============ VITAL WEEKLY ============ number 465 ------------ week 10 ------------ ANDREW DUKE - DEAD AIR ALIVE (CD by Cognition Audioworks) WALDCHENGARTEN - ELECTRICAL BONDING (CD by Desolation House) JASUN MARTZ - THE PILLORY/ THE BATTLE (2CD by Under the Asphalt) NATASHA BARRETT - KRAFTFELT (CD/DVD by Aurora) NICKENDES PERLGRAS - MEAT HAT (CD by Konnex) JOHN WIESE - MAGICAL CRYSTAL BLAH VOLUME 2 (CD by Helicopter) JOHN WIESE - ARRYTHMIA WAVE BURST AND PANNER CRASH (3"CD by Helicopter) JASMIN - EP01 (miniCD by 12Rec) GOH LEE KWANG - CRACK (CDR by Herbal Records) GOH LEE KWANG & TIM BLECHMANN - DRONE (CD by Herbal Records) LAU MEN LENG - LIMIT (CDR by Herbal Records) ENCOMIAST - MERS DE SOMMEIL (CDR by Mystery Sea) WILL GUTHRIE - SPEAR (miniCDR by Antboy Music) LAYER - GEROEZEMOES (3"CDR by Tbttba) MACHINEFABRIEK - ROES (3"CDR, private) ANDREW DUKE - DEAD AIR ALIVE (CD by Cognition Audioworks) It's not easy to outline the concept behind this new Andrew Duke CD, but it's part of a bigger work dealing with radio and sound, of which 'Dead Air Alive' is the third part. In radio broadcasting terms, 'dead air' is the sound when there is a lack of broadcast, which Duke considers an oxymoron, since no broadcast doesn't mean no sound. In this one hour opus he works excuslively with the sound of no sound on the air. The input is, hardly to believed upon hearing, an hour of jazz music. The long, stretched out static sound has no resemblance of anything jazz, and maybe to some people, nothing to do with music at all. A very minimal piece of work going on here, with perhaps subtle changes, but for the bigger part hoovering at Lopezian silence. If the name Andrew Duke only rings bells when it comes to rhythmic, techno based music, then 'Dead Air Alive' proofs you wrong otherwise (but then you may not heard his 'More Destructive Than Organized' CDR on Bake Records). Duke is a multi-faced talent, proving to do very nice rhythmic stuff but at the same time, he is also capable of producing a more than excellent piece of microsound, along the lines of Francisco Lopez or a less musical, but no less intruiging Stephan Mathieu. Great ambient music here. (FdW) Address: http://www.cognitionaudioworks.com WALDCHENGARTEN - ELECTRICAL BONDING (CD by Desolation House) Over the years some Waldchengarten releases have been reviewed, and here is their latest one, maybe their second (the website wasn't that clear), but it's certainly a big leap forward. Until now Waldchengarten, a Danish duo of brothers lars and Dennis Hansen, combined their dark ambient with some retro-industrial sound, here they have moved entirely into the world of dark ambience, maybe under the influence of Robert Rich who mastered this work. Their machines, synths, guitars, samplers and sound effects are fully overload with sound, scraping and sampling the hell out of metallic percussion, adding bucket loads of reverb and other such studio trickery. A sonic overload on all accounts, but one that is at the same playing the ambient card. Silence plays no role in this music, but Waldchengarten plays a strong (in every sense of the word), the mood card. Music to put the listener is a hypnotic, trancelike state, stepping outside the conventional borders of ambient and industrial, by blending elements of both together. If Troum is up your alley, then check out this new, to date best, work of Waldchengarten too. (FdW) Address: http://www.desolationhouse.com JASUN MARTZ - THE PILLORY/ THE BATTLE (2CD by Under the Asphalt) With a little exageration one could call Martz a composer of only one work: The Pillory. Besides this work, almost no other work is avialable, and listening to 'The Pillory' one cannot suppress the thought that Martz chose to put all his musical ideas into one work instead of composing an oeuvre. This may explain why in every aspect this work is BIG. First it is a piece with a long history. Martz started composing the work in 1976. In that same year it was performed life in Los Angeles by an orchestra he assembled: The Neoteric Orchestra. In 1978 it surfaced for the first time on vinyl as a private release. Martz worked in those years