============ VITAL WEEKLY ============ number 450 ------------ week 48 ------------ PITA - GET OUT (CD by Häpna) FITZ ELLARALD - THE VERY AIR SEEMS REPLETE WITH HUMMING AND BUZZING MELODIES (CD by Amorfon) L'OMBRE - SIMULATIONS 2.0 (CD by Ant-Zen Recordings) RUMP COMP VOLUME ONE (CD compilation by Rump) ELECTRA (CD compilation by Elusive) COTI - LIDO/LATO (2xCD by Poeta Negra) BLUE COLLAR - IS AN APPARITION (CD by Rossbin) FAGES/BARBERAN/MONTEIRO - ATOLON (CD by Rossbin) LIKE MUSIC TO THEIR EARS VOL.2 (CD compilation by Mechanoise Labs) EVEREST - HEIMLICH MANEUVER (CD by Everest Records) STROTTER INC. - MONSTRANZ (CD by Everest Records) THE ABSTRACTIONS - Novo Navigatio (CD by Pax Recordings) ANDREW ZEALLEY - FIVE NOCTURNES FOR ELECTRICITY (LP by En/Of) JAZZKAMMER - ALL MEN ARE BOYS (LP by En/Of) RUDE PRAVO - THE DUST IS FLYING/MEDIAEVAL (7" by Shadazz) DANNY SAUNDERS - GOLD (7" by Shadazz) KEITH BERRY - BUDDHA'S MILE (CDR by Authorized Version) SMELL & QUIM - COSMIC BONDAGE (CDR by Authorized Version) SHARPS INJURY - I TOLD MY GIRLFRIEND THIS WAS A 12" (3"CDR by Mechanoise Labs) SIN #6 (CDR compilation by Syndrom) WHITEBASS - DEPTH OF FIELD (CDR by Mystery Sea) QWERTY - THE SORROWS OF YOUNG QWERTHER (CDR by Piehead Records) PITA - GET OUT (CD by Häpna) Although the name comes up in these pages quite regularly (less these days then before it seems however) it was quite a search but the last thing released by Peter Rehberg under his Pita monniker was 'Get Down', the LP by Mego, which was reviewed in Vital Weekly 336. I believe 'Get Out' is only his fourth solo outing. Pita is a man of live concerts, solo, with Rehberg/Bauer, Mimeo or just whoever is available. Many if not all of these concerts are recorded and at home Pita creates them into new pieces. Recycling pur sang. But on his previous releases this resulted in heavy, uncompromising slabs of digital noise, now on 'Get Out', Pita shows us his softer side. Less in y'r face digitallia, and more subtle moments, like the eight-minute, almost ambient of 'Retour'. The heavy bits are now bits, like the short piece 'Babel'. I'm not sure if the tracks are cuts out of concerts or treated concert recordings, by layering various on top of eachother, but having witnessed some of his concerts, I can imagine it's either one. Pita is the master of the plug in: armed with just his laptop he's still, despite his lower profile these days, the best you can get. Small his output may be, it shows enough variation to maintain a continued interest; at least: certainly from this listener. (FdW) Address: http://www.hapna.com FITZ ELLARALD - THE VERY AIR SEEMS REPLETE WITH HUMMING AND BUZZING MELODIES (CD by Amorfon) This seems to be one of those titles that explain the music well. Fitz Ellarald is Vladislav Dobrovolski, a Russian artist + dj from Moscow. The music on this album, which is the first release on Amorfon (the other 2 are reviewed in Vital 436 and 437), seems to be influenced by the global glitched-out movement. In that way this music is closer to Markus Popp's So than Oval, 'cause it's going in a more melodic direction. But improvisation is very important here too. It's actually glitchy aesthetics presented through improv playing and style. Often ending as ambient. Fitz Ellarald is credited with tapes, programmings, guitar, bass and synthesizers. Obviously this artist belongs to the lap-top/computer improv scene, like Fennesz, Vladislav Delay, Desormais and others, who use diverse instruments but the main one is the lap-top and they improvise by/through it. Since it's improvised music there must be a good balance and a certain intensity. That's well done in the tracks 'Hjarta' and 'Ruminant' for example, but also sometimes it's not so focused and then it lacks more dynamics, like in the first half of the album when it sounds a bit absent. However, it's a nice musical approach with mostly non-obliged improv playing. (BR) Address: http://www.amorfon.com L'OMBRE - SIMULATIONS 2.0 (CD by Ant-Zen Recordings) Last year Stephen Sawyer (a.k.a. L'Ombre) released his debut album titled "Simulations 1.0" on Ant Zen Recordings. It was a pleasant journey into sonic spheres of melodic ambient and bent-out-of-shape