|DAVID MARANHA + Z'EV
sns-11 - Feb. 12
6 pages cardboard cover
1 track - 35:53 min [mp3 extract]
|david maranha – hammond organ
z’ev - stainless steel discs, bass drum, maracas
recorded live at zdb, lisbon, 24 june 2010
"Certain musicians names can speak for themselves, before even a note of music has been played. Their reputations proceed them, although of course there will also be those ignorant of both reputation and name. David Maranha - solo or with Osso Exotico - explores the territories opened up half a century ago by John Cale and Tony Conrad. Z'ev is the grandmaster of industrial/ tribal percussion. The fusion they create together is a magma of movement and stasis before which only legless cripples will remain motionless." Jérôme Noetinger / Metamkine.
"Terry Riley meets the Velvet Underground." Frans de Waard / Vital Weekly.
sns-10 - may 10
4 pages cardboard cover
CD 1 track - 44:36 min [mp3 extract]
sns-09 - may 10
6 pages cardboard cover
5 tracks - 41:14 min
1. pluck 5:50 [mp3]
2. hiss 9:19
3. swarm 9:34
4. whoosh 10:09
5. rattle 5:22
Dauby, originated from Mediterranean Alps and currently based in
Taiwan. Sound and location, sound and community, sound and ecology, are
the main topics of his projects.
Overflows is a composition based on field recordings in natural, industrial and urban environments dealing with the overwhelming of listening.
Fans of Francisco Lopez, Jean-François Laporte or Eric La Casa will be pleased.
"So while I think Dauby does something great actually - all the right sounds, a fine composition, and such like - its also something that is well explored, by Dauby himself as well as by others. If you are new and think 'what is music made with field recordings' than this might be an excellent place to start." (Frans de Waard - Vital Weekly)
"All of these field recordings originate from France and Taiwan, although Dauby is very cautious not to make either locale too obvious, even when the chatter of children intermixes with that of incessant insect noise. It makes for a great, psychogeographical listen!" (Aquarius store)
the sequel to Seth Nehil’s critically acclaimed 2009
release Flock & Tumble,
also on Sonoris. Continuing his exploration of physically
sound, these compositions whip, crash, swoop, glide and burble. Clusters
of bell-like tones pierce
hazy, corroded atmospheres. Animalistic yelps, distant pings, percussive bursts and glassy
all merge in this unique sound-world. These five pieces are both rigorously-assembled and gracefully
sparse. Furl will
be a welcome
addition to the expanding catalogue in Nehil’s futuristic organic
"Its hard to say what that is exactly, but it doesn't sound like anything else, which is the best compliment a composer can get, I guess. Its by far the best Nehil CD I heard and a fine career move." (Frans de Waard - Vital Weekly)
|MIKE SHIFLET &
6 pages cardboard cover - dec. 09
2. 15:54 [mp3 extract]
À fleur de quai
4 pages cardboard cover - nov.09
1. À fleur de quai 8:35
2. Vah ma awalo 8:40
3. Frôlement d’elle 11:02
4. Dalila I. 6:10 [mp3]
5. Naufrage 7:27
6. Pique-nique au bord de la route 6:59
7. Destructiv mecanic commando 10:12
Shiflet is one of the most interesting artists of the new US noise
scene. He ran the Gameboy label with 100 releases in 10 years and, as
musician, besides his solo recordings, he worked with C. Spencer
Yeh/Burning Star Core, Brendan Murray, Francisco Meirino/Phroq &
Daniel Menche is recognized since late eighties as a major figure of the experimental music world, exploring the fringe between noise and drone in a heavy and organic way. For 20 years Daniel Menche has harvested a vast discography of solo and collaborations.
Stalemate, the first collaborative work between these two prolific American artists, is based on Hammond organ sounds and electronics. The result is a heavy body of work - a powerful drone based music with densely textured sounds and some deep bass that'll make your walls shaking.
record gathers a selection of recent compositions from this french
electroacoustic composer. His work follows the path of french pioneers
of 'musique concrète' with an emphasis on the intrinsic beauty of
captured sounds and poetic compositions that let your imagination go -
very far from standardazed today production from well-established
studios in France or in Canada.
Each track focuses on one sound source from daily life (trains, a demonstration, a voice, ...) and tells a story that each one can built for himself - therefore, we can speak of a true cinema for the ear.