as synthesizer programmer for Frank Zappa. In 1981 a release on Martz' Neoteric-label followed, famous for its cover by Jean Dubuffet. For the 2005 release a detail from this cover is taken. In 1994 the swedish label Ad Perpetuam Memoriam delivered the first cd-release. They included three trio-pieces that were originally released on the "American Music Compilation" on Eurock( 1982). And now some 10 years another recording and release of this masterwork sees the light. The fact that the original composition goes back to the 70s doesn't that the work sounds dated. This is absolutely not the case. It still is a work of great power and complexity. What did Martz do all those years? Concerning his musical activities, over the years they moved to the background, not succeeding to make a living out of it. He plays synthesizers on a couple of t Michael Jackson songs, and did some gigs with the Far East Family band. Also some production work for a few bands. Secondly, for this new recording Martz invited musicians from all over the world for his Intercontinental Philharmonic Orchestra and The Royal Intercontinental Choir. They are to many to mention. Over hundred musicians are involved and make up this virtual orchestra and choir. All of them send their contributions to Martz who completed the puzzle in the studio through an endless assembling process. He must have spend many many solitary hours in the studio. An enormous undertaking that makes clear that Martz did not chose the easy way. This new recording is also longer than earlier versions. Two 74 minute cds are needed to embrase the new 'The Pillory'-project completely. So the original concept is extended and enriched, making gratefully use all the computer facilities that are available nowadays.'The Pillory/The Battle' is an orchestral work of megalomanic proportions. In interviews Martz speaks of his eclectric interest in music. In 'The Pillory/The Battle' he blends of the music he likes into one work: symphonic parts, ambient, experimental, percussive interludes, choir, electro-acoustic, freeform, noise, ethnic, soundscapes. The work is a perfect mixure of all these influences. The work is divided into seven parts, called 'battles'. Each battle is built around some of these influences. 'Battle 7' for example, that takes up the entire second disc, is a monumental piece of ambient and noise. At the base are acoustical instruments but treated intensively into a richly layered stream of sound that reaches hallucinatic heights and incredible dynamics. If you need a comparison, Biota often came to my mind. 'Battle 3' is the part that comes most close to rock. A long percussive intro develops into progressive rock with a strong beat. It culminates into a very cacaphonic fourth battle. 'Battle 5' is a much calmer piece dominated by some pipe organ. 'Battle 6' brings back the quietude of ambient music. As a composer Martz is a special one because of his enormous synthetic power. He can cope with all these varied influences and use them to build an impressive and enjoybale composition. Also he is in control with all the technology involved. Absolutely an incredible tour de force! (DM) Address: http://www.undertheasphalt.com NATASHA BARRETT - KRAFTFELT (CD/DVD by Aurora) Natasha Barrett's previous album 'Isostasie' was reviewed in Vital Weekly 357, but not by me, so I can't compare this new one to the previous one. Barrett was born in England, but moved to Norway in 1999. She has also won several prices for her work, among others in Bourges. Those initiated know that we are dealing with serious electro-acoustic music here. The music is presented in two versions here, one is a stereo version and one a surround sound, but unfortunally such a set up is not present here. 