breakbeats. Just a year later the follow-up, bearing the logic title "Simulations 2.0" has hit the streets. And the recipe of the debut is neatly followed. This time the result is even better! The album is still focused on atmospheres of melodic fragility but the rhythmic part of L'Ombre works better on "Simulations 2.0", still with the nice mixture of dark hop oriented beats and laid back breakbeat textures. Even though the rhythmic section of the album isn't suppressed in the overall sound picture, the rhythms never disrupt the chill-out feeling. Rather it helps accomplishing the laid back atmosphere of the album in the best possible way. Samples of soundtracks and looped vocal effects gives a fresh feeling, just like the funky guitar riff-samples first of all appearing on opening track "Relax, it's digital". The total playing time of the main album is only 27 minutes, but the CD contains seven pleasant remixes of tracks from the album by other sound artists. The quality of the remixes is high. Despite the fact that each remix carries its own personal expression by the remixing artist, the remixes generally stay true to the original expression of L'Ombre. Thus the unattended listener wouldn't even realise that the main album had ended and the remixes had taken over. So there we go: 70 minutes of excellent chill out! (NMP) Address: http://www.ant-zen.com RUMP COMP VOLUME ONE (CD compilation by Rump) This is second compilation by Rump recordings. Usually new labels are starting their discographies with a compilation, but Rump is doing that in opposite way with their second release. In this case their first release, a Rumpistol album, determinates the labels sound which is pop, IDM oriented electronica with dubby influences. This compilation is continuing with presenting of before defined sound, still defining it with the variety of the sound that only compilation can offer, but holing on concept of presenting Danish electronica. Here can be found relaxed pop oriented electrononics of Zoffmann or Manual & Syntaks, relaxed duby moments of Melk, glitchy minimalistics of Kriipis Tulo, Theodor Zox and Pellarin, fine and calm tunes of oRfeUs, Skyphone and Prinz Ezo, there are some tracks that are into more classic idm sound like tracks by Sofus Forsberg, Karsten Pflum and Rumplistol/Sortie. After listening to whole compilation it seems that there are more styles incorporated into it and we can see that Rump is interested in more sounds than it seemed from first look. Of course crucial for that is the concept in which can be still recognized characteristic melancholic Nordic vibe. But despite it seems that it's so eclectic, that variety, eclecticism and combinations are still into one sound, production and mood. (TD) Address: http://www.rump-recordings.dk ELECTRA (CD compilation by Elusive) Judging by the sound that this record offers, it's nothing but a classic. It's that classical sound derived from basic idm, through the contemporary variations of post idm to the melodic electronica...the sound that elusive have to offer with their third release would be best described as: warm and melodic electronica flavoured with organic elements. A standard description for styles mentioned before. So what is it that's new here? The sound and the style surely not, but maybe it's something to do with the individual production implemented in the sound that this label treats. Twenty tracks, by twenty different musicians, all coming from ireland, with every track sounding alike from the melodic pop concept's point of view which is evidently what this compilation intends to offer us. Therefore, apparently those are the label's intentions as well, or as they have stated: an initiative to gather different components, to find something which could connect these, but which by the traditional means of a compilation would be different. Nevertheless the result in general would be a record with a linear character and at the same time presenting a fine sounding whole, instead of a sampler splitted by tracks/artists. In case this was the aim of the compilation, i'd call it successful. But if the aim of this compilation was to present many variations of