JM Rivet is a Bordeaux-based composer of electro-acoustic music who studied composition at GMEB in the late 70's and has completed a training course at Xenakis' Cenamu in 82. He works today as research professor in digital studio practice and sound recording. He has been composing music since 30 years, mainly for theatre but also for radio and exhibition.
Flock & tumble
4 pages cardboard cover - june 09
1. tew - 9:12
2. whuilp - 11:19
3. plait - 7:34
4. tew 2 - 5:50
5. grave - 6:57
6. the sun - 6:10
7. blackhole - 5:49 [mp3]
sns-05 - 2xCD in half size slim dvd box - 500 copies - nov. 08
1. T921 (33:31) M. Gendreau
2. D156 (21:11) F. Lopez [mp3 extract]
1. D138 (29:19) F. Lopez
2. M928 (21:02) M. Gendreau [mp3 extract]
Nehil is an American artist involved in various projects ranging from
compositions for dance, installations, multimedia performances,
publications and visual art. Over the years, he has collaborated with
other significant sound researchers (John Grzinich, Olivia Block,
Michael Northam, Matt Marble and Brendan Murray) and has released many
CDs on international labels such as Kaon, Alluvial and ...Edition.
It's not so easy to describe the music of Seth Nehil: like a compound of several substances, obtained by capturing natural and urban sounds, manipulated instruments, as well as by electronic treatments and textured objects.
Flock & Tumble is another fine example of his new direction : shorter tracks with an almost song-like structure and a large sound palette that includes the human voice as material. Flock & Tumble explores haphazard clusters, abrupt shifts, percussive rattles and gentle clouds.
“Extraordinary… a wonderful sense of confidence in the material, an ability to go somewhere quite new.” – Richard Pinnell (The Watchful Ear)
“Not too often you come across something that just sounds like little else.” – Brian Olewnick (Just Outside)
“An important demonstration of Nehil’s abilities, this is a classic sleeper which deserves immediate exposure, well beyond the small circle of experts to which music like this is usually addressed.” – Massimo Ricci (Touching Extremes)
2CD set gathers two compositions each by Michael Gendreau and Francisco
Lopez. TDDM is based on sound materials recorded in factories in Asia.
The 2 Michael Gendreau tracks focus on factories sound environment
meanwhile Francisco Lopez works more on machinery and engines. The
result is a strong and intense body of work, a total immersion into
industrial estates sounds. This isn't a work on microsound or lowercase
music but a real physical experience.
Michael Gendreau (San Francisco), former member of the underground duo Crawling with Tarts, studied composition at Mills College and now works as an acoustician specialized in machinery vibration isolation and environmental noise studies (among other things). He releases now his works under his own name.
Francisco Lopez (Madrid) : "Francisco López is internationally recognized as one of the major figures of the underground experimental music scene. Over the last twenty five years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion." [Pedro Higueras, Sonom Studios]
4 pages cardboard cover - 500 copies - dec. 07
4 tracks - 36:58 min
1. #1 4:12
2. #2 5:10 [mp3]
3. #3 5:36
4. #4 21:57
5 tracks - 45:27 min
|"Behind Bowline we find the more and more present musician David Maranha, who was once best known as Osso Exotico, and these days also works as a solo musician and one Francesco Dillon. He is from Italy and studied the cello. These days he is a member of Alter-Ego (see Vital Weekly 602 for their work with Gavin Bryars) as well as playing with people like Matmos, Pan Sonic and Scanner. A man of many talents. Here too Dillon plays cello, whereas Maranha gets credit for 'hammond organ, violin, vox amplifier (with Francesco cello signal), glass harmonica, tremolo and distortion pedals'. Of the four tracks , the first is the most silent one, taking several minutes to get started. Like with so many other projects of David Maranha, in which ever form it takes, this is a work of minimalism. Of sheer, utter minimalism and what beauty, once again. The careful strumming of various string instruments, the drones added, sparsely of course, from the other instruments. Three short tracks which eventually culminate in the fourth track, which takes up about two-third of the CD and in which the three previous excursions return but glorified. Everything comes together here. If you love Osso Exotico or any of the works Maranha did after that, this is will be a most welcome addition. Also fans of traditional minimal music, especially Lamonte Young will find this a great release, I'm sure of that." (FdW - Vital Weekly 605)||Kozo Inada is a japanese sound artist who has previously released records on various labels
around the world (Staalplaat, Selektion, Digital Narcis, V2). His last record published is a collaborative
work with Philip Samartzis on the australian label Room40.
