Dense News 090. Click For Infos.AUTISTICI – Volume Objects CD 12k
FUCK BUTTONS – Bright Tomorrow pic-7″ ATP/R
GAVIN BRYARS/PHILIP JECK/ALTER EGO – The Sinking Of the Titanic CD Touch
JACKIE-O MOTHERFUCKER – Valley Of Fire CD Textile
KAPITAL BAND I – Playing By Numbers CD Mosz
KLIMEK – Dedications CD Anticipate
POMASSL – Spare Parts CD raster-noton
THE DRONES – Custom Made 2×7″ ATP/R
SAVVAS YSATIS + TAYLOR DEUPREE – The Sleeping Morning CD 12k
V.A. – Periférico (Curated by VICTOR GAMA) CD/Booklet Sonic Arts Network
ZBIGNIEW KARKOWSKI & ATSUKO NOJIRI – Continuity DVD+CD Asphodel
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AUTISTICI – Volume Objects
CD 12k 12k1045
http://www.12k.com
http://www.autistici.com
Abstract Ambience – Broken Space
In the desire to make recorded sound as tactile
as possible Autistici (UK), recently featured on
12k’s Blueprints compilation (12k1039), has
sculpted found objects, broken acoustic
instruments, synthesizers and environmental
recordings into Volume Objects.
Expertly realized and designed, Volume Objects is
loose and organic and demands careful listening.
Melody and form are hinted at and then in a
whisper, a crackle, are gone. A sense of
narrative and place created as if a hundred tiny
objects are scattered in front of you, a
fractured story that you thought you once
remembered.
The packaging for this release includes an 8-page
booklet of black & white photography by Taylor
Deupree inspired by the music and titles of the
audio pieces. All printed materials in this
package have been printed on 100% recycled paper.
Autistici creates audio narratives aimed at
exploring the interchange between sound and
space. Space in this context also includes the
space within the listener’s head. In this realm
reflection and fantasy recontextualise the sound
according to the listener’s inner world.
Autistici’s work incorporates a wide range of
sources including textural sound design,
orchestration, space and fragments of found sound
or field recordings. Tracks focus on representing
details from both the natural and manmade world.
Each detail has the potential to be preserved or
lost, clarified or confused. This means that any
audio element, including elements from his own
body become incorporated into the composition.
This fascination on the interplay between inner
and outer world embodies Autistici’s sound. There
is an intimate, intense and enmeshed sense of
connection with tiny details (e.g., dust on
vinyl, a door opening, heart beats, breathing,
snoring).
Autistici has released tracks on 12k, Audiobulb
Records, Hippocamp, Kikapu and Wandering Ear.
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FUCK BUTTONS – Bright Tomorrow
Limited Edition 7″ Picture Disc ATP Recordings ATPRSP04
http://www.atpfestival.com/atp-recordings
http://www.myspace.com/fuckbuttons
Fuck Buttons was conceived by ANDREW HUNG &
BENJAMIN JOHN POWER in the winter of 2004,
Bristol UK. Initially the group was born as an
outlet for their nihilistic-noise tendencies but
quickly, the two Fuck Buttons realised they could
harness the use of noise as a tool to immerse and
evoke. No longer afraid of melody or rhythm, the
group started fusing all these elements to the
point when drone becomes melody becomes rhythm.
With their electric live performances sealing the
notion that the two Fuck Buttons are attempting
some kind of transcendence between the listener
and the Universe itself, one could easily
envisage one’s psyches being shaken by the very
rumbles of the earth’s motions.
Tribal beats and subtle beautiful melodies weave
amongst contorting Technicolor drone-scapes while
preaching distorted-vocals scream for dear hope
herself…
Fuck Buttons straddle you between the wall of
sound that lies between the beginning of
destruction and the end of birth. This grand
noise will fondle you into a state of immersed
euphoria.
