Sylvain’s aural signature, a clustery piano phraseology, mannered, melodious and oftentimes attractive enough, seems at first out of place on Creative Sources, a label based in Portugal known for its relentlessly shifting electro-acoustic configurations.

To the extent that Chauveau’s signature undergoes a self-dissolution, mutating into an impersonal movement through shifting sands of indefinitely repeated beginnings, the work is perhaps not so very far from the normal network of relations associated with the label. One piece, consisting of several segments, is presented with mineral clarity. This emphasizes the brittle beauty of the instrument, its gentle, plaintive character, captured well by the lucid recording. But to be effective, especially in what is ultimately non-linear improvisation, animated by several periods of silence of varying length, it also requires a certain thrust in connecting the various movements, a thrust which is lacking in numerous areas. Chauveau lets the line dangle too loosely in places, or pulls it prematurely, in the end giving the piece an uneven pace that doesn’t always hold one’s attention. This is on the one hand.

On the other, at least in certain places, the piece does deepen through concentration, taking form, gaining in weight, shade and motion, and dissolving and reshaping in an expanded auditory field. It’s also unobtrusive and pleasant from afar. It has it’s own coherence and time sense — a series of evocations and excursions into memory interspersed with improvisatory plunges into the here and now. Some of the pieces simply aren’t well linked; Chauveau’s comings and goings are too apparent; and the proceedings never come full circle on their own.

- Max Schaefer 2009-06-27

2062

No description available

Four very stylish packed releases. The first release is by one Phantom Limb and Earth’s Hypnagogia, which according to the cover is one Jaime Fennelly and Shawn Hansen. They play farfisa organs and HP sine wave oscillators. Two different titles, each three pieces. ‘Civil Twilight’ moves along the lines of the inaudible, whereas ‘Darkness (Nautical Twilight)’ is unmistakably louder and meaner - pressing to the ears. These pieces are alright, but tend to go of the rails a bit. The first three pieces are much nicer, as they are slow humming works of a delicate nature. Slow, evolving and revolving - nice drone stuff.

FDW Vital Weekly 671

2061

Recorded live at Quiet, Long Beach, CA, 10 May 2003.

Lisle Ellis and Marcos Fernandes have collaborated on numerous projects on stage and in the studio over the past decade. mrlectronic merged experimental electronica and improvisation to create pulsebeat soundscapes rich in timbre and texture. The trio (with Robert Montoya) performed at Spring Reverb (San Diego/Tijuana), CPEACH (Eureka), Edgetone Summit (San Francisco), Line Space Line (LA) and NWEAMO (SD). Recordings include We Are with Emily Hay, Ellen Weller’s Spirits, Little Dreams and Improvisations, Trummerflora’s Rubble 1 and 2 as well as Fernandes’ Hybrid Vigor.

Active from April to September 2003, the house concert series Quiet featured lowercase, minimal, and otherwise low-impact sound and music. Composers and musicians included Glenn Bach, Jeremy Drake, Lisle Ellis, Marcos Fernandes, j.frede, Vinny Golia Quartet, Haco, Chris Heenan, Steuart Liebig, David Nadal, Matt Pogue, Jeffrey Roden, Steve Roden, Josh Russell, g.e. stinson, and Aaron Ximm.

A tandem of two ingenious personalities presents an improvised music album: French guitarist Marc Ducret and Lithuanian saxophonist Liudas Mockūnas. These musicians have collaborated for several years already - they both are featured on bands such as Toxikum and Megaphone with Stefan Pasborg and Paul Brosseu also with Copenhagen Art Ensemble.

Liudas Mockūnas: soprano, tenor and baritone saxophones
Marc Ducret: guitar and fretless guitar

This record has been made possible by generous support of UAB “Garsu pasaulis” and Ministry of Culture. Great thanks to them.

NoBusiness Records NBCD 4, 2009, edition of 1000 cd’s

All compositions by Liudas Mockūnas / KODA / & Marc Ducret /GEMA/
Graphics and design by Neringa Žukauskaitė-Mockūnienė.
Produced by Liudas Mockūnas
Executive producer – Danas Mikailionis.
Co-producer – Valerij Anosov.