His music is a balance between austere minimalism and immense spaces in sound that creates a very strong tension and keeps the listener captivated from the beginning to the end.
For J, he uses samples and loops of classical music as sound materials for Max/Msp treatments. The result is a densely layered and strong sound work, with slow rises and falls, hypnotic loops and some ruptures that give texture to silence. A sonic journey into aerial and hypnotic universes.
« Inada’s music sucks you really into it when played loud, it hardly leaves you anything other to do. It’s sound that really locks you in.» (Vital weekly)
Moving away from the field recordings which Inada used in his previous releases, for this release he concentrates solely on classical music samples
and loops. At first that sounded a bit cheap to me, clearly since they are not too difficult to recognize. Inada produces perfect loops that don't skip or anything, but make a sustaining wave of sound. In each of the five pieces things move slowly but steadily and Inada continues his working methods: from soft to loud, although it seems to me this time on a less radical level than before. It's again quite a powerful work, and opening up new worlds to explore for Inada. It would be great to see more of his work being available. (FdW - Vital Weekly 566)
track 1. Free As A Glove 3:44 [mp3]
track 9. Forget To Remember 3:08 [mp3]
3 tracks - 56:14 min
|Minimal pastoralism influenced by the American and
European Avant garde played on acoustic instruments with very sparse
effects but plenty of beautiful accidents. First Sonoris C.D. release by
English instrumentalist / composer takes it¹s title from the story of
counterculture revolution since the 60's. A quiet revolution against
attitude overload. (Paul O'Hara)
This record contains ten compositions mostly played on Wurlitzer piano. A very beautiful music (and I mean music) with cool bits of classic tonality, played like a cat lying in the sun, that might recall to the listener early 20th century french music (Satie, Debussy, ...), Brian Eno's Obscure collection and also some aspects of the post-rock scene. A perfect music to do nothing, just looking at the ceiling. Some may wonder why it's published on the label, some other won't. If you like Nick Drake or Mark Hollis, you may like this one too.
|this work was originally an installation presented at inmo gallery, in chinatown/los angeles, december 2000. the work was created using 3 objects purchased at chinatown giftshops: a toy wooden flute, a small aluminum wind chime, a small paper accordion. each track was created using one of these objects as the only sound source. some of the sounds have been processed electronically. the installation was created in response to: the generic sounding 'muzak' playing in most of the public spaces of chinatown; the private landscape of chinatown lingering unnoticed in alleys and second floor windows; and, a book on the history of chinese philosopher's stones. the audio was installed in front of a large picture window facing the chinatown pedestrian area. (Steve Roden)|
CD - 4 pages digipack - 500 copies - 2001
8 tracks - 45:40 min
track 1. Warm 5:03 [mp3]
|Beginning his recorded career as a turntablist, Erik M advanced over the years to include all manner of electronic manipulation, his work becoming progressively richer and more mysterious. Mono.Face.Mirror, a brief (26-minute) disc, offered one of the most compelling examples of his sonic investigations, piling allusion upon allusion into a huge and healthy sandwich of sound. There are surprising free jazz sax squalls toward the beginning of the single track that merge into what might be some ultra-low Tibetan horns, all overlaid on vinyl scratches and humming drones. A jumpy piano attack surfaces, is looped, and competes against whirring synth-like tones before abating, then reappears several minutes later as though grabbed from a parallel universe. Shards of contemporary strings appear, set against light percussion in a "sampled" manner that recalls some of John Wall's work. Eventually, a male voice speaking in French is heard over a mix of natural sounds and drums, very reminiscent of the musique concrete of Luc Ferrari. Still, Erik M manages to make this particular sound world very much his own and, despite its apparent fragmentation, Mono.Face.Mirror ultimately coheres into a powerful, abstract statement, if one which belies easy explanation. Though brief, it's a fine, mature statement and highly recommended. (Brian Olewnick / All Music Guide)||Dailleau is a member of Triolid and Le Complexe de la Viande and perfoms from time to time with Helmut Schafer and Atau Tanaka. I'm unfamiliar with the bands but I know the two others as composers of powerbook music, both in their very own style. This CD is a solo CD recorded at various concerts, where he performed on theremin, msp-propelled theremin, aks synth and computer. These eight pieces can be best described as dense. Layered sounds with a drone like character, which can grow into noise (but it never reaches the peak of noise). Although some of the tracks remind me of laptop like cracklings and even a rhythm, such as 'Little Odyssey', Dailleau never gets out of control and structure of the music remains important. The drone like character remains his important thing. Therefore this is an utmost enjoyable CD if you like the work of Asmus Tietchens, Troum but also Mego. Not the least names to be compared with. Great stuff indeed. (FdW / Vital weekly)|