Full length album, Street Horrrsing available in January
* Touring with Parts and Labour
* Played Supersonic and Truck festivals
* Recorded by John Cummings of Mogwai
* Mastered by Bob Weston of Shellac
* Playing Release The Bats with Deerhoof and Liars at The Forum on November 2nd
* Booked to play ATP May 2008
http://www.pitchforkmedia.com/page/forkcast/46724-fuck-buttons-bright-tomorrow-stream
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GAVIN BRYARS / PHILIP JECK / ALTER EGO – The Sinking Of the Titanic
CD Touch Tone 34
Streetdate: December 10
http://www.touchmusic.org.uk
http://www.gavinbryars.com
http://www.philipjeck.com
http://www.alteregogroup.it
Limited Edition of 2000
CD in Special wallet + postcard [postcard image by Andrew Hooker]
Artwork by Jon Wozencroft
1 Track – 72:37
This version of Gavin Bryars’s seminal piece, The
Sinking of the Titanic, was recorded at the 49th
International Festival of Contemporary Music at
The Venice Biennale on 1st October 2005 at the
Teatro Maliban.
Gavin Bryars – Double Bass
Philip Jeck – Turntables
Alter Ego – Strings, Brass, Wind, Percussion,
Keyboard, Tape Recorder and sound design
A biog of Gavin Bryars can be found here:
www.gavinbryars.com/Pages/bio_fr.html
A biog of Philip Jeck can be found here:
www.philipjeck.com/biography_photos_images.html
Alter Ego: “Alter Ego is a contemporary music
group based in Rome, Italy. We try to enlarge our
repertoire as much as possible, not to have
musical boundaries and create strong musical
experiences collaborating with composers (Philip
Glass, Salvatore Sciarrino, Gavin Bryars, Gyia
Kancheli, Louis Andriessen, Terry Riley, David
Lang, Kaja Saariaho…), musicians from
other fields like elecronics (Pan Sonic, Matmos,
Philip Jeck…), pop singers (Frankie HI-NRG,
John De Leo), actors (Vladimir Luxuria), visual
artists (D-Fuse, Michelangelo Pistoletto, Andrew
Hooker, Roberto Masotti), and performers (Irvine
Arditti, Accroche Note).”
Band members are Manuel Zurria [flute] Paolo
Ravaglia [clarinet] Aldo Campagnari [Violin]
Francesco Dillon [cello] Oscar Pizzo [piano,
keyboards]
TITANIC – a logbook [by Alter Ego]
Gavin Bryars’ The Sinking of the Titanic is an
open semi-aleatoric work written in 1969. Bryars
himself has developed versions of variable length
(from 15 minutes to an hour) that have been
performed in different contexts, both as sound
installation and as a real concert work. The
piece has its origins in an obsession (one in
which Bryars meditates on the famous ship’s
sinking) whose evidence is in a minute
handwriting notebook. This brings together
information, curiosities, evidence, statistical
data on the survivors, technical research on the
ship, on the places occupied by the passengers,
on projects for the wreck’s recovery. In other
words everything related to the time of the
sinking. This sinking is then a metaphor for the
failure of modern technology, of the paradox of
modernity, the fact that a super-technological
ship could have been rammed and sunk by a block
of ice. The version proposed by Alter Ego and
Gavin Bryars is an absolutely new approach for
the project and for multimedia installation.
Andrew Hooker’s long video realised for this
occasion goes with the performance through the
minimum digital technology but achieves
astonishing results that lose themselves in a
long stream of memories. This is an another
important aspect of our Titanic idea: one related
to memory and to lifetime, to concreteness and
abstraction meant as a metaphor for the journey
between life and death, the ocean’s surface and
depth. The other important new figure in this
version is Philip Jeck, one of the most important
names on the experimental scene. Jeck uses his
experience to cover the sound with a blanket of
thin dust, which, at the same time, is memory,
distance, hallucination, traveling, and anxiety.
The dust which comes from the obsessive
repetition of a short phrase, its melancholy, the
memory’s melancholy, is part of an harmony that
Jeck shares with Bryars that succeeds, in a
really extraordinary way, in freezing time in a
“waiting” dimension.