2060

after releasing karlheinz essl performance with klaus burger, we have decided to release something more easy listening, like poros, although it was very good music in our perspective the very same way too. it was something completely different. essl stuff was like something completely turned into real time improvisation with live electronics. poros was completely different, a very downtempo trip hop recording with some simple but efficient electronics, some very simple bass lines, a bit low fi by the way, but good in the very same way. and then, after all that, we are releasing carlos perales, which is like a returning to the musical orientations of electroacoustic avant garde music, but this time in fixed media (acousmatic) support. and in this sense we are happy because we are doing things each step to make the music we release reaching as many people as possible, and not to confine composers and musicians to their own home studio. we can say that we are as happy to release perales as we were happy to release poros or essl. and we cannot speak as well of carlos music has he speaks, reason why we leave you his text about his his music written by himself.

tiago morgado (in the hand of xs records [pt netlabel]

SYNAPSE

The brain of intelligent mammals constitutes the most organized form of matter known until now. Trying to understand this operating, the scientist behaves as an engineer would do in front of a machine; this is, firstly he would study and identify the components and then he would try to quarrel how do they work and how do these relations establish between them as a whole. In these relations, the structural and functional unit corresponds to the neuronal synapses. This way so, this interaction among neuronal components is the base of our cognition.

There exist cerebral diseases that are tied to an abnormal functioning of some neuronal synapses. Certain pathologies, as the cerebral arteriosclerosis, more known as Alzheimer, have been unjustly introduced in our society. This disease is caused principally by destruction of neurons of a cerebral region named the basal nucleus of Meynert, which establishes cholinergic synapses with the cerebral cortex. Our life turns then into a carrousel of false images, dismembered recollections, slanted impressions, constant dreams… This sonic synapses is dedicated to all whom have to fight against themselves.

MYSTIC NITS

In full technological modernity surprise me to see even the manual method to remove with patience the nits from the hair of children. Sometimes my subconscious leads me along grotesque paths and makes me to do some bizarre associations. In this work I see a craftsman against this nits, but this time, the nits are not other than ideas that the worship of ancient myths. At the same time those are difficult to remove, they also put it not that easy. Modernity cannot remain in vain advancement of technologies and therefore this craftsman wants to eliminate all traces of old-fashioned prejudices, fears, religious ties, double and triple standards.

HYDRA

Aubrey de Grey, engineer specialized on data analysis, argues that genetic senescence (molecular degeneration) is a parameter that, according to the latest research, could be corrected. He claims that we have a 50% chance of achieving the goal of living until 1000 years in 25 to 30 years of appropriate research. In this case, the genetic information of cells that go growing old and deteriorating would be corrected. Based on this conjecture my attention focused on simple hydridae such as Hydra, which do not have this congenial defect. The Hydra is a fresh-water animal, usually a few millimeters long and very interesting for the scientific community because it has this regenerative ability. They appear to be unique in the animal world because of not suffering from senescence. Based on this ability to self reparation, the work is divided into 3 sections. Each of them have a similar behavior, as the used samples develop micro evolutions on themselves, becoming degenerate and transforming to similar materials.

carlos perales

A trumpet (Wick) and percussion (Greenwald) duo; don’t recall having heard other music from these two but I might be wrong. Classic CS release, a study in the pneumatic exploration of conduits as opposed to the subtle crackling of objects inserted in a percussive kit and expertly manipulated. Good recording quality, very detailed sound (especially by headphone). Wet (h/k)isses, sucking and popping against scraping, brushing and rubbing (and some eruptive drum outburst, such as a considerable fraction of the third track). Never in a frenzy yet apparently aroused sometimes, the musicians chart their path across the genre’s obvious references with a degree of class and reciprocal attentiveness, thus producing an artefact that’s much more listenable and significant than several hypothetical musts from Zen-ish labels and artists whose subordination to expectancy – even in a theoretically enlightened mindset - makes me vomit. Massimo Ricci (Temporary Fault)

2059

Greg Surges, an US-based composer with a Bachelor of Fine Arts with Honours in composition and music technology, creates both electroacoustic and contemporary classic works that incorporate improvisations, algorithms, instructions for sound manipulation and open forms with variable passages. An introduction to these concepts provides his first album for the Petcord netlabel, “Solid State” with three works, one of these in two different versions (hence the total of four tracks).