2 tracks - 48:07 min
8 tracks - 61:49 min
|Poire Z is almost like a super group, as it's collaborative work between drummer Gunter Muller, electronics by Erik M and the cracked everyday electronics of Moslang and Guhl - the latter two known as Voice Crack. Presented here are two lengthy and heavy weighted pieces recorded at two different festivals. Overall the music is densely layered (although I can't say if this is a straight recording or a mixed multi-track version; I assume the first) which moves into various places and spaces. Small events happen all over the place, get their shape and move to the next small event. You can detect sine waves, radio signals, static drones. Poire Z moves cleverly from subdued areas into more noisy ones, in order to slide back into softer passages. They even hit upon a strong rhythmic section in their recording at the "Taktlos festival", that is almost Pan Sonic like. Great stuff. (FdW / Vital weekly)||"Hanging above the audience, metal cans are linked to some strings of a piano frame by long steel wires (3 to 5 m.). Strings are excited by percussion, friction, magnetic fields and electric motors." (extract from inner notes) First solo record, before the CD released by Sub Rosa, from this musician/instrument builder from Liege, Belgium (after a collaboration CD of strange songs with Frederic le Junter and one long track on a Sub Rosa compilation), also collaborator of Arnold Dreyblatt for performances. A first part in a Dreyblatt style, a center part of layered and droning sounds (but without any effects) and a more strong finale. Another very good step in the minimal exploration of one musical instrument.|
CD son-32 / mkcd-yyy
15 tracks - 50:39 min
4 tracks - 62:47 min
|For his first CD, Laurent Grappe has created a fascinating electro-acoustic tale. Le Luxe de la Réflexion! (The Luxury of Reflection!) blurs distinctions between field recording and acousmatics, urban and rural, French and Arab. At the center of the work is Isabelle Bassil, a Lebanese woman splitting her time between France and Lebanon. Her life experience, bridging two cultures, provides the main thread. Her interventions are spoken in Arab and other protagonists speak French, but comprehension of any or both languages is not a requisite to appreciate the listening experience - the same way understanding Spanish did not constitute an obstacle in Kristoff K. Roll's South American sonic travel diary, Corazon Road. Grappe plays with the sound of speech, the emotions it conveys on a musical level transcending linguistic signification. His sound constructions at times evoke Fred Frith's soundtrack to the film Middle of the Moment: atmospheric nomadic journeys into another culture. In other places, the music is resolutely musique concrete. The three "Interludes" feature vocal performances similar to Shelley Hirsch or Joane Hetu. Although a reduction of "life," Le Luxe de la Réflexion! feels surprisingly non-abstract. Of course, the unsuspecting listener will be destabilized, but most sound elements are traceable to their sources and many bits of music are left untouched. It makes a rewarding listening experience, even for seasoned sound art fans - a very impressive debut. (François Couture - All Music Guide)||Shame of course upon myself: I have never seen the Sensorband live, and that is a pity. Three guys with a bunch of ropes, connected with sensors. By moving around, climbing in the ropes, the sound is changed by the sensors. These three guys are Edwin van der Heide, Atau Tanaka and Zbigniew Karkowski - three guys with a wide experience in sound, electronic music and performances. The question of course is: will their sound last on CD? Since they use pure tones and oscillations which change because of bodily movements, nothing might happen if you play this at home. It's unclear wether these four tracks, one analogue and three digital, are recorded live, or used in live performances. The CD opens with 'digtal.1', a slowly moving static line with small pulses, gradually increasing tension. The 'analogue' track is much a like, but much slower. The built-up takes more time (no surprise in a track that lasts 28 minutes) and is very austere in setting. The two shorter 'digital.2' and 'digital.3' are like the opening track. More pulsating, without getting anywhere near a beat. Number is almost like a sentimental song, with a tone of sadness in there. The presstext talks about the missing link between Hafler Trio and Pan Sonic, I'd like to add a link to Alvin Lucier's Music On A Long Thin Wire: pure tones changed by the environment. A very minimal, but very nice work... (FdW / Vital Weekly)|
STEVE RODEN /
1. the radio 18:33 [mp3 - (extract)]
1. Piano suspenso 71:32 [mp3 - (extract)]
|Reissue of this late 1999 release and out of print since a long time.