We would like also to add that our experience of
The Sinking of the Titanic is part of a project
that Alter Ego has developed over these last
years, which has brought us to examine some
scores of the ’60s ’70s with a contemporary eye
by means of multimedia technology, generating
collaboration with artists from very different
surroundings. We should mention the work
developed with Philip Glass (the 600 Lines’
version with Pan Sonic), Terry Riley (in C and
Keyboard Studies with Matmos), Frederic Rzewski
(Coming Together/Attica with the rapper Frankie
Hi NRG), Louis Andriessen (Worker’s Union with
the Italian pop singer John De Leo).
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JACKIE-O MOTHERFUCKER – Valley Of Fire
CD Textile Records TCD16
http://www.textilerecords.com
http://www.myspace.com/jomf
The first jomf studio release since critically
acclaimed 2005 cd, FLAGS OF THE SACRED HARP (atp
recordings), will be issued by textile records
this november. Produced by Adam Forkner (yume
bitsu, white rainbow, k records), VALLEY OF FIRE
contains 3 brand new finely crafted songs on side
one, and on side two, a 20 minute classic
psychedelic, dirt road journey.
The record represents two equally facinating
aspects of jomf sonwriting, and musical
arrangement. Over the years, jackie-o
motherfucker have spent equal time writing and
arranging classic merican folk and blues, and
long, free-form compositions, drawing comparisons
to 1960’s and 70’s ensembles like ASH RA TEMPLE,
AMON DUL, AMM, FAUST, CAN, and THE CHICAGO ART
ENSEMBLE, while at the same time, developing a
song crafting style that has drawn on a musical
language passed down through generations.
From classic arrangements of traditional
spirituals, and work songs from the american
south, “go down old hanah”, “amazing grace” (fig.
5) to modern arrangements of greenwich village
folk from the 1960’s, “somethings on your mind”
-dino valente/karen dalton (liberation), to
completely original jomf classics “everyday”, and
“hey! mr. sky” (change, flags….) jackie-o
motherfucker have trawled the dusty corners of
history, and absorbed the languages of past
generations, twisting the elements to form a new
style which has been appropriated by musicians
all over the world.
VALLEY OF FIRE begins with “sing” an original composition with vocals by Eva
Salens (inca ore) recorded in Charlottesville
Virginia, written in collaboration with a local
street preacher, the song addresses the
importance of the individual voice, rising above
a rotten political structure …LIFT UP YOUR
VOICE AND SING….!
Track two, titled “valley of fire”, another jomf
original composition, was recorded in leeds,
england over the winter of 2006, with further
production in portland by Adam Forkner.
Track three, is a jomf arrangement of a beach
boys song called “the tree” from their lonesome
and wasted record, “surf’s up”. Also recorded in
leeds england, in the living room of lauren
naylor, with further production in portland by
adam forkner. It is an incredibly dark and
minimal arrangement of the song, with an awesome
vocal contribution from forkner.
Side two is a side long composition titled “we
are” with vocals by eva salens and tom greenwood,
and in typical jomf style, takes the listener on
a lysergic ride through the misty atmosphere…
VALLEY OF FIRE picks up the trail of FLAGS OF THE
SACRED HARP, and wanders down a similar path,
adding elements of krautrock, and classic
west-coast american production to create an
incredible, original album.
The cover of VALLEY OF FIRE is an original
watercolor painting by american artist JO
JACKSON, who creates mystical paintings, and
shows her work around the world.
The band is planning a european tour in the fall
of 2007 to support the release. Traveling as a 5
piece ensemble, including TOM GREENWOOD
(voice/guitar), DANNY SASAKI (drums), NICK
BINDEMAN (guitar), DANA VALATKA (electronic
percussion, voice), and NATALIE MERING (voice,
guitar). This particular line-up of the band have
been working together for almost three years, in
several formations, and have developed a strong
language of sound, as well as a knowlege of past
jomf songs, constantly arranging and
re-arranging, adding new breath into a huge
catalog of work. Expect the most fluid and
cohearent performances in the history of this
exciting and shape-shifting american band.