'Kraftfelt' is German and means force field and the music is strongely narrative, even without any spoken word. Her sampled material includes voices as the most obvious sources, but also many other sounds, which are not easy to locate to original sounds. But somehow she creates narrative music, even within the relatively known field of acoustmatique music. Sounds glide up and down the scale, various pitches move in and out throughout a rather vibrant mix. Like the previous reviewer said, there is room for 'breath' in: moving somewhat louder passages, there is also space for more quieter moments, making this better than most other works generated in this field, which has come, I think, to a dead end street. But still there are nice pieces being developped and the three on 'Kraftfelt' are perfect examples of the better kind. (FdW) Address: NICKENDES PERLGRAS - MEAT HAT (CD by Konnex) Nickendes Perlgras is the prosaic name from a berlin trio: Michael Thieke (clarinet, alto clarinet, alto sax), Michael Anderson (trumpet) and Eric Schaefer (drums). The name of their second cd is less prosaic: 'Meat Hat'. In 2000 this trio released their debute 'Die hintere Vase' that received positive responses from the press. All three of them are top musicians of the Berlin scene and work within in a diversity of musical contexts. First their is of course a variety of berlin-based projects that they are involved in. All three for instance are members of Demontage, a group led by drummer Eric Schaefer. Schaefer and Thieke also paricipate in Unununium, etc., etc. In various formations they played at numerous festivals, working together with many international musicians. So no question that they are experienced musicians. But this is also immediately evident when you listen to 'Meat Hat'. What would be a correct description of their music? Well, maybe 'new jazz' is the most fitting label.You can compare their music with that of New and Used (an early Dave Douglas project) or with numerous dutch new jazz-outfits that are characterized by a same sober and disciplined style. For their second one they recorded 16 compositions between august 2003 and september 2004. Most compositions come from Thieke and Schaefer. There happens a lot here. With each listening you hear new things. What the music characterizes above all is its clear and transparant forms and compositions on the one had, but its complex structures on the other hand. This proves their great skill in transforming their musical ideas into compositions. The musicians play with great precision and discipline. They make good use of soundexploration through their instruments that gives nice colours and accents to the music. But this is not their dominant focus like on recordings of the portugese Creative Sources label that functions also as an outlet for new music from Berlin (they have a solo album by Thieke available and many more). All three have many more extended techniques on their instrument within reach. But they make a thrifty use of their technical skill and possibilities. No overacting here, everything is in function of the compositions. If this makes you think its a little ascetic or academic, this is absolutely not the case. The music is very joyfull, full of wit and soul. All the qualities that are united here make this a very complete and human music. (DM) Address: http://www.konnex-records.de JOHN WIESE - MAGICAL CRYSTAL BLAH VOLUME 2 (CD by Helicopter) JOHN WIESE - ARRYTHMIA WAVE BURST AND PANNER CRASH (3"CD by Helicopter) It's hard to tell why one CD gets the remix treatment and the other one doesn't. John Wiese's output is quite extensive, but for some reason he choose 'Magical Crystal Blah' (see Vital Weekly 438) to be remixed by several of his fellow noise makers and not his other releases. Wiese, occassional member of Bastard Noise aswell as a being prolific solo musician, belongs, at least as far I'm concerned to the more interesting noise makers around, combining his laptop techniques with lo-fi contact microphones and such like. Wiese choose eleven musicians who are all well-known in the fields of the more serious noise, except maybe Gerrit and Raionbashi. Of course some of these people make more noise out of the already loaded material provided by Wiese, such as Panicsville, KK Null, Damion Romero, Karkowski or the scrap metal of Christian Renou. Mike Shiflet of Gameboy Records has an aggressive ambient piece, whereas Freiband is the only one to turn the volume down via subdued cracklings. RLW adds frentic