The eight pieces on this release are played by Michel Blanc percussion , Matthew Bourne electric and acoustic piano , Bruno Chevillon double bass , with Vigroux himself on electronics and guitar. I assume that seeing 'composed by Franck Vigroux' on the cover means that he actively scribbled down a few notes with regards to how things should be played, but it might also very well be that Vigroux took a bunch of recordings by these people and he plays around with them, using studio techniques.
I must admit: I am not sure about this. It could be either of these two approaches. There is at times quite a modern classical feel about these pieces, especially when the piano strums few chords, majestically, and a bow is used to play the double bass. The guitar and electronics in return bring you back into the land of noise, with some well-placed beeps and distorted noise patterns.
There is some strong interaction between these players, and within this music, regardless of how it was made. Lots of tension between the notes, the players and the way the whole thing is played out. A powerful release indeed, but it suffers a bit from the vinyl, I think. Or perhaps my copy is just a bit crackly? I don't know but it somehow interrupts the fine flow of the dynamic music. Felizardo's previous three releases were released by Clean Feed, Wasser Bassin and Three:four, so 'Volume IV' is his second release for the label, and therefor?
Felizardo plays electric guitar and has a self-built amplifier. There is no mentioning of effects and based on what I hear, and since this double album is an introduction for me, he might not use any effects. Felizardo moves around the amplifier to generate feedback if need by and need for that seems in demand quite a bit here.
Felizardo let's his six stringed beast howl on end and much of this sounds pretty dark and grim. Maybe grim is not the right word, but dark it is. Much of the higher frequencies have been filtered out by Felizardo and one hears the low end rumble of him playing his tunes.
It's not music people have a word for, I think. Blues might be the one that comes close, but it might also just not cover it, entirely. There is a distinct personal howl around this music, of desolation, of open landscapes, heat and sand perhaps, but with that personal touch - we can not guess what it means for Felizardo, but we can make it our own drama; in fact it's quite easy I should think to find something personal in this, grief, sadness, loneliness.
None of this, you might have guessed is strictly blues, as Felizardo has a few tricks up his sleeve to make it sound quite different and alien, such as 'Ain't Gonna Get Outta This Floor No More', with it's more percussive guitar approach. Maybe a double LP all a bit long for so much sadness, but it works fine in smaller quantities.
Yet while there are more football haters, when it comes to cars, even the ones who tell me they are not interested, tell me Topgear is a great show, 'it's very funny and you don't need to like cars'.
Maybe I told this before, in an earlier review of his work, but it's an all-important message, me thinks. So there you go and I like to thank DJ Topgear for allowing me to review a TV show, and while the label does not mention it, Simon Petre might be a big fan of the show. He lives in Tokyo, and calls himself a 'suburban freeware electronica geek, occasional MC and Korean flute player' and no doubt he met CDR, Hakaru Tsunematsu, over there.
You can find more on him and his many monikers in Vital Weekly I started with the CDR side, first on 33 rpm, which sounded great until I found out I had to play this at 45 rpm, of course speeding things up a few notches more.
It continues from his previous release but seems a bit more organised here. Maybe for these two pieces, and CDR took some consideration while recording towards such notions as composition? It's still a piece of breakcore and comes with the usual chaos, but there is also a rhythm pattern that returns in both of the pieces on the record. Fast music, ultra fast, and it must be an age thing: but this is way too fast for me. It's great music, there is no doubt about that, drill 'n bass, drum 'n break or whatever core, but I found it hard to bounce around, pretending to dance.
And yes, that sounds like strangely familiar to the Dutch actor of the same, and recently Adaadat released a 7" by Masters, with a title that was exactly like the actor.
While many of the releases on Adaadat seem to deal with electronics and rhythms, Rutger Hauser is electronic at times, but it's also very rock like, and very improvised. It's the strangest of combinations maybe, but funnily enough it also works quite well. Sign up for our mailing list. First Name : Email Address :. Larry Norman right performing with Gene Mason left Studio albums: Live albums: Compilation albums: Recording since , first as a lead singer for the group People!