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KAPITAL BAND 1 – Playing By Numbers
CD Mosz 017
Streetdate: January 28
http://www.mosz.org
http://www.kapitalband1.com
1
You are only allowed to walk on the sidewalk
segments. Whoever steps on the cracks loses, and
is eaten up by the crocodile. If the segments or
stones are too small, or the path is paved, you
must walk on the curb of the sidewalk. If this is
also not possible, the game is interrupted and
everyone may walk as he or she likes, until the
necessary terrain resumes. Suddenly you notice
that one of the stones has an exeptional
structure, your view focuses, and all its details
drop into your mind.
2
All of the pieces have a form underneath, which
is, depending on the piece, colourized and
restructured. For example, the 2nd piece is a
reorchestration of a nocturnal streetscene in
vienna. A recording we did of an urban street
scene one night in vienna became our score: a
distant sound, hidden between all the other
noises, as if someone was hearing a symphony
playing far in the distance. We picked out this
detail and began reorchestrating it…
recolourizing it and all the washes of sound
coming from the street. These 22 second became
our world. We played along with the sounds of
passing cars, and the sonic spectrum of the
city’s night. Driven by the illusional
fascination that we can zoom through foreground
layers until background sounds fan out in all
their subtle details… moving in the recording
as if walking through the street toward a single
sound having caught our attention… finding out
how it sounds up close.
Of course it is a recording, a picture, of a
limited dimensionality. Through instrumentation
we give greater depth to this recording–
substituting, shifting, reassembling… that’s
the main principle of this album.
3
kapital band 1 are NICHOLAS BUSSMANN and MARTIN
BRANDLMAYR. After their first release 2CD from
2004, there was a second album in the works
already nearing completion, which the musicians
decided to trash completely and go a step
further. Playing By Numbers is the result- the
third album. Now electronics have been set a bit
aside; in the foreground are acoustic
instruments- cello, guitar, vibraphone and
marimba, voice, flute and of course drums. The
three parts of the composition play around with
playing by numbers. All instruments are played by
Martin Brandlmayr and Nicholas Bussmann, except
the flute which Erik Drescher contributed. For
our release tour in spring 2008 we will play
these compositions, as well as some compositions
dedicated only toward live performance. On tour
we will play in an extended formation, being
joined by: Clare Cooper – harp, Werner
Dafeldecker – double bass, Andrea Neumann –
inside piano and Tony Buck – drums.
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KLIMEK – Dedications
CD Anticipate 004
http://www.anticipaterecordings.com
http://random-industries.com
Throughout his career, SEBASTIAN MEISSNER has
explored a range of terrain under several guises
(Random_Inc, Bizz Circuits, Autokontrast, and
others), recorded for numerous, highly regarded
labels (Mille Plateaux, Kompakt, Sub Rosa, and
many others) and exhibited his work in several
formats and venues. Whether his material takes
the shape of photography, music or multi-media
installations dealing with social, cultural and
political issues of identity and geographic
space, Meissner’s work doesn’t sit still, but
hovers in-between as a means of painting a larger
picture which can’t be achieved in a single piece
or mode of production. With Dedications, his
newest release under the Klimek moniker,
Sebastian Meissner presents his most personal
album to date, and brings together a variety of
personas, themes and influences that permeate his
extensive work in different mediums, and under
different pseudonyms.
Displayed in both overt and less tangible terms,
Meissner uses these dedications to communicate
themes of spatial, geographical, historical or
ideological distance, and the bridging of said
distance. His compositions manage to subtly
express these multi-faceted connections while
also existing as discrete musical pieces that
hold up in their own vacuum. Both expansive and
miniature in its scope and presentation, the
album retains a musical depth of field while
distilling songs down to the traces of what is
most resonant – shedding anything extraneous in
favor of pure, textured musicality, which,
through the use of digital techniques, feels
physical and handmade. Guitar, piano, and various
other string and percussion instruments are
pulled and flexed and drawn out into new forms
and colors. These dense, restrained compositions
feel like the stand-alone score to a non-existent
film, as they balance overtly melodic themes with
crisply warm production and a measured sense of
timing – leaving Meissner’s already developed
sonic thumbprint while continuing his world-view
exploration with an emotional sense of immediacy.