bass playing to a likewise frentic cut-up of the material. The prize winner is at the end: Joe Colley pays tribute to the old and perhaps forgotten master of industrial music, Vivenza, by offering a piece of machine loops, just like the old master but with new means. At the same time a new 3" CD by Wiese is also released, with four tracks recorded live throughout 2004 in various concerts throughout the USA. In these four pieces, Wiese goes out all the way, noisewise. In between all the sonic overload and distortion, there is not much room to breath. A thunderous storm of sound. Live Wiese is less subtle than in the studio, but he still knows how to present an intelligent set of noise material, which is far more interesting than many others in the field, and which ranks him next (or better right under) Merzbow, Jazzkammer or Lasse Marhaug. Short but powerful. (FdW) Address: http://home.earthlink.net/~johnwiese JASMIN - EP01 (miniCD by 12Rec) Alexander Peterhaensel's project Tilia recentely delivered 'Vous Revez/Vous Ne Revez Pas' on Cronica Electronica (see Vital Weekly 451), but what I didn't know is that he is also a member of Jasmin, together with Andreas Bernard (guitar) and Christian Schwenkmaier (bass, guitar), whereas Peterhaensel plays drums and electronics. Jasmin came together in 1992, and since 1998 in this line up and in 2001 they released 'EP 01' on Rotesonne Records, which is now re-issued by 12Rec. Like his Tilia project, Jasmin deals with post-rock, only here much more straight forward in their influences. 'EP 01' has three tracks of melodic post rock tunes. That's it, nice stuff for sure and I can't remember the last time I played a Tortoise record, but however nice this is, it's also a bit dated. For one of the tracks there is also a video, which comes on a seperate DVD-R (maybe not with every copy), but it's actually a nice video, short from the backside of a tram, giving the whole thing a nice hypnotic feel, of going backward by going forward. Make more sense with the music, I guess. Would have loved a video for all three tracks though... (FdW) Address: http://www.12rec.net GOH LEE KWANG - CRACK (CDR by Herbal Records) GOH LEE KWANG & TIM BLECHMANN - DRONE (CD by Herbal Records) LAU MEN LENG - LIMIT (CDR by Herbal Records) Not so long ago, Goh Lee Kwang was on tour in Europe, and I had the pleasure to see him play at Extrapool. His CD, reviewed in Vital Weekly 436, was alright, but didn't leave a big impression. His turntable cum no-input mixer in the live event, was likewise: ok, without being great or very original. I didn't pick up the 'Crack' CDR that he sold on this tour. The seven pieces, 'Spallatrion i to vii', continues to explore his turntable and mixer, but I must say now it's much more interesting. These seven pieces are minimalist excursions into the world of crackles and static noise, without being very noise as such. It's an relatively nice exploration into the world of turntablism. The same Kwang works together with Tim Blechmann, of whom also a work was reviewed in Vital Weekly 436 (both releases arrived from Kwang as a matter of fact). Their one piece for turntable and laptop is called 'Drone', but don't let this title deceive you, as this is not y'r regular drone work along the lines of Mirror or Ora. The music is a rather hectic and nervous, yet dense field of sound. Small crackles appear in overload mode, in the back held together by likewise dense, repeating fields of sound, maybe the processing of the turntable cracklings by Blechmann. The work doesn't have the relaxing mood of most other drone musics, and sounds like the result of an hour long improvisation. Half way through the work changes and becomes more 'empty' and minimal, with an ongoing fast rhythm and a little later high piercing sounds. Some of the photography for Herbal Records is done by Lau Mun Leng, who has also does audio work. 