sound, its perfect accordance could be its fault. Anyway, their primary idea, concerning the context of the sound, was above all, to present any kind of warm sounding melody. Slow and melodic piano, guitars, cutt-up deep rythms, soothing bass lines and occasional vocal samples. Different moods, ambients, some calm, some louder, ambiental melodies and strong dancing rythms....even some hip hop variations. So they are successful in this as well. Finally their attitude states that this compilation is about consistency of sound that glides through the different moods, energy levels and styles it contains. As far as the consistency is concerned, we've already proven that. Various moods... That stands too. Styles....only in the means of this melodic sound. Apparently it is clear because the rest of the styles aren't even included. (TD) Address: http://www.elusiverecordings.com COTI - LIDO/LATO (2xCD by Poeta Negra) What you can clearly notice in Poeta Negra's previous releases is that this label has a very eclectic approach concerning the sound. From the classical post rock that s.ink makes, through decades' typical electro, through the eclectic sounds of Peekay Tayloh to the cinematic ambient that Dani Joss offers. This time Coti's release opens another perspective in exploring this label's sound. Judging by his biography, this artist apparently is a veteran in production. "Lido/Lato" is coti's fourth solo album, after leaving a serious promising impression with his album metamemoria (Vibrant Recs, 2002). In the meantime Coti simultaneously records his album while participating in a few side projects, such as the texturiser with Nikos Veliotis of antifrost. He performes live, composes film soundtracks as well as music for theatre plays, finally records and produces other bands' projects, among which is tuxedomoon's upcoming album. As far as his own history is concerned, Constantino Luca, Rolando Kiriakos aka Coti or Coti K is integrated in the scene with all sorts of different pioneer electronic bands in Athens, with his work as a producer, sound engeneer, and also by collaborating with names like Blaine Raininger, the previously mentioned Tuxedomoon, Stereoniva, Nikos Veliotis, Ilios... And many other collaborations, composing soundtracks for not only films and theatre plays but also commertials. This album consists of two parts (i.e. 2 disks) lido and lato. The first part of this release is experimental, and completely different from the second part, even though these are just two sides of a unique creation both composed at the same time. It starts off with completely dark ambience, while microglitch layers appear even at the very beginning. These only insinuate the interesting moment that is about to follow in the rest of the tracks on this album, that have the same sensibility. The microglitch sound and the ambient background wrapped in quiet unrecognizable melody represent the basis of the whole album. (for exp. 'baben g.' is based on live recordings from babis and pavlos makridis' performances. In q.respiro you can feel a completely quiet and unnoticeable noise flux which is mixed up with the already recognizable ambient setting, while in s~p. The noise direction is more categorical, to be later amalgamated in ambience. The subtlety, the minimalism and micronoise variation are the orientations that describe lido, a nice guide to what is to follow, the second part called lato. Lato is more classic with piano and string melodies. Although it begins interestingly and experimentally enough, from the second track the classic melodies take place, through the presence of a piano choked in the unrecognizable minimal electronics. Contemporary classic is what dominates and is realized through this part. Nostalgia, sentiment, and emotion...that end it in a slight pathetic manner with 'p.stritch' that features a cello sample by nikos veliotis. Today when the classical sound is something already past, lato faces the usual problem of becoming too boring, uninventive and totally banal. However he gets away with it thanks to the experimental tendency in the sound. Despite these two parts being two complementary sides of a whole, the sound that they