His music was released on both mainstream and independent labels, including his own Solid. The smell of leather. Never heard of them before. A look at Bandcamp learns that they are already some five years in existence. We are speaking of a very tight playing band. They produce a kind of free rock from a hardcore attitude or background. Fine duelling and improvising saxophones with bass and drums as a strong rhythm-unit.
Nice sound with a strong narrative structure in a crescendo way. Despite the many influences that can be traced in their music. They sure have their own face and their own solid format. Interesting band! Their cdr comes in a spray-painted clear jewel case. Arvind Ganga is a guitar player from The Hague in the Netherlands. He recorded with percussionist Rogier Smal.
Played also with drummer Onno Govaert, a. Noise, drones, North Indian ragas, experimental rock, and everyday sounds inspire him. This becomes evident when listening to his improvisations on this new solo album. The album has four improvisations on guitar and objects. First three tracks were recorded in his home studio.
The concluding improvisation was recorded live. All four improvisations have Ganga playing guitar and objects and some effects. Tracks recorded by Arvind in Den Haag. Track 4 recorded live at the Incubate Festival in Tilburg on September 19th, The improvisations vary in dynamics and textures. Weird over the top cacophony and ambient-like drones go hand in hand. His approach is very physical and aggressive.
He improvises from a punk rock attitude with advanced technical skills. And above all with lots of power and musical ideas. Very interesting and fresh sounding stuff! They have a new CDR and 'Anton' from was also in the parcel with the announcement that it will be re-released in a re-mastered version very soon.
Their music is best described as Hollywood soundtrack music, made with many orchestral samples and bombast that goes with any blockbuster. I reckon' they are very good at what they do. Their music should be discussed in Hollywood trade magazines in which director share tips for soundtracks.
It has really nothing to do with what Vital Weekly is about. But at least now you it exists. That would good be a great title for a weekly column as part of our weekly; 'it exists' and then mention stuff like this.
Again Amek sells this as an EP, and perhaps at twenty-two minutes it is an extended play. There are six pieces here, of which one is a remix, made by Valance Drakes.
Not too fast paced, this is more mid-tempo, hard beat music with throughout a very dark atmosphere around it. These atmospheric interactions come through the extended use of ambient synthesizers that add considerable dark matter to the music. I would think that all of this finds its origins in a laptop, with some of these beats being crushed and crumbled up.
This is not really music to dance to, I should think, even when I easily admit being someone who you won't on a dance floor. It seems to me it is just a bit slow and too dark for a good night's of entertainment, but who knows what life in Sofia are these days?
Maybe this is the kind of music that the city calls for? Also from Sofia is someone who calls his musical endeavour Nelegat. He too offers six pieces but the release is about twice as long. Nelegat shares with Late a love of rhythm, but he works it in an entirely different way.
Here the rhythms are stripped bare, a bass drum, some additional percussive sounds and one think of early Pan Sonic, Goem or Alva Noto. To this rhythm Nelegat adds a blend of electronics, while sound effects such as delay and reverb are added to alter both rhythm and electronics along the way.
It needs the length of the pieces, I guess to deliver that hypnotic feel that psychedelic edge, and it works quite well. Negelat's music is a rough diamond that reminds me much of Kvitnu's catalogue, but it is not yet shaped enough.
It is perhaps because Nelegat sometimes uses samples of other sources and plays around with loops of other, unnamed, sources, and in 'Relapse' and 'Prolapse' become murky masses of sound. Source: Harmonipan Studio. The August edition of The Wire magazine features Mazurek on the cover and describes him as a prolific and venerable force in new music. His vast catalogue and expansive vision has kept him on the cutting edge of creative music for the past three decades. Interpretations begins a new series of audio interviews with artists who are performing on the series!
Our first guest is saxophonist Andrew Lamb, who will be bringing his group the Circadian Spheres of Light Project to our next concert at Roulette on October 18, !Concerto de Filipe Felizardo» Pequena Notável» Concertos - Filipe Felizardo (Portugal, ) é músico e artista visual. Começou a compôr para guitarra eléctrica a solo com o álbum GUITAR SOLI FOR THE MOA AND THE FROG (Clean Feed/Shhpuma) em , seguindo-se 'Volume II - SEDE & MORTE' () e 'Volume IV - THE INVADING PAST' (), ambos na editora suiça .