Some reviews at the time of release :
« Roden indicated to me that he ‘totally loves this piece’ and I can understand why. This is a beautiful sound work/piece of music (in that broader meaning of music that people like Roden explore). Its density, intricacy and beauty remind me of artists who work only in miniatures: as explored in the Roden ‘special issue’ (&etc v1.7), he works in bounded musical forms, yet creates pieces in there which are expansive and could stretch infinitely despite their limits.‘The radio’ is a prime example of this - each section could be left to continue further and further, delving into its focused world, and the whole disk could be left to repeat, the narrow passage of its composition gradually expanding to encompass the world. Perhaps I exaggerate, but this is a magical, beautiful piece that should not be missed. » Ampersand Etcetera web site
« a particularly modest form of genius » The Wire, included in best of 2000 experimental cd’s.
|Reissue of this 1999 release and out of print since a long time.
Some reviews at the time of release :
« After a tentative opening consisting of damp harmonic scrapes, the piece takes off like a single-engined light aircraft when Maranha kickstarts his four-motored piano effect and then starts to tease single notes from the bubbling background with his bow. This is a great and physically affecting slab of sound, where the slightest minimal shift causes tectonic plates to groan. It’s gravy train stuff for fans of Maryanne Amacher, Arnold Dreyblatt and – perhaps Maranha’s major influence – Phill Niblock. » David Keenan - The wire (aug. 99)
« David Maranha, one third of Osso Exotico, recorded a hauntingely beautiful piece in New York, using four motors and a violin bow to play the grandpiano. The motors create rich textures of overtones that slowly go in and out of phase and make unknown harmonies audible. The bow plays something like the melody off and on. There is a very special thanks to Phill Niblock and if you know his music, then you know what to expect as it fits his tradition of minimal music very well. » Frans de Waard - Vital weekly
CHRISTIAN ALATI /
7 tracks - 45:26 min
TAKU SUGIMOTO /
5 tracks - 41:23 min
|Sonoris isn't exactely known as an improv label, but they make an exception here with the work of three Italian improvisers, which are closely linked to the super improv label Fringes. I didn't glance very much at the cover very much while playing this CD, so the notion that these are two guitarists and a percussionist struck me. Whatever they produce, its hard to pin down as guitar and percussion. They go by a slow curve from almost silence to almost noisy, with crackles (what sort of guitar produces crackles like a lap-top, me wonder in mild curiosity). There those recognizable AMM influenced bits (although their curve is usually even longer) and even a link to industrial music (the motor like buzz in 'Text Piece'). This makes this into a somewhat more varied CD, and you could even wonder if the variations aren't too much. Myself, I thought it was ok and thought it was a well-entertaining CD. (Frans de Waard / Vital weekly)||An album that documents the concert by two guitarists (of which one also plays electronics) held on April 5th, 2000 in Japan. Sugimoto is known for his improv style in which silence plays an extensive role. He strums a string, waits, strums the same and waits again. The space in which he plays becomes an important factor. Drumm is kinda similar, but he's responsible for the electronic part, so he fills his guitar strums, with occasional feedback, crackles and glitches. Yet, Drumm is a controller, so he never lets things out of control. Listening to these 41 minutes you feel the air of the Gallery where this was recorded, so much silent interludes, delicate strumming, isolated cracks and more silence. If you try listening superficially, then the whole thing go lost. This requires your full attention, or better play something else. Zen in music. (Frans de Waard / Vital Weekly)|
PETER DUIMELINKS /
track 4. Trivelogue 4:56 [mp3]
THOMAS DIMUZIO /
14 tracks - 63:12 min
|Ralf Wehowsky (RLW) was founding member, and most
important conspirator in P16D4. Peter Duimelinks and Roel Meelkop were
members of THU20. Profitable postal collaboration (or each one composes
from another one's material) and between three current figures of
electroacoustic musics. Stratified resonances, shocks of sounds like
tectonic plates, brutal ruptures opening on different spaces. A formal
and structural work of the most interestings. (Jerome Noetinger /
Needles to say that at least I think this is a well made CD, that is witty and serious, and should be part of your record collection if you care about this sort of music. (FdW / Vital Weekly)
|The truth is, you found something incomprehensibly
comforting in these sounds, this noise, this audible darkness. It