have to offer is quite different and it makes them come across as diverse, so diverse that they could be considered as two different releases. Only if we see the experimental intention as a link between the two, could this complementing be realized. Address: http://www.poetanegra.com BLUE COLLAR - IS AN APPARITION (CD by Rossbin) FAGES/BARBERAN/MONTEIRO - ATOLON (CD by Rossbin) Apart from the release of a 10" by The Hafler Trio on Rossbin, the label's usual roster consists of the really die-hard improvisation music. These two new releases are no different. Blue Collar is Nate Wooley (trumpet, flugelhorn, voice), Steve Swell (trombone, voice) and tatsuya Naktani (percussion) - all three of them new names to me. Unlike so many other improvisation discs that land here on my desk, this is one that firmly stays inside the acoustic areas, and unlike others, their playing is rather traditional, compared to some of the other players in these areas (Axel Dörner). But that doesn't mean that this by any new standard dull or boring. Throughout these eight pieces there is much tension going around between the players and also they don't operate on the same soundlevel throughout. The seventh piece is a loud beast, whereas the eight one is almost ambient. A well varied disc of more traditional improvisations, but all of them of a high standard. The name Ferran Fages popped up before, as one of the active people in the Portugese improvised music scene. Here he plays 'acoustic turntable', with Ruth Barberan on trumpet and Alfredo Costa Monteiro on accordion. Like the Blue Collar disc, this is also mostly acoustic (I think), but the result is much louder and abbrassive. In a strange way these three players manage to sound electronic (or maybe electric is a better word) in an acoustic way. This trio knows how to built up tension too, even when the tracks they take are a bit shorter and things move faster than at Blue Collar. I especially liked the acoustic quality of the noise approach they take. Certainly something else again. Quite nice indeed. Address: http://www.rossbin.com LIKE MUSIC TO THEIR EARS VOL.2 (CD compilation by Mechanoise Labs) Noise on a sunny weather? Even when it's quite cold outside... I don't know if it makes a difference to you, but I'd better take a walk and leave the music for later... This is a compilation from the French label Mechanoise Labs and, as it says in the subtitle, it's 'an international gathering of extreme electronics'. These extreme electronics are often presented in a noise form, but it's not only about that. Some of the tracks, by Cutman (from France), Control (from USA) and others, are like a harsher noisy side of (post)industrial. Sometimes there's use of talking samples or the noise atmosphere is building up with voice shouting in Cutman's track, which adds more disturbance to it. What's common for all artists is a rather untamed approach and trashy use of noise in various contexts and ways, something Mechanoise Labs are obviously fond of. Lots of unknown names here, in fact I recognize only two, Government Alpha (Japan) and Mourmansk 150 (France). The others are: Nagasaki Fondue and Foutredieu!!! from Canada; from USA: The Mark Dutroux Slideshow, Pine Tree State Mind Control, Navicon Torture Technologies and Angel of Decay; France: bETON bARRAGE, This Is Not Red Paint; and also: DVT and Sulphur (from Australia), Rupor Udara and Kryptogen Rundfunk (Russia). 16 artists and 17 tracks. (BR) Address: http://www.mechanoise-labs.com EVEREST - HEIMLICH MANEUVER (CD by Everest Records) STROTTER INC. - MONSTRANZ (CD by Everest Records) "It's unlikely you'll have heard anything quite like this before" - that is a remark with a promise. Last year or so I reviewed Everest's 'Inhalight' CDEP (Vital Weekly 372) and called it 'intelligent dance music for people that don't dance', where they cleverly combined electronic music that could easily fit on Warp Records with street sounds and environmental recordings. That was a nice release, but on the new full length release 'Heimlich Maneuver' I find it hard to have pleasure. The music is even more like good ol' artificial intelligence, ambient music with a large sauce of techno