As is evident from a glance at the track listing,
each title explicitly lays out his reference
points. Though some are well known figures
(Marvin Gaye, Steven Spielberg) and others are
less so (a Russian ship worker named Vladimir
Ivanovich), the connections are ones that hold
specific conceptual meaning for Meissner.
Consequently, while these threads are often
musical in nature and act as a means of folding
time or space (Mark Hollis, singer/songwriter for
the band Talk Talk and classical composer,
Giacinto Scelsi), in other instances they are a
direct mental line between non-musical figures
that are of special significance in Meissner’s
consciousness (his grandmother, Zofia Klimek, and
the photographer Gregory Crewdson). This ability
to unify abstractions of both collective and
personal cultural figures, while allowing them to
remain separate and different aspects of a longer
view, is an example of the delicately balanced
themes at the heart of Meissner’s music, work and
life.
For feature and review requests please write to: ed@dense.de
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POMASSL – Spare Parts
CD raster-noton R-N088
http://www.raster-noton.net
http://www.myspace.com/pomassl
‘spare parts’ is the long awaited new album from
the sonic laboratory of austrian based
‘psycho-physio’ musican pomassl and the latest
example of his interest in deconstructing musical
structure and testing the limits of hearing.
still retaining his distinctive style, but with
much more mature arranged elements and carefully
structured sections, compared to his earlier
output. dabbling and blurring experimental and
advanced pop. it is pomassl’Äôs full-lenght debut
for the german raster-noton imprint, after
several collaboration contribution for the label.
producing this album, pomassl has explored his
arsenal of armaments with the initial use of
original generators and synthesizers (polivoks,
ritm-2) from soviet fabrics, manufactured in the
80’Äòs, beside as always he uses a combination of
prototypical self-customized electronic
instruments versus state of the art technology.
whilst taking the listener in the opposite
direction via abstracted pieces ‘atenna atoll’
and ‘allied nippon’ and furthermore experimental
tunes ‘l>-r he cntriller’ stereoscopic panning,
‘parasite battery’ a straight bassdrum paired
with pircing electro-beat. conceptual parts and
short particles like ‘nitro’ title of the very
short intro track, ‘blank jack’ or ‘valsalva
maneuver’ (maneuver used to ‘clear’ the
http://en.wikipedia.org/wiki/ear ears when
ambient pressure changes, as in
http://en.wikipedia.org/wiki/diving diving or
http://en.wikipedia.org/wiki/aviation aviation)
function as intro and interludes. the most
anomalous track ‘qaraghandy storm’ closes the
album with a far off electrical desert storm.
pomassl is executor of the seminal ‘trail error’
(1996) album, one of the first records to really
explore very low and very high tones as well as
pioneering potentials of digital errors in terms
of electronic music, a record which has inspired
many fellow analog and digital artists, released
on the laton label which he co-founded in the
early 1990ies. beside with the ‘skeleton’ vinyl
series he released a number of cutting-edge
minimal techno records, starting from 1997 on
viennese sabotage/craft label.
‘pare parts’ was pre-presented successfully live
throughout the raster-noton japan-tour in october
2007.
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SAVVAS YSATIS + TAYLOR DEUPREE – The Sleeping Morning
CD 12k 2007
http://www.12k.com
http://www.myspace.com/savvasysatis
The collaborative efforts of Athens native SAVVAS
YSATIS and New Yorker TAYLOR DEUPREE were well
known in the early and mid 1990s through their
work as SETI, FUTIQUE, and ARC, as well as their
soundtrack to Japanese architect Toyo Ito’s famed
Tower of Winds building in Yokohama, Japan. After
going their separate ways – Ysatis to recording
for Tresor in Berlin, and Deupree to founding the
12k label – they have united again for their
first project in nearly 10 years.