Swarm, the opener, can be considered an experiment in technology with distinct sections that tries to avoid ambient drone stereotypes and opts for unrest instead and uses the positioning of sound (panning) as part of the composition, too. Solid State, is a work for a Laptop ensemble and a piano solist, whose input is used as “raw source” that is further processed by the participants until a solid state of uniform sonority is reached. 153 x 56, a work for traditional instruments, utilises variable elements that rely on the participants’ imagination and creativity and and can lead at times to entirely different results, as the two versions included on the release demonstrate.

Olliver Wichmann (June 30, 2009)

You can’t say, not anymore at least, that Tu M’ are overproductive. In their early years they had a whole bunch releases (on labels as Headz, Fallt, ERS and Phthalo) but its been a while since I last heard their music. I am not sure how they arrived from the last point to this new point, but the four pieces - ranging from seven to thirty minutes) are fine examples of monochrome sounds. Highly atmospheric, deep, ambient, a bit hissy. Just a simple set of loops set forward to play music. Not unlike the recent Celer or the elsewhere reviewed Yui Onodera & The Beautiful Schizophonic, but Tu M’ seems to play even longer and more stretched. Ambient music with the big A of course. If Brian Eno has artistic children then their names are Tu M’. Here too, nothing new under the sun, but its great late night music.

FDW Vital Weekly 683

It’s that time of year again. The second installment in our collection of compilations to celebrate the solstices is here. As before, we present both familiar and rather unknown artists, all contributing exclusive tracks to this album. Below is a short introduction to each of the artists.

Tracklisting:
01 Chuch - Veiled In Stagnation
02 André Foisy - The Great Disappoinment
03 Eloine - Brass Globes
04 John Lithium - Summer Solstice
05 Torstein Wjiik - Heavy-Headed Summer Morning
06 Continental Fruit - Rimba Widdim
07 Boe - Simon’s Alley
08 Cape Of Seaweed - Untitled
09 The Tobacconists - Summer Riding School (Summer Solstice Mix)
10 Andreas Brandal - What the Storm Washed In
11 Kanin Krusete - I’m Bored
12 Werewolf Jerusalem - And Now the Screaming Starts

Chuch - “Veiled In Stagnation”

Chuch is from Angelsey, Wales. He released “Facelessness” on Twilight Luggage earlier this year.

www.myspace.com/chuchsounds

André Foisy - “The Great Disappoinment”

André is one half of Locrian. This is his solo debut.

www.myspace.com/thelocrian

Eloine - “Brass Globes”

Eloine is Bryan Day on:

Columns, Games of Chance, Frame Zither, Crash / Thud, Electronics and Voice. “Brass Globes” is the free expression of a graphic score based upon an arbitrary arrangement of brass-globe reading lamps and their accompanying warning labels. Performed at the Kreimer House on April 29, 2009.

www.myspace.com/daybryan

John Lithium - “Summer Solstice”

Released “Empire” under the moniker Nihil Obstat on Twilight Luggage in January.

www.myspace.com/johnlithiummusic

Torstein Wjiik - “Heavy-Headed Summer Morning”

Sound-alchemist from Oslo, Norway. Runs the great label Ambolthue.

www.myspace.com/torsteinwjiik

Continental Fruit - “Rimba Widdim”

Our man in Lier is back with more weirdness. Never what you expect!

www.mypace.com/continentalfrucht

Boe - “Simon’s Alley”

Improvisation on drums, bass & guitar. Released his debut album “Low Harbour” on Twilight Luggage recently

www.myspace.com/boerremusic

Cape Of Seaweed - “Untitled”

www.myspace.com/capeofseaweed

The Tobacconists - “Summer Riding School (Summer Solstice Mix)”

Music by Frans de Waard and Scott Foust.

www.anti-naturals.org/praxis

fransdeward.blogspot.com

Andreas Brandal - “What The Storm Washed In”

Experimental sounds from Bergen. Co-runs Twilight Luggage.

www.myspace.com/thedeadstation

Kanin Krusete - “I’m Bored”

Track info from KK: “I put my brain in the heliopause when I’m bored”. Kanin Krusete released “Like A Thing” on Twilight Luggage recently.

www.myspace.com/kaninkrusete

Werewolf Jerusalem - “And Now the Screaming Starts”

Summer Solstice ends up meeting the wall.

www.myspace.com/werewolfjerusalem

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