rhythms, and the field recordings seem to have vanished. It's quite likely I heard such music before and this doesn't add much, I think. It's pleasent, entertaining, none forcefull electronic music, that fills the living room nicely for fifty minutes. But beyond that nothing new under the sun. Of much more interest is the release by Strotter Inc. He has released a LP before and 'Monstranz' is the first full length CD. Strotter Inc. uses manipulated and modified Lenco-turntables, which he uses to built lenghty minimal pieces of concrete music. Of course everything rotates, on end. It seems to me that Strotter Inc. doesn't use any vinyl to play on his turntables, but rather prepares the machines to play elastic bands, wood or metal. Much of this sounds alike Institut Fuer Feinmotorik, but Strotter Inc's tracks are lenghtier and more minimal. The eight track, with a length of thirty-three minutes goes a bit over the top, but the others are quite nice. Track one is pressed on the cover and can be played on a turntable, the eleventh track can be downloaded from the internet. Old and new technology meet. Certainly one of the more creative covers of the year. (FdW) Address: http://www.everestrecords.ch THE ABSTRACTIONS - Novo Navigatio (CD by Pax Recordings) 'Novo Navigatio' marks the third stage of the sonic explorations by The Abstractions. The name of this group makes their programm explicit. They borrow from rock, improv, jazz, electroacustic music, soundmanipulation, etc. without repeating it. But it is evident that these guys are searching for new paths. It's their pleasure and drive to investigate that I like most. More then the results I must say. But maybe their approach will result in a new and convincing musical identity. All 19 pieces differ considerably from each other. It's hard to believe that this is one band actually. But maybe this isn't the case. The Abstractions came about as a project by saxophonist Rent Romus and singer-guitarist Ernesto Diaz-Infante. On their new cd The Abstractions are completed by some ten more musicians, like Bob Marsh (cello), Philip Everett (drums, percussion), Dina Emerson (vocals), Lance Grabmiller (laptop), a.o. But not all of them give acte de présence on all individual tracks, which explains partly the differences between the pieces. Parlty this is also explained by the great diversity of musical ideas and concepts that are explored. Sometimes condensed in a songstructure, sometimes in a soundcollage or pure noise. So each piece has it's own focus. Their approach is anarchistic and psychedelic, not formal or analytic. They create moods, textures and atmospheres. If their is any discipline, it is their choice to keep things short. Between 1 and 5 minutes ideas must become concrete and their is no reason to repeat them endlessy. That's a good thing. What to say more? The Abstractions make a experimental music of a rare and interesting kind that is still growing. (DM) Address: http://www.paxrecordings.com ANDREW ZEALLEY - FIVE NOCTURNES FOR ELECTRICITY (LP by En/Of) JAZZKAMMER - ALL MEN ARE BOYS (LP by En/Of) The final two releases for En/Of this year brings one known band and one utter unknown person, at least to me. And that one is Andrew Zealley, formerly a member of Green Bucket has 'Five Nocturnes For Electricity' to offer. Built out of field recordings of one or the other kind, but also sampled strings and keyboards, he brings quite a varied blend of music. The a-side has four of them. 'Nocturne I' is a minimal keyboard piece with shifting patterns. In 'Nocture II' the strings cum feedback play a role, and in 'Noctune III', it's computer treated voices. 'Nocturne IV' is the most mellow piece of the lot. 