Almost all of Ysatis and Deupree’s projects were
founded not only on conceptual ideas, but on
technical processes as well, setting rules and
restrictions on themselves to help focus their
creative energies in the endless playground of
the studio. Whether it was the complex sound
design of SETI or the cassette-tape-sourced
sample manipulation of Tower of Winds, Ysatis and
Deupree continually reinvented themselves, moving
from ambient, to lounge, to minimal techno.
Their new EP, The Sleeping Morning, was created
during a week-long visit from Greece to the US.
Ysatis and Deupree wanted to freely create and
see what came naturally after a 10-year hiatus
from working together in the studio. However,
their session quickly turned into an album guided
by a select set of instruments and methods which
led to their most unique work to date. The music
flowed naturally, and the 10 years disappeared
into a day.
All of the instrumentation; acoustic guitar,
autoharp, various bits of percussion, and analog
synthesizers, were performed directly to
multi-track with very little editing (they
preferred to re-take rather than edit). The duo
recorded much of the sound with with microphones
to capture roomtone which created a warm, organic
and often playful mood. Loose drums, the squeak
of a monosynth and lush pads from the Jupiter-8
make The Sleeping Morning appear at first as an
experiment in micro-folk but when vocal tracks
are added a whole new world of song-structure and
post-something is created.
The four tracks they recorded hint at a variety
of new avenues that Ysatis and Deupree can
explore. Their extensive music careers and long
history of collaboration and friendship have
given them experience rich with insight and
experimentation – and with the low price of
airfare and the affordability of decent grappa,
there will certainly be a chance to continue what
they began 14 years ago.
a note on this release’s package: the sleeve for
The Sleeping Morning is printed on 100% recycled
stock with 3 different biodegradable inks. Even
though stores demand cds to be shrinkwrapped (a
still non-ecofriendly process) the use of safe
materials in the package itself is our attempt at
reducing the amount of un-needed waste on our
planet.
+ + +
THE DRONES – Custom Made
Gatefold Double 7″ Picture Disc ATP Recordings ATPR6D01
http://www.atpfestival.com/atp-recordings
http://www.thedrones.com.au
ATP Recordings is pleased to announce the release
of a new series of double 7″ vinyl called Custom
Made. Custom Made invites artists to submit 4
songs which will be released on limited edition
7″ and also made available as a digital download.
Bands will choose:
* Something old – an old song of the band
* Something new – a song from the latest album
* Something borrowed – a cover
* Something blue – open to interpretation, a
blues song, the word blue in the title, anything.
Limited to just 1000 pieces, 100 of them will be
special edition silk screened printed covers,
numbered and signed by the sleeve designer.
We are delighted to announce that the first band
to take part in the ATP Recordings series will be
The Drones: Custom Made out on November 5th.
To celebrate their upcoming US tour with Band of
Horses, The Drones will be kicking off the very
first issue of the Custom Made series. The four
songs they have chosen are:
* Side A. Something old – Cockeyed Lowlife of the
Highlands (New recording of this old song)
* Side B. Something new – I Don’t Ever Want to
Change (taken from the album Gala Mill)
* Side C. Something borrowed – I Drink (originally by Charles Aznavour)
* Side D. Something blue – Shark Fin Blues (taken
from the album Wait Long By the River.)
Artwork designed by Motorcycle Michael
About earlier albums:
“The Drones, are seemingly raised from the dead,
zombies from Australia, with their rock’n’roll
set to stun and then EXPLODE. The Drones rock.