'Limit' is a forty-one minute work on the same label and is an 'analog recording'. That is a bit of puzzling remark on the cover, as it doesn't say what it is that recorded analogly. But somehow I think this has also do to with turntable sound. Here however things work a little bit different. Leng uses much more ongoing rhythmic sounds, clicks of skipping vinyl perhaps, over which she improvises quite freely with much more musical elements. Sounds pop in and out of the mix, in a rather unfoccused mixture of improvisation and electronica. Alright, but not great. (FdW) Address: http://www.geocities.com/herbalrecords ENCOMIAST - MERS DE SOMMEIL (CDR by Mystery Sea) When I reviewed Encomiast in Vital Weekly 271, they were a trio, but over the years only one member survived, Ross Hagen, who is a graduate student at the University of Colorado College of Music. It might be this particular information that made me think that Ross is not using synthesizers here, but samples of instruments, mainly strings. Taking these violin or cello strings and layering them on the computer and then fiddling about with them, although not that much, except maybe for some reverb and equalization. Each of the six pieces is dark in nature, with long sustaining sounds of held notes, a bit muffled sound (which is my only complaint really) to add to the somewhat dark and sombre tonal qualities of this release. Maybe throughout the various pieces these austere tones are a bit too similar (which wouldn't have been a problem, if it was one long track, or perhaps two), but now it doesn't provide too much distinction between the seperate pieces. That's a pity, since the material and ideas have enough potentional in itself. (FdW) Address: http://www.mysterysea.net WILL GUTHRIE - SPEAR (miniCDR by Antboy Music) The name Will Guthrie pops up more in our announcement section than in our review section. No big surprise there, since Will is mostly an improvising drummer who plays solo and with other a lot. Originally from Australia, he is a lot in Europe and while staying here he visited the studios of APO33 in Nantes to work on this expressive short piece. Lasting only eight minutes and twenty-seven seconds, Guthrie uses various live recordings in here. The basis is a recording from a London concert, which was used again in a concert in Bologna and then the whole things was altered in the studio. For his concerts he uses percussion, radio, sine-waves, noise, electronics and 'cheap concrete-sound'. The result is a pretty strong sound collage, bearing some noisy elements of a dynamic electro-acoustic in which noise is the strongest element, but the overall dynamics make it for more interesting than the usual omnious noise thing. The only thing though: why such a short thing? (FdW) Address: http://www.antboymusic.com LAYER - GEROEZEMOES (3"CDR by Tbttba) 'Geroezemoes', in case your Dutch is below par, means nothing else but Hum, and it's subtitled 'the constant drone of human activity'. Layer is a member of TBTTBC, whose CDR was reviewed in Vital Weekly 378. On this 3"CDR there are seven short tracks, all performed on a fender four string fretless guitar neck, picked up by minidisc and computer and contactmicrophones and guitar pick ups. Despite the use of computers, the whole things breaths lo-fi all over. Short sketchy pieces of simple strummings, with some sort of likewise simple processing in the background, at least on some of the pieces, such as the third - of course all untitled. Pretty straightforward although slightly vague in its approaches, this is a cute little thing of just the right length. (FdW) Address: http://www.tbttba.tk MACHINEFABRIEK - ROES (3"CDR, private) 'Roes' is best translated as 'intoxication', but it's not clear wether this describes the state this music was recorded in. Probably it does. This is already the sixth release by Dutch Machinefabriek, and not live this time, so no noise here. That is to say, only partly. In the nine pieces here, which are to be heard as one piece (non-intoxicated by this reviewer), noise plays a small role, but is much more manipulated and worked out in the form of a sound collage. Through some of the muffled hiss and distortion, we hear the far away play on a piano and some electronics. Everything sounds like well-processed by computer means, and Machienfabriek places itself along the lines of a noisy version of Richard Chartier or Roel Meelkop, but with much shorter tracks but not to dissimilar dramatic built ups and changes. So far the best release to come out of this machine factory. (FdW) Address: correction: a correction to a correction: Andrew Zealley's band 'Green Bucket' (Vital Weeklly 450) was corrected to 'Green Buck' a week later, but I'm now informed it should have been 'Greek Buck'. 