Label: Mirran Threat - MT-590 • Format: CDr Mini-Album • Country: Germany • Genre: Electronic • Style: Experimental, Drone
Vital Weekly, the webcast: we offering a weekly webcast, freely to download. This can be Doc Wör Mirran - He-Man Musak as the audio-supplement to Vital Weekly.
Presented as a radioprogramm with excerpts of just some of the CDs no vinyl or 15 Minut - IdeaFatte - + reviewed. It will remain on the site for a limited period most likely weeks. Трансильвания - Агата Кристи - MP3 Коллекция. Диск 2 the file to your MP3 player and enjoy! I started with the one that has the most extended use of the colour white on the cover; perhaps assuming it would also be the 'lightest' one in musical content.
Still we have no idea about the 'who' and 'what' of Gaap Kvlt, and while the previous was about the use of rhythm, slower than the usual dance oriented release, this new one takes matters into a more drone based surrounding, but it is also not devoid of any rhythm. Darkness however is, as before, very much present on this release. Either through the use of synthesizer, slow thumps on the drum machine or the extreme filtering of field recordings, such as in 'Peninsula', which has a great mysterious ring to it.
But that one is followed Doc Wör Mirran - He-Man Musak the rather up-tempo beats of 'Prayer 8 Death ', with it's dark looped voices in the best industrial culture tradition. In each of the nine pieces Gaap Kvlt takes his time to let things develop, so his pieces are easily between five to close to nine minutes. Sometimes it is maybe a bit too long, and that's not always necessary.
I can see what it is Gaap Kvlt is aiming for; depth, atmosphere through minimalism, but it may not always work out that well. Having said that, I think it is quite a good album Doc Wör Mirran - He-Man Musak Gaap Kvlt offers an interesting amount of dark shades through his musical output, with the surprising light 'Vient', at the end.
Melodic synthesizer tops a Muslimgauze inspired beat. Black with shades of grey, that is the cover of Rara, formerly known as Przed Panstwem Rara, which is a trio of Rafal Skonieczny acoustic guitar, Doc Wör Mirran - He-Man Musak and loop effects; he started the bandMichal Pszczolkowski electric guitar, synthetic sounds and Mikolaj Zielinski bass, acoustic guitar, percussion, monotron along with various guest musicians, including vocals by Ola Bilinska and Kuba Ziolek on one piece.
This is quite a strange record, which I would like to sound as a positive thing. They are above all a band that plays together, rather The Cheepskates - Run Better Run something that has been stuck together on a computer. The music they play is quite a wild, varied bunch. With all the changes in tempo, use of instruments, voices, heavy drumming, meditative acoustic A Christmas Fantasy - Gareth Wood / Cyril Watters - Christmas, one could also say that Rara plays their version of prog-rock, albeit one of a highly alternative variation, with the closing piece 'Gen Planety' finding Rara in it's most poppiest moment.
Almost like a conventional rock song, sounding like… Why did I never pay attention? It sounds like something I should known by name, but for the life of me can't think of. Velvet Underground perhaps. There you go. Despite the overall black cover, it is actually less 'black' and 'dour' as the cover suggests. Phurpa are shamans from Moscow, who specialize in 'rgyud-skad' singing, using traditional instruments, often made from human bones. I already reviewed some of their darker than dark throat singing and slow drumming on skins and whistling on bones see for instance Vital Weeklyandbut it seems that this new release is even darker than before and also seems to be relying more and more on the use of voices.
Bone trumpets and skin drums are now quite sparse in the two times forty-five minute pieces that we get Doc Wör Mirran - He-Man Musak both CDs. I must admit I only partly enjoyed this work as it is from a world that is simply not mine. I never played a proper tune on Doc Wör Mirran - He-Man Musak , as I was also put off by one Gust de Meyer, a composer from Belgium, who released a cassette in with some excellent minimal pop music played on four of these synths probably all by himself using multi-track.
So, that being the time of no Internet, and hardly Doc Wör Mirran - He-Man Musak music stores, I never knew, until much later, that there are many more, bigger models of Casio keyboards.
David First, a composer from New York Doc Wör Mirran - He-Man Musak whom I never heard, was a member of The Doc Wör Mirran - He-Man Musak , a psychedelic punk band, and later on started to played minimalist drone music. He still combines pop and drones, as well as covering much in- between.
In the early eighties he had an ensemble called The Flatland Oscillators, using tone generators but when discovering the Casio and learning one could detune a bunch of them to play drone music, he composed 'Four Casios' in lieu of Reich's 'Four Organs'which lead to The World Casio Quartet; three Rex Tremendae - Giuseppe Verdi - Leontyne Price, Fiorenza Cossotto, Carlo Bergonzi, Nicolai Ghiaurov the Casio CZ and one Casio CZ google them to see what they look like.
For a period of four years they played around town and one day oddly enough the exact date is not on the package they recorded four pieces, which are now re-issued by Pogus. The world of drone music holds little surprises, I guess, to the world of Vital Weekly, but the more I play this, the more I like it.
It has a beautifully crude edge to it, without being very noisy in fact quite gentle most of the timebut rough Doc Wör Mirran - He-Man Musak the edges in 'Plate Mass', straight forward dark as it is to 'Cloud Bride's Last Great Awakening At The Border Of Splintered Souls', moving from drones to a mass of bleeps. These two are the longer pieces here, and there are two shorter pieces at the bookends, which are a bit more chaotic in approach, and with a somewhat easier to recognize Casio sound.
All four pieces are highly minimal when it comes to development, but one never has the feeling it takes too long; in especially the long pieces there is a great flow in changing moods. If you like the drones made Doc Wör Mirran - He-Man Musak say something a long the lines of Orphaxthen I am sure this will be as appealing.