You need this.” Album of the week – Poptones (UK)
“raised in Australia from the rock ‘n’ roll
zombie-dead with the soulful religion of Neil
Young, Roky Erickson and The Birthday Party
embossed in a creepy-yet-soothing and, well,
different sort of tension.” 8/10 – NME (UK)
“comes running at the wall with an overwhelming
ravaged tenderness in the heart of the shambolic,
raging maelstrom” 4/5 stars – All Music Guide
(USA)
“pick of the week is this raw, pining monster
from Australia, lost in the spine tingling garage
haze of Bevis Frond’s psychedelia, Iggy Pop’s
tour de force and Nick Cave’s dark and dangerous
blues” Positively YYY (USA)
“There’s so much menace, desperation and rage in
these 9 tracks to cover the whole of the
Australian outback with a thick blanket of dirty
guitar riffs. The first track is so good I must
have listened to it like 15 times.” 9.5/10 – Vice
Magazine (UK)
+ + +
V.A. – Periférico: Sounds From Beyond the Bubble (Curated by VICTOR GAMA)
CD & Booklet SoniC Arts Network
http://www.sonicartsnetwork.org
http://www.victorgama.org
Sonic Arts Network is proud to present the tenth
instalment of its critically acclaimed CD series,
Periférico: Sounds from beyond the bubble,
curated by Angolan composer, Victor Gama.
During the process of globalisation, the west has
created a sphere of military, economic and
cultural dominance over the rest of the world. As
this bubble has spread, and despite the
opportunities offered by the Internet and other
technologies, the relative number of channels
available to artists, composers and other
creators of meaning and cultural value has
dwindled.
Periférico explores music from these ‘threatening
zones of silence’. Composers who are, or have
been, in a situation of ‘us and them’: at the
flashpoints of this expanding bubble, attempting
to exercise freedom through their unique music
and project initiatives.
The results of this exploration are 15 tracks
from artists from Lebanon, Iran, Colombia,
Brazil, Egypt, Palestine, Angola, Brazil, Cuba,
Peru and Ukraine. The CD is not however, intended
to be a ‘world music’ compilation of ‘indigenous
folk music’, but rather contemporary,
experimental and challenging work rooted in
non-western culture-demonstrating that this kind
of activity is not the sole-domain of the western
avant-garde.
The accompanying CD booklet explores these themes
further and is illustrated by Lebanese artist and
musician Mazen Kerbaj, whose music is also
featured on the CD.
Born in Angola of Portuguese descent, Victor
Gama’s work as a composer further elaborates on
the potential to transform beyond the structures
of tradition. Gama composes using a method he
calls the Golian Modes where the construction of
the instrument is introduced into the writing
process. His theory draws on traditional
instruments, technology and knowledge systems,
particularly from Angola, whilst employing
cutting edge technologies. Currently
collaborating with renowned artists such as Naná
Vasconcelos, William Parker and Guillermo E.
Brown, Gama has also initiated the first digital
archive of the traditional musics of Angola, and
produced the exchange project
Odantalan in Luanda.
Periférico is part of the critically acclaimed
Sonic Arts Network guest-curated CD series-a
collection of themes and ideas that explore the
edges of music and sound. All the CDs are
available online at: www.sonicartsnetwork.org or
you can receive them free, three times a year, as
part of your membership of Sonic Arts Network.
TRACKLIST
Raed Yassin (Lebanon) “Re resist”
Kamran Rastegar (Iran) “Kalandia Checkpoint (Daytime)”
Ricardo Gallo (Colombia) “Para Bojayá”
Sujeito a Guincho (Brazil) “Para dois clarinetes e meia”
Mazen Kerbaj (Lebanon) “The Workshop”
Hassan Khan (Egypt) “Tabla Dubb no. 16”
Boikutt (Palestine) “Taht il Ankad”
SOTE (Iran) “Glacial Frequency”
Victor Gama (Angola) “Huyra e Coma”
Ana Romano (Colombia) “Sin Coincidências”
Odantalan Collective (Brazil/Colombia/Angola/Cuba) “Con Licensia”
Christian Galarreta (Peru) “Código_ASCOO”
Giba Conceição (Brazil) “Roda”
Kotra (Ukraine) “Kharkiv”
Dembo/Gama (Angola) “Mensagem a Luanda”
+ + +
ZBIGNIEW KARKOWSKI & ATSUKO NOJIRI – Continuity
DVD+CD Asphodel ASP3003
http://www.asphodel.com
http://www.myspace.com/zbigniewkarkowski
If any recording constitutes the sum total of an
artist’s career to date, it is Continuity. Both a
career overview and a glimpse into renown polish
sound artist Zbigniew Karkowski’s promising
future, the compositions on this hybrid release
sample and re-interpret the entirety of the Tokyo
resident’s rich catalogue of work.