1. From: "Ansgar Wilken" M E R Z B O W (tokyo) !!! Monday, 14th March 2005 @ GÜTERBAHNHOF - TOR 47, Bremen, Germany for further informations please contact: knieschussclub@twistedknister.de --------------------------- N M P E R I G N ( boston ) greg kelley - trumpet bhob rainey - soprano saxophone Thursday, 10th March 2005 @ Knieschussclub im ZAKK, Bremen, Germany --------------------------------------------------------- 2. From: mais@openlabrecords.com NetstockFest (March 18th-20th, 2005) 18th of March 2005: the NetstockFest, the very first netaudio webfestival will start. Over 60 artists, 20 netlabels, 10 netradios from all over the globe will liven up 3 days of non-stop live music broadcasted exclusively though the Internet. Artists will perform live "on air" from their home or from wherever they wish and they will broadcast their performance through a central server. Internet radios involved will broadcast the streaming by relaying the central del server, serving an unlimited number of listeners. Among the performers you will find artists such as Venetian Snares, Retina.it, Xela, Tomas Jirku, Bern, Helios, Kilowatts, The Marcia Blaine School for Girls, New Delphi FM, Residuum, Orphax, SMBP , etc. etc. Labels involved: Openlab Records, Ogredung, Soulseek Records, Maetrixsolution, Exegene, Thinner/Autoplate, 2063, Stadtgruen, Upitup, Subsource etc. etc. More info on www.netstockfest.net 3. From: "Mark van de Voort" 'Scanning' by German/Dutch composer Roland Kayn A Cybernetic Experience; world premier performance on Sunday March 13, 2005 from 12 am until 11pm with VJ-ing by Stalker, Olga Mink, Kanduvisla, Kijkbuiskinderen and Résistance Électronique Witte Dame, Witte Damezaal, Emmasingel 12, Eindhoven Reservations: info@axesjazzpower.nl Information: www.axesjazzpower.nl Entrance fee: 8 euro --------------------- 4. From: douglas benford Sprawl at the Charterhouse Bar DATE: weds 9th March line up: BOHMAN BROTHERS (uk) - live http://www.xs4all.nl/~lukas/pagina/bohmans.htm TUNER (Fr) - live http://phonochrome.free.fr RASHAMON (highpoint lowlife/UK) - live http://www.highpointlowlife.com e/n [no.signal] - dj http://www.no-signal.net biogs at http://www.sprawl.org.uk/EventFrame.htm resident dsj/curators si-cut.db (bip hop/fallt/background/tennis/highpointlowlife) Iris Garrelfs (BitTonic/germany/bip hop) VENUE: Upstairs at the Charterhouse bar 38 Charterhouse Street, London EC1 tube: Farringdon tel: 020 7608 0858 info@charterhousebar.co.uk http://www.charterhousebar.co.uk ADMISSION 4 pounds , concs 3 pounds 7.30pm - 11.30pm SPRAWL http://www.sprawl.org.uk E-MAIL 5. From: "phsimon@voila.fr" SUNDAY, 13th MARCH, 8:00 pm SMEGMA + CAROLINER RAINBOW DECADE OF ADMIRING FAILURE + THE ART OF 2 ? at Les Voûtes, Paris 13ème, FR +++++++++++++++++++++++++ SMEGMA [usa] You have almost-cult bands and cult bands. Smegma is Cult with a capital C and for the first time in Europe. Smegma started in California in the mid seventies as a reaction to the bad fusion rock from their region. Like it should be for a cult band Smegma stayed low-profile and kept doing things in their own pace. Even a 7 inch single on Mute didn't change anything to that. The band plays their very own mix of improvisation, folk and noise. Free Music in its most broad meaning and with every new concert as an utterly new sonic event. Buzzing homemade synths, grinding electric guitars, tapes and mainly lots of weird gear all over. http://www.geocities.com/bradleybee/smegdex1.html +++++++++++++++++++++++++ CAROLINER RAINBOW DECADE OF ADMIRING FAILURE [usa] Imagine a loudmouthed fluorescent painting that comes alive, or an 18th century drag race featuring modern wandering singers with costumes, and you're pretty close. They shared the stage with Wolf Eyes and Hair Poice