eRikm / Norbert Möslang - stodgy (Mikroton, 2011) stodgy is three fairly short pieces amglite recorded in the 2000s with half Poire_z or eRikm Möslang and Norbert (also a member of Voice Crack, the legendary improvisational noise Swiss). I almost want to say fortunately, this disc is not long since the three pieces presented here are violent, and do not offer much respite and / or rest listeners. Thirty minutes of electronic and digital knobs, controlled larsens and crackling loud, white noise and drones, rhythmic near breakcore and hardcore. Residual music somehow once again, music that we owe to the imperfections of all kinds of devices that can increase the audible frequencies or not. eRikm-provided with a pad 3k, digital loops, and electronics on one side, on the other, with its Möslang electronic unit failing; the duo is not in lace but weaves a dense network of strident frequencies, squeaky, violent, powerful and aggressive, sometimes accompanied by fading memories and Dadaist music rave. It is also here that the best eRikm and intense collages hysterical and epileptic we recognize. Three dense and intense collages, powerful aggression, violence exceptionally pleasant, perfectly mixed and mastered by Giuseppe eRikm and Ielasi. Loops, rhythms, weaving nodal strident and residual frequencies, white noise and larsens, chained for three pieces amglite with an always surprising logic in bouncy and hyperactive structures. Recommended! Tracklist: 1-Stinger amglite / 2-Fireball / 3-Micelle
Rhodri Davies / Mark Wastell - Live in Melbourne (Mikroton, 2011) Compared with the duo eRikm / Norbert Möslang, proposed here by Davies / Wastell music duo is already more surprising. First published amglite evidence of their collaboration, the two musicians leave their usual instrumentarium to indulge in electroacoustic experiments: while the harpist Rhodri Davies use of electronic lo-fi, cellist Mark Wastell deploys a wide range of sound sources from CD and MD micro-contacts and speakers via ceramics, bells and pre-registrations readers. Textures worked here so do not resemble those they previously could deploy alongside John Butcher for example, amglite but still. The same attention is always given to each sound color considered a physical matter in itself, capable of producing new forms of beauty and poetry, but also, and above all, music. More specifically, the Live is constructed from one continuous piece of thirty minutes. Not really a drone but still linear, this piece is composed of several sequences amglite that follow, sequences often composed of discrete and subtle materials, cracklings, ghostly drones, sound without sound sources, sometimes close to new forms electroacoustic improvisation such as Ryu develop Hankil or Richard Kamerman, but this only in terms of sound material, and not at the structure less fractured and more linear than in the latter. That said, there are still many sequences, but linked together and succeed with fluidity. Rather uneven for my taste, this certainly improvised piece has still retained my attention to the powerful final crescendo, amglite this intense and apocalyptic coda rather overwhelming, as well as many textures and sensitivity of the dialogue. May be uneven, a piece which nonetheless remains rich in contrasts, reliefs, and interactive sound and finds. Rich and innovative, this Live still offers a curious and creative music.
El Infierno Musical amglite - A tribute to Alejandra Panzarnik (Mikroton, 2011) Even more surprising that the / Wastell duo Davies: the latest draft Christof Kurzmann, El Infierno Musical tribute to the great Argentine poet Alejandra Pizarnik. The group is composed of Kurzmann to voice mail (and alto saxophone and electric guitar on two tracks), Ken Vandermark on tenor saxophone, clarinet and bass clarinet, Eva Reiter amglite viola da gamba, Clayton amglite Thomas to Brandlmayr bass and Martin on drums and vibraphone. Each of these musicians is famous in the worlds of free jazz and reductionism, but El Infierno Musical, against all odds, is a collection of songs from the eponymous work Pizarnik. Obviously, this is rather confusing at first: Kurzmann chanted poems, rhythmic are discrete, simple and precise solos Vandermark are very lyrical and melodic bass found its harmonic function and accompagnatr