Making no secret of the game they are playing: free improvised music. Grigg travelled a lot through Europe, meeting and playing with improvisers everywhere. Their style reflects most of Coucher Compe Chien - Ti Celeste - Ses Plus Grands Succes improvised music as we know it from the UK.
They give a varied impression of their skills and music. Very close to silence, the music built from short subtle patterns, playing with timbre and sound. I missed some new fresh and original moves.
Too much of the same in the end. Miller is a composer of electroacoustic, orchestral, chamber, choral and multimedia works, known for his interactive electroacoustic chamber music. Besides he is a Professor of Music at St. Cloud State University, Minnesota. During a six month stay in Talinn Miller got introduced to the local improv scene, and started working with Mart Soo, a guitarist, composer and improviser.
Recordings took place on one day early in an Estonian Studio. All 11 tracks on the album show this was a very fruitful process. Soo plays guitars and live electronics. Miller plays the Kyma, a self-built electro-acoustic system I suppose.
The playing by both is very inventive and to the point. The music has depth and beauty. Sometimes the pieces are built around a loop, or a groove.
Others are more about sound textures or wild improvisation. Sometimes the playing by Soo touches shortly on jazzy moods or on rock vocabulary. But most of the time they operate Doc Wör Mirran - He-Man Musak a highly abstract level. Their interactions and interplay are superb. Their pieces are very solid and communicative. Truly a very enjoyable and satisfying release of experimental music by a duo that has a story to tell.
In fact he leaves me more and more clueless. So far he has shown an interest in computer manipulation of acoustic sounds and piano music, and on this new release he explores both ends. The piano music here was inspired by the African fish eagle, and upon hearing that, Wittenburg wanted to imitate that on his piano, which results into two beautiful quiet pieces of piano music.
Then there are two part of 'Willow Tree? But then there is also the lengthy piece 'Koninklijk Arpeggio', which is a keyboard piece, starting out rather mediocre with a boring pre-set sound, but then effectively being transformed by computer manipulation.
Also 'P2s2p' is a synthesizer piece, which follows a similar course as 'Koninklijk Arpeggio', and which sounds a bit regular even more and I am not sure what to make of both of these pieces. They seem 'easy' to me; feed some sound into computer program and see what comes out at the end.
It makes that this release contains quite diverse approaches when it comes to his music, and as such it is probably a fine calling card for the various interests Wittenburg has.
For me I would prefer to have them grouped and released separately. I did hear a compilation of rare pieces fromwhich was reviewed in Vital Weeklywhich didn't particular blow me away. It was all quite dark and 'gothic', music for people who like to dress all black.
Here is, as said, a new album by this duo and Doc Wör Mirran - He-Man Musak before it is heavy on the rhythm, noise and all around darkness. There are nine pieces on this CD, but still lasts some seventy-two minutes, so most of these pieces around eight to nine minutes, which I think is a bit long, as not always do these pieces have enough in them to sound as long as they do, which is perhaps something that could be said for all of the pieces.
A usual approach is that there is a lengthy, synth heavy intro and then slowly beats are layered together until we have a dense, top-heavy rhythm section and lots of synthesizers, either adding a bit of melody or a bit extra venom to the music. There is a piece of heavy, very-uptempo dance music in 'Displaced'. Like before I have quite mixed feelings about this music.
While I enjoy some of these crude excursions into the stomping ground, and some of it a bit overlong, it is also something that Doc Wör Mirran - He-Man Musak not entirely my cup of tea and I doubt if I would give this easily another spin in a couple of months.
But no doubt this is the kind of music that is massively popular elsewhere, so what do I know? It's not that I copied the title and name of the artist of the cover of the release with the second new release by this label from St-Petersburg.
Almost everything on the cover is in Russian, but the ever so professional people at Zhelezobeton deliver great information, so I know for instance that the title means 'footprints in the snow' and that this is a live recording from December 25th, at the St.
Petersburg Sound Museum which was formerly know as the Experimental Sound My Johnny Was A Shoemaker - Steeleye Span - Hark! The Village Wait a name change I wasn't aware offduring one of the nights of the 'Alchemy of Noise' party series. Mira Drevo is here a duo, consisting of permanent leader Dmitry "Skald" synthesizers, sampler and authentic field and ethnographic recordings, along with acoustic instruments such as flutes, mouth harp and percussion and a member of doom metal band Sequoian Aequsion called Pavel on guitar.
I am not sure if the thirty-two minutes that is now the length of this release is also the complete length of the concert, but it works very well in terms of 'alchemy', 'noise' and 'ambient'. There is an underlying bass guitar, the meandering of Doc Wör Mirran - He-Man Musak percussion, a bit of voices and long sustaining flute sounds through a bunch of reverb modules and delay pedals. I guess that's what they call organic music? Doc Wör Mirran - He-Man Musak is a delicate yet rougher ring to the sound; it is a live recording after all and one that works quite well.
There is very little in terms of smoothness here, but that makes that I enjoy this all the more. It's ambient music but has an occasional improvised feeling to it, which is quite spacious but not without human flaws. Highly enjoyable, and something that could have been a bit longer for my taste. Eleven Russian artists pay tribute to David Lynch, and I assume more his films than his music, but then, who am I to tell the difference?
Much of what Lynch does could maybe be seen as 'surrealist', with strange events, odd persons and wacky situations. Having said I must immediately admit I haven't seen all of his movies or even heard that much of his music. I would say enough to judge the music on this compilation. All the ingredients you would expect to find are in here; there is lots of darkness, a bit of rhythm, lots of textures, moods and atmospherics, and seemingly no sampled lines from movies.
It is not easy to say whether or not sounds are sampled from the movies, but perhaps that has to do with the copyright?
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