on several occasions. From Frisco. Of course! http://freedom-from.com/caroliner http://www.freedom-from.com/mp3s/ReD%20LaMp.mp3 +++++++++++++++++++++++++ THE ART OF 2 1/2 Wild free improv, neo-dada / proto-punk Alexandre Bellenger : crash test turntables Philippe Simon : radio, radio-controlled clock, theremin, vox Robatrik Sobac : found objects, half man, half beast, half musician http://www.dt-bs.com +++++++++++++++++++++++++ Les Voûtes - www.lesvoutes.org Entrance: 8 euros ------------------------------------------ MONDAY, 14 th MARCH, 8:00 pm COSTES + CAROLINER RAINBOW + FRed NIPI & Natacha at Les Voûtes, Paris 13ème, FR +++++++++++++++++++++++++ Jean-Louis COSTES "Je suis mon bourreau" [saint-denis, fr] New version featuring Tristan de la Cave (with shaved pussy) "Je suis mon bourreau" is the story of a guy, sick of life, closing himself in his own jail. At the end he commits suicide... but he ressucites as a pink rabbit ! There is a film played behind Costes during the whole show... and Costes plays live few songs on accordeon! http://www.costes.org +++++++++++++++++++++++++ CAROLINER RAINBOW DECADE OF ADMIRING FAILURE [usa] See above, Sunday, 13th. +++++++++++++++++++++++++ FRed NIPI & Natacha [paris, fr] FRed, the Pope of the Parisian harsh noise music scene, together with Natacha, a circus performer. « HarshNoise Old School, fuck the laptop ». http://perso.wanadoo.fr/frednipi +++++++++++++++++++++++++ Les Voûtes - www.lesvoutes.org Entrance: 8 euros ------------------------------------------ 6. From: "Kouhei" Handshake 3 Tokyo 15th April 2005 Live PanSonic Spectre Sensational Eomaia Kouhei Dj Ukawa Naohiro ? Yamabe Keiji at Shinjuku LOFT Open/Start 24:00? Osaka 17th April 2005 Live PanSonic Spectre Sensational Kouhei Jazzkammer Mr Natural Mentol Nomad Liddikoatight Dj Masami Matsumoto Visual Ho:msona at Shinsaibashi Club Quattro Open/Start 17:30?23:00 check to HANDSHAKE HP -> http://www.handshake-jp.jp 7. From: pbruyn@worldonline.nl Grasshopper celebrates fifth anniversary Sunday march 13th, 14 - 18 PM The Muzieksalon @ Grasland In Haarlem, The Netherlands, presents: Grasshopper, the micro-festival with maximum quality. With: Tsehaytu Meraki, Katharina Ex, Terry Ex, Hilary Jeffery, Ross Curry, Incite/ and The Reizende Verkoper. Adress: Grasland, Helmbrekersteeg 7, Haarlem. Tickets 7 Euro. Reservations: muzieksalon@ worldmail.nl info www.grasland.nl 8. From: Planetart thursday March 10 PLANETART Molenplein 1 Enschede NL 21 hrs ? 3 CAROLINER (us) residents meet beefhaert on lsd MASSACCESI (us) anarcho-trash-tekno-punk MASSONIC YOUTH (nl) conspiracy doom http://www.planetart.nl 8. From: bois@klingt.org Boris Hauf - USA March/April 2005 http://hauf.klingt.org Dreamcracker (Sabina Holzer + Boris Hauf) part of the linkshall march programm curated by Litó Walkey "A Drop Of Water" http://www.linkshall.org 11 March 2005 Dreamcracker (Sabina Holzer + Boris Hauf) Linkshall - Chicago, IL 12 March 2005 Dreamcracker (Sabina Holzer + Boris Hauf) Linkshall - Chicago, IL 13 March 2005 Dreamcracker (Sabina Holzer + Boris Hauf) Linkshall - Chicago, IL TVPOW: Burning Bridges Accross America Tour 2005 with Boris Hauf http://tvpow.net ++++ http://hauf.klingt.org 14 March 2005 The Empty Bottle - Chicago, IL + Cheer Accident, Rotten Milk 16 March 2005 Lemp Neighborhood Arts Center, St Louis, MN 17 March 2005 Universalist Unitariuan Church of Muncie - Muncie, IN 18 March 2005 Garfield Artworks - Pittsburgh, PA 19 March 2005 The Talking Head Club - Baltimore, MD + Twine 20 March 2005 Tonic - New York, NY 21 March 2005 Brooklyn College , CUNY - Brooklyn, NY + Phil Niblock + Keiko 23 March 2005 Wesleyan University - Middletwon, CT 24 March 2005 Mass Art - Boston, MA + John Herge 26 March 2005 TBD - Detroit MI 27 March 2005 Kraftbrau Brewery - Kalamazoo, MI OTHER CONCERTS: 31 March 2005 boris hauf, d bayne, michael hartman, todd carter, brent gutzeit play jazz Lux Gallery - Chicago, IL http://www.luxgallerychicago.com/ 6 April 2005 billy and her holidays boris hauf, todd carter, michael hartman, brent gutzeit play music to the videos of billy roisz. 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