'Nocturne V' is a dark ambient piece, with mumbled voices going on towards the end. As said a pretty varied record, with sometimes kitschy sounds on it, especially the first and fourth nocturnes, but I am giving this the benefit of doubt. Nice record. The art-edition that is part of this record is one of five different images by AA Bonson. Jazzkammer main opus for me is their 'Pancakes' CD. Much of their other work is somehow too noisy for my taste - or lets say: too regular noisy for me. But on their contribution to the world of En/Of they have something of that magic of 'Pancakes' again. It's mainly built out of crackles of vinyl and microseconds of noisy outbursts, all carefully distributed in time and place (that is left or right in the stereo spectrum). This makes this certainly into a most demanding record, one that requires the listener's full attention. This isn't simply music to put and do the dishes. Demanding yet rewarding music. Here Mathieu Mercier delivers the art in the form a photo. (FdW) Address: http://www.bottrop-boy.com RUDE PRAVO - THE DUST IS FLYING/MEDIAEVAL (7" by Shadazz) DANNY SAUNDERS - GOLD (7" by Shadazz) My first encounter with the Shadazz label from Scotland is a pleasent one. Rude Pravo is a four piece band, consisting of Luke Fowler on electronics/tapes, Stevie Jones on bass, Lucille Desomouray on vocals and Janice Murray on cello. The two pieces here breath all an early experimental popfeel. Music from a time when people with a sense of popmusic played somewhat experimental songs. The days of Cherry Red or Les Disques Du Crepuscule. Not coincidentelly some of my favourite music. The french sung lyrics add a European feel to the music. Electronics play a dominant role too, and the studio is the fifth member. New millenium techniques back up an old and somewhat forgotten style figure. Me love it! Danny Saunders debutes with a three track 7" that also breaths a long history of underground popular music, that of folky tunes. Danny sings, plays guitar and somewhere in the background there is a bit of electronics going on. Three nice songs, I think, but also a bit too normal going for me. But then Kevin Hewick was never my favourite Cherry Red/Factory act either. Address: http://www.shadazz.co.uk KEITH BERRY - BUDDHA'S MILE (CDR by Authorized Version) In Vital Weekly 416 I reviewed the first Keith Berry disc and I was quite amazed by the quality of his drone related material. Moving a long the lines of Mirror and Andrew Chalk, I thought back then, that Berry used sampled classical instruments to create his music. I still know nothing more about Berry, other than on this new work (one piece, thirty six minutes) he uses electro-acoustics and field recordings. But me thinks that there is also the use of sampled piano's and strings. In the opening sequence the vague rumble is apperent of what could be field recordings, but after the thirteen or so minutes, treated piano sounds drop in and the sustained sounds of processed strings. After that passage field seem to be moving in again, but this time maybe even more obscured. I gathered these as rain and wind sounds. These various movements are cross faded in a slow and peaceful order, leaving everything time to develop. Just like his previous release, this is another very nice work. For those who love Ora, Mirror and Chalk but also into more serious avant-garde music. (FdW) Address: http://www.a-version.co.uk SMELL & QUIM - COSMIC BONDAGE (CDR by Authorized Version) By now Smell & Quim maybe regarded as old boys in the noise scene, but for me they still are the new kids on the block. They might be active for close to fifteen years by now (I lost counting), but their output is still not big - not big by some other standards. This release is a re-issue of their very first cassette, released on their own SHF label. The Smell & Quim sound is usually based around tape-loops, over which they bring their blend of feedback, voices and in some case even North African Lung Pipes. I don't believe I came across this release the first around, but actually these first strugglings are quite nice to hear. Smell & Quim play noise, but it's not a long, dense howl of feedback, but rather a lo-fi affair of densely layered sounds, which may not be a deliberate decision, but rather due to the technical restrictions of cheap cassettes and likewise cheap microphones. But this added lo-fi affair makes this into a rather nice release, that is different from much of the altogether clean computer music these days. (FdW) Address: http://www.a-version.co.uk SHARPS INJURY - I TOLD MY GIRLFRIEND THIS WAS A 12" (3"CDR by Mechanoise Labs) I dunno who Sharps Injury is, but Mechanoise