An example of how a band can attract listeners, be catchy, and also exude enough personality to stand out from the rest of the makeup wearing, Depeche Mode loving, New Order wanna-be, Joy Division worshipping yuppies that plague the internet and garner more critical accolades than they could possibly be worth. Ignore the silly name and pick up the single, then maybe the album. It's not going to blow your mind into smithereens and make you want to form a band, it won't reveal to you the secret workings of the universe through the unalterable truths of art and musicianship, but it may make you want to go to their concerts and it's even more likely that these melodies will be part of your daily humming routine at work.
artist: Chris Herbert title: Mezzotint catalog #: krank101 formats available: CD Release Date: September 18, 2006
Content: Mezzotint is a collection of digital, textured pieces assembled through the extensive manipulation of found sounds and environmental sources. A dedicated non-musician, Chris Herbert has a long-standing interest in intuitive composition and the elastic nature of sound as a resource, influenced by the collage ethic and the instantaneous capture of performance. Working with decidedly low-tech methods (Chris uses minidiscs, a battle-worn desktop PC and a badly-behaved delay pedal), many of the tracks came into being through guerrilla sessions during his day job. The pieces are essentially improvisations created by extended rehearsal and juxtaposition. Mezzotint is the consequence of a continual process of subtraction and composting, leaving just a trace of melody or the implication of rhythm. The result is a spontaneous, embracing the mystery of faraway broadcasts and the internal experience: a clouded, busy music of vertical activity and blended, indistinct color as opposed to narrative uni-direction. Chris' signature swampy, gaseous, and even dirty, crumpled sound is a welcome contrast to the clean, edgeless granular cloud aesthetic employed by an increasing number of artists.
Context: This is Chris Herbert's debut release. He lives and works in Birmingham, UK and has performed live at a series of one-off electronica events organized by the Modulate A/V collective (one of the city's key avant garde digital arts organizations.). He has also worked alongside local artists in creating sound installations reclaiming the city's post-industrial spaces. In addition to Mezzotint's sequel, Chris is currently at work on a sequence of pieces inspired by urban field recordings, to be broadcast on Resonance FM.
Track Listing: 1. Stab City 2. Elisa 3. Chlorophyll 4. Suashi 5. Horse Latitudes 6. Cassino 7. Let’s Get Boring!
Utterly quiet, with a pulse-soothing beat, it takes several listens to reveal itself, like a dark room slowly brought into focus. First come the contours: a crackle that suggests old vinyl, a warm blanket of earthly hush, and that unwavering but organic beat. Then come the details: little snaps in the sound bed, the vinyl crackle transforming into more of a door creak, thin layers of wisps as simultaneously compact and flaky as fine phyllo. And then there's that beat, so steady that over time, as the other sounds make themselves more apparent, it softens and recedes, becoming the equivalent of invisible. Marc WeidenbaumDisquiet August 11, 2005