occupies the space and fills your lungs, so in such a short time you
grew accustomed to this nightmare, probably just in time for Burke and
Dimuzio to sever the umbilical cord so suddenly, leaving you helpless
and in silence. (Richard di Santo / Incursion)
Dan Burke has called this one of his favorite works he's put out. Dimuzio is the guy behind Gench Studios, the place where so many experimental labels get their stuff mastered. HZ is a refined, driving, eclectic nightmare of beats, darkhop and odd sound tones and soundscapes. The listen deepens as it progresses, with varied layers of styles developing and fading. Very nice little digipack item. (Manifold web site)
3 tracks - 53:05 min
ARTIFICIAL MEMORY TRACE
track 12. Noktau (Residues Of Ritmax Asimetra) 7:42 [mp3]
|This record is out of print.||Artifical Memory Trace sort of is the right person
to fit these traditions of electro-acoustic music: intelligentely
composed with modern means (read: sampling), into relatively short
pieces that hold the attention. Without any limitation he jumps back and
forth in his sound material. Sometimes all the events seem to be
apparent at the same time, but at other times one long curve is drawn,
such as in the beautiful opening piece 'Skeletune(s)'. AMT can be placed
among the likes of Illusion Of Safety and Brume. With the latter AMT
shares something odd: presenting a large body of work, which ranges from
good to excellent, it is hard to see the difference between each work.
(FdW / Vital Weekly)
Slavek Kwi continues its excellent work of organization of sounds in time and spaces exploiting great dynamic scales, unexpected ruptures, complex morphologies and astonishing changes. He pays much importance to the environmental sounds. (Jerome Noetinger / Metamkine)
track 07 [Infini] (3:13) [mp3]
|'zygosis', which is his first fulltime recording, starts with a witty beat track mixing high-pitched shakespeare monologues over syncopated jazz loops, and quickly convinces you that the deconstruction of stolen sound material (sourced from cabaret, orchestral music, rock, poetry...) may grow into something utterly personal and unique - most extraordinary examples are tracks 3, 4 & 6. after this tour-de-force, the listener is allowed a short break, while the cd-player skipps through the almost empty regions of track 9 - 22 (microscopic shards of static, lasting only for a few seconds each). those are quickly followed by a very powerful and dramatic piece (agora) that bears an almost recognizable song structure. the cd ends rather quietly with three unsymetrical ambient pieces followed by a short and funny epilogue. there's nothing more to add, except that 'zygosis' is probably one of the most brilliant achievements in musical 'piratage' so far, and first of all - regardless to it's historical relevance - it's simply beautyful! (extract from http606 web site)||This record is out of print.|
5 tracks - 59:54 min
track 7. Alvo Átrio 5:03 [mp3]
|J-M R is a French composer from Bordeaux. According to him, his main musical influences are Pierre Henry and Luc Ferrari. He works by recording natural sounds directly on a DAT with two microphones fixed on an helmet in order to create a real stereo. Then, he composes with these sounds on some old analogic Revox with very few effects or electronic treatments. Embrasement gathers together five of his last compositions : musique concrete with a lot of fair sounds, composition with sounds of a broken piano, some records loops and voices, composition with sweet voices and sounds extracted from an old P. Henry work, a more linear work and a last track composed with voice and oppressive sounds.||The three piece group from Portugal explore in ten tracks the possibilities of the church organ. The members play in various combinations on different organs. The outcome is very varied. The opening piece is barely audible, but the second piece is a loud, repitive, all register open one. Of course it's hard to see this music without any religious overtones, but Osso Exotico don't give a clue in that direction: all their pieces are untitled. Meditative pieces in most cases, but less minimal then the known minimalist who grew up with playing organ. This is a different approach then Charlemagne Palestine would do, but none the less this is quite interesting. (Frans de Waard - Vital weekly)|
3 tracks - 62:21 min
|P16.D4 existed from 1980 to 1988 as a
continuously working group. The only permanent member was Ralf
Wehowsky (RLW). Since 1992, RLW works under own name. All the tracks of
Tionchor had appeared on different compilations. They were restored
and compiled during 1986 for Tionchor which was released II/1987 as
L.P. (Selektion SLP 013). Three bonus tracks and the complete
discography have been added for this CD reissue.
March 08 : this record is now out of print.
|This record is out of print.|