Labs is a very nice French (mostly) CDR label that it's interested, sometimes but not only, in noise. In this case it's noisy abrasive rhythms in the 5 tracks here. It is dark and gloomy, but captivating and the ideas are worked out excellent and seriously. There's no idm trickery here but still there are hints of melody underneath the industrialised noise. It's on a rougher noisy side of a darker industrial-inspired technoid power electronics more than breakcore. The ideas are not repeating but carefully changing, still maintaining the originality and the personal approach of the artist. There's a clever diversity of more and less developed melodies in the different tracks which makes it interesting as a whole release. Sometimes it bursts into a kind of electronic punk dancing moments, or it's keeping a more linear but still noisy compositional structure of the tracks other times. It's done truly awesome! Excellent release and excellent cover design! (BR) Address: http://www.mechanoise-labs.com SIN #6 (CDR compilation by Syndrom) For one reason or the other I looked at this and the only word that came up was the word 'noise'. Maybe because it started with Some Asian Female Bodybuilders, of whom I heard before. There are four bands on this compilation, and it starts out with Some Asian Female Bodybuilders, who offer five very nice tracks built around sine waves. After that a nice track by Toni Kandelin, which hints towards loud noise but don't seem to get there. However he makes this up in the next three tracks, which are vicious loud blasts of noise. O.M.S. is an one-man band from Belgium. His music moves along similar noise lines. A fairly good student of Merzbow. Also new to me was Guttural Strap-On. Their noise was more 'hidden', like it was covered with dirt. The bass end of the sound lies on top and far away we hear the feedback. Strange but nice approach to noise music. So one was excellent, one was nice and two are only so so. Not a great score. (FdW) Address: http://www.dunkelheit.tk WHITEBASS - DEPTH OF FIELD (CDR by Mystery Sea) Behind Whitebass is one Clinton Watkins who used to work previously as Doe, releasing some material in relation with Eso Steel. I am not sure why he changed into Whitebass, but looking at the title and bandname I can imagine what this is about: depth is certainly the field, and when people speak of depth in music they usually speak of deep bass sounds. And deep bass sounds is what one gets on this release. Much of the almost forty minutes on this release consists of very deep bass sounds. Very faint clicks appear at seemingely random intervals. I was reminded of Jonathan Coleclough's 'Windlass' release here. A very consistent work this 'Depth Of Field', pure deep ambient music. Maybe I miss out the link to the deep sea that usually is part of Mystery Sea releases, but what is pressed here on this CDR is certainly one of the better works on this label, and can easily match the best works of Coleclough, Mirror or Ora. Highlight of the Mystery Sea catalogue so far. (FdW) Address: http://www.mysterysea.net QWERTY - THE SORROWS OF YOUNG QWERTHER (CDR by Piehead Records) The best thing about this release, I'd say is the title. A nice take on Goethe. The music that is produced by Qwerty, aka Miro Merlak from Croatia, is inspired by the whole IDM lot, like almost anything on Warp, Skam, Rephlex and whatelse is there, but in none of the twelve tracks I could detect something that I didn't hear before and didn't heard doing better, even when I take in account that most of the tracks are from 1996 to 1999. For some of the tracks I would give the benfit of doubt, but there are some truely miss out tracks here too (like the totally over the top drums in 'Bordeaux'). Qwerty's release is not something that I could be very excited about. (FdW) Address: http://www.pieheadrecords.com 1. From: suddeninfant@gmx.net LIVE NOISE FOR LOVERS OF THE UNUSUAL 26/November/2004 24h CutUps and Noise JOKE LANZ: turntables TONIO KRÜGER: visuals @ Bar Adriano?s, Theaterplatz 2, Bern (CH) 27/November/2004 15h ROOT DOWN feat: Tommy Meier, Christoph Gantert, Hans Anliker, Jürg Wickihalder, Co Streiff, Hans Koch, Peter Landis, Stephan Thelen, Irène Schweizer, Chris Wiesendanger, Christian Weber, Jan Schlegel, Fredi Flückiger, Marco Käppeli, Chris Jäger, Joke Lanz @ Jazzfestival unerhört, Rote Fabrik, Seestr. 