A master sound manipulator, Karkowski employs a
variety of tools to process and rework original
acoustic instrument recordings. The pieces
presented on Continuity demonstrate Karkowski’s
relentless attention to detail, and provide more
than ample explanation for repeated invitations
to perform at prestigious galleries, museums, and
venues around the globe.
The Continuity DVD contains visual
interpretations of Karkowski’s compositions by
Japanese video artist Atsuko Nojiri. Rather than
simply functioning as graphic replications of the
original musical works, all three of Nojiri’s
pieces seamlessly wrap themselves around
Karkowski’s sounds as though they were integral
parts of their own larger multimedia
compositions. In the process, Nojiri’s videos
become independent of the original musical works
that they purport to document. An argument for
the indivisibility of sound and vision, or the
emergence of a new aesthetic medium? Quite
evidently, the answer is both.
The included CD contains over an hour of unreleased material by Karkowski:
1. Mass-Flow-Rate – 26:10
2. Perceptor – 41:37
DVD Track Listing
1 Float – 16:22
2 Tritonal Rapture – 10:53
3 Membrane – 14:18
+ + +
L I V E S
CHICAGO UNDERGROUND TRIO
Nov 14 DK Copenhagen, International Film Festival
Nov 18 DE Berlin, RAW Temple
COH
Nov 17 ES Sala Castello, Barcelona
EXPLODING STAR ORCHESTRA
Nov 21 FR Brest, TBA
FENNESZ
Nov 16 FR Impact Nördick Festival Caen
Nov 17 FR Nov’Art Festival Bordeaux
Nov 23 UK Huddersfield Contemporary Music Festival w/ M.I.M.E.O.
Nov 30 DK LAB Copenhagen
FRANK BRETSCHNEIDER
Nov 20 AT Wien Modern, Vienna
Dec 15 DK Komponent, Copenhagen
JACKIE-O MOTHERFUCKER
Nov 15th SE Gothenburg, Club Nefertiti
Nov 16th DK Aarhus
Nov 17th NO Oslo, Villa
Nov 18th UK London, Cargo (Wire Magazine Festival)
Nov 20th FI Tampere, Vastavirta
Nov 21th FI Helsinki, Kuudes Linja
Nov 22th FI Turku, Dynamo
Nov 24th SE Stockholm, Fritz Corner
Nov 26th DK Copenhagen
Nov 28th DE Koln, Kulturbunker
Nov 29th NL Amsterdam, VPRO Session
Nov 30th CH Geneve, L’usine
Dec 1st IT Padova, Unwound
Dec 2nd IT Vittorio Veneto, Spazio
Dec 4th IT Marina di Massa, Tago Mago
Dec 5th IT Firenze, Ambasciate di Marte
Dec 6th IT Roma, Init
KTL
Nov 15 FR Bordeaux, Base Sous Marine
Nov 16 FR Bordeaux, ‘Kindertotenlieder’ @ Festival Les Grandes Traversees
Nov 18 BE Aaist, Netwerk w/Ultralyd
Nov 19 NL Amsterdam, DNK
Nov 21 DE Bremen, ‘I Apologize’ @ Schwankhalle
Nov 30 DK Kopenhagen, LAB
POMASSL
Nov 14 AT Wien Modern@Semper Depot
(Turntable-performance using “bausatz noto” by
Carsten Nicolai)
Nov 17 EE Von Krahl, Tallinn
Nov 22 PL Unsound Festival @ 19th century Power Station, Krakow
Nov 28 IS Reykjavik
VIENNA VEGETABLE ORCHESTRA
Nov 24 UK Huddersfield Contemporary Music Festival
+ + +
Thanks for reading & best wishes
Dense Promotion
Ed Benndorf
Reichenberger Str. 147
10999 Berlin
http://www.dense.de
http://www.myspace.com/densepr
Many thanks to Gosub.de & Oliver Schneider