395, Zurich (CH) 10/December/2004 22h OPPOSITE OPPONENTS Joke Lanz: turntables Charlotte Hug: viola, electronics @ Toni Molkerei, Zurich (CH) 15/December/2004 20.30h TOURETTE Joke Lanz: turntables Martin Baumgartner: powerbook Lionel Friedli: drums Urban Lienert: bass @ Jazzclub Moods, Zurich (CH) www.moods.ch 16/December/2004 22h THE EYE OF ARGHHHHHH Joke Lanz: turntables Roger Rotor: electronics Christian Weber: bass Simon Berz: drums Francois Chalet: visuals Andrew Phillips: mixing desk @ Dachkantine, Zurich (CH) www.dachkantine.ch 25/December/2004 23h CATHOLIC BOYS IN HEAVY LEATHER Joke Stryker: vocals, electronics Rotor Siffredi: rhythms, noise JESUS & THE GURUS @ Dynamo, Werk 21, Wasserwerkstr. 21, Zurich (CH) www.werk21.ch 2. From: geert-jan LIVE FROM STAALPLAAT - BERLIN 3th of December 20:00 ISTVAN KANT OR MONTY CANTSIN? AMEN! POLITBURO - sounds like Neoism! 4th of December 20:00 Mik.Musik.label.night.!. including: Retro*Sex*Galaxy Deuce 8rolek CO Ksawery Kaliski VJ 5th of December 19:00 Anne Laplantine (record players) Zarek live-recording Torstr. 72 10119 Berlin+zelda panda 3. From: seth cluett impulse response presents: Francis White & Judy Klein Featuring Elizabeth Brown shakuhachi thursday 12/02 @ 8 pm arts center of the capital region 265 river street, troy, ny, usa $3 students and seniors with i.d. / $5 general admission We are pleased and honored to present to you as our final concert of our fall season, an evening of computer music featuring two of the most sensitive composers in the genre. The music of Judy Klein, Frances White, and Elizabeth Brown has been performed the world over and we are excited for the work that they will bring to Troy. The program will consist of two pieces: Judy Klein's "The Wolves of Bays Mountain"(2 channel tape) and Frances White's "Birdsong, for tape and shakuhachi" % for more information on this event, please contact 518.281.3206 or info@ir-music.org % for more information on the impulse response series, please visit http://www.ir-music.org/ 4. From: "tomane [look.ca]" December 11 @ 00:15/00:45 [GMT -05:00 TIME] [Friday to Saturday] antmanuv's live-to-air set at the electronic/experimental radio show "DIVERSIONS" hosted by Riyaz Khan on CHRY 105.5FM [ http://130.63.20.59:8000/listen.pls ] [Toronto York university] stream link: http://130.63.20.59:8000/listen.pls 5. From: phosphor@xs4all.nl Friday, 17th December, 22:00 @ Neue Berliner Initiative (NBI) Berlin - Schönhauser Allee 157, U2 Senefelder Platz Phosphor Magazine Night swerve (aka mvk, live electronics + dj set) DJ Phosphate (improvised organic soundsculptures layered on top of a glitch setting) Judith Ring (live electronics) and guests... -- Vital Weekly is published by Frans de Waard and submitted for free to anybody with an e-mail address. If you don't wish to receive this, then let us know. Any feedback is welcome . Forward to your allies. Snail mail: Vital Weekly/Frans de Waard - Acaciastraat 11 - 6521 NE Nijmegen - The Netherlands All written by Frans de Waard (FdW), The Square Root Of Sub (MP ), Dolf Mulder (DM), Meelkop Roel (MR), Gerald Schwartz (GS), Niels Mark Pedersen (NMP), Henry Schneider (SH), Jeff Surak (JS), TJ Norris (TJN), Gregg Kowlaksky (GK), Craig N (CN), Boban Ristevski (BR), Maurice Woestenburg (MW), Toni Dimitrov (TD ) and others on a less regular basis. This is copyright free publication, except where indicated, in which case permission has to be obtained from the respective author before reprinting any, or all of the desired text. The author has to be credited, and Vital Weekly has to be acknowledged at all times if any texts are used from it. Announcements can be shortened by the editor. Please do NOT send any attachments/jpeg's, we will trash them without viewing. There is no point in directing us to MP3 sites, as we will not go there. Any MP3 release to be reviewed should be burned as an audio CDR and send to the address above. the complete archive of Vital Weekly (1995 onwards) can be found at: http://staalplaat.com/vital/