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Ampersand Etcetera – 2002_08
drawing room & hons & schaefer & encycloplatypus & warburton/sonderberg/shea & oeuf korrekt & tralphaz & dhumont & baupre & wollscheid & bailey/hautzinger & bergen/prins/fennesz & friedl/sharp
Ambient & microwave & electronica & experimental lowercase & postclassical & minimal & techno & etcetera
Something of an electroacoustic/constructed focus to this issue (Hons has waited patiently for this) – with the usual ring-ins which provide some balance!
To come Larry Gaab, a couple from Accretions, LX Rudis, Lecanscope, Murmer, Hughes, Thomson, Twine, O&A, an overwhelming Public Eyesore overview (20 disks) and more, of course
jeremy@pretentious.net
&
http://ampersandetc.virtualave.net/ampersand.html
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Drawing Room
Evolving Sequence no. 1
kRkRkRk KRK109
http://go.to/krkrkrk
Following the Peter Wright overview (2002_01) David Khan (collaborator with Wright on one of those albums, and now looking after the label) sent me his latest release under the Drawing Room name (who were on the kRkRkRk compilation reviewed then). Khan creates extended sound works that create sound elements, work with them and then slowly shift to another mode, keeping our ears alive to small and large movements. Something of what happens is now described.
'Void': resonant percussive drips, breathing, a buzz builds, throbbing hiding the drips; pulses step, sine-wave-like; machines buzzing occasionally, becomes more frequent, louder, shimmery backing builds with the pulses, and eventually we get waves of sound with quiet between, the waves getting longer, evolving; a cymbal joins the end of the wave and then through it; pulses are voicelike, twisting and swirling; synths and percussion join, becomes harsh, eases to light ringing scrapy percussion and synths to the close (22 minutes).
'The separation of light from darkness': a constantly rising string/wing tone that for eight minutes evolves, expressing elements from within it and becoming complex (are there horns and piano in there?); a harsh wash suddenly cuts over then bursts of varied noises, overlapping, and backed by a scrabbling (inside a piano?); shifts to a rattattat percussion, layered, shifting; a futzy interference enters, dominates, crashing and buzzing, wind noises, noisey; a short burst of crowd; end (18 minutes)
'Beyond the body': echoed beep and rattle; orchestral chord tone replaces, complex multifaceted; minimalist organ replaces deep and pulsey with voices over, rising in a singing moan that simplifies to a sustained tone, the voice and a vinyl-end-click; triangles/bells join, take over with some chits, somewhat Ikeda-like, blowy tones enter, to end (27 minutes).
Three fascinating varied soundworks – strong and engaging, balancing stasis and change to create an excellent release. Another fine antipodean release.
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Hons
Ferner Liefen
Ferner Liefen Records FLI001
http://www.hons.au
Poor Hons – this disk almost got into 2002_05 as he uses Max/MSP, but other things impinged and it didn't quite fit in 2002_07, and then the review I did got lost in a cut/paste/crash event. Anyway, another attempt to write it now!
The label is run by Hons in the time honoured tradition of self-release with plans to broaden out later. The 13 tracks here, structured as 8 pieces, are primarily by Hons with Gilbert Handler, mainly from the 'summer and autumn 2000 [when the 2 Hs] recorded lots of live sessions at the Institute for Electroacoustic and Experimental Music in Vienna'. The place of recording suggests why they fit into the 'constructed' theme, but the fact that Hons is credited with 'various tools programmed with Maxmsp, vocals, guitar' and Handler with more electronic instruments indicates that the pulling together is more important here.
Aiming for an aural soundtrack, the first track hits the spot, a narrative including setting out on a car ride, an Iggy-popish song on the car radio (the eponymous 'Molly's got a rider'), phone calls, stepping out of the car (muted sound from inside), highway noises, the drive continues. 'An angel passed' is a two part ride, tied by theme and sounds. In the first high ringing synths and a slow melody base a countdown and then into a click/loop rhythm. A sample about the alien autopsy (as an aside, while the fact aliens have identifiable genitals is amazing, that the officers wore epaulettes is amazing evolutionary convergence) with a rocky beat and then a cheezy hammond organ with clattery rhythm. This continues into the second part which is made more metallic, and another space-race sample comes over; more edgy, the piece shifts into a Ligeti-like voice based section, then rumbles and growls before the organ returns.
'Mit horn' is a dense and powerful exposition of what can be done with a good sample – here Robert Winckler's horn solo. An introduction of layered synth tones, with a moody threatening feel, is joined by the solo, which is cut, layered, turned into calls and replies, echoed and cycled evocatively , joined by computer tones and organ in the later parts, before it breaks apart at the end. Snog-like vocals alternate with jumpy samples, a carnival clicky rhythms and an organ solo in 'My fridge is empty'.
Four shorter parts to 'Sp much space': the first is another concrete confections – public transport, a shop, dance hall, then wooshes and rhyhms. Into an ambient techno piece with high and ringing synth melody, tones like struck glass building to a beaty section. Phone blippy noises and rattle for the rhythm for a serious (echoed) intonation of the title poem accompanied by serious piano, before the song is recapitulated as a metal/industrial anthem.
Drills sampled and looped create a percussive melody in the first part of 'Molly is ashes', into which a site recording (casino?), synths and then a vocal bring the elements of a song! Back to drills, dropping out into a long fade. The second part is a very electroacoustic collection of samples chopped rhythmically with metallic fragments. An ethnic mix on 'Shielded with ease' where sinuous tabla, guitar and crackles meet a Bayou-blue vocal before the final frames of 'Outdoor solitude' where cars and talking are joined by a toy-till melody.
This review has made quite a few X-like pointers – but while there are indications or suggestions of where Hons has come from, what he has created is a very strong, diverse and highly enjoyable album that easily stands rehearing (my stuffing up meant I listened to this a couple more times than usual). I could easily Handle(r) more from Hons.
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Janek Schaefer
Pulled Under
AudiOh! 12
http://www.audiOh.com
This follows the Fat-Cat disk Above Buildings reviewed in 2001_17 – described as a complex combination of 'glitch, electroacoustic and ambience which can’t be simply codified'. Schaefer continues his journey on his own label, emphasising the overall structure of his oeuvre by giving the tracks numbers from 84 to 91, indicating the relative position. Like Drawing Room, Schaefer's pieces are complex constructions, not really music as such, but sound sculptures to contemplate and enjoy.
The journey metaphor is made concrete in 'SuperChannel' where a ringing and trainlike rumble underscore phasing voice tones and a strong shimmer, which then fades and is replaced by a deep rumble chitter and cymbal. A switch again follows, where the first part of 'Rapid xativa ' is chop-looped voice guitar click and a blood-like rumble which are manipulated, then drop to the blood and click where the echoed sound of a site recording, buzzy machine and pulsing voices takes over.
'Penumbral rover' takes us to the edge of the sun using radio signals in a soft crackling pulse that builds and fades, harsh and aggressive at times, joined by a tonal wind. Recordings inside a guitar feature in 'Maison a bordeaux' where a buzzing shimmer and knocking is joined by a shaky notes and long resonances of the guitar. The notes become more twangy, surrounded by the buzz and resonance and more distant knocking, and a varying clatter; then pulsating echoey white noise and machiney buzzing, organ chords and crackles build to the end. Another longish excursion in 'Parallel spoor' which rumbles and clicks (a bit like a marina), whips, distant trains and chant, rainy shimmers enter, then long chordic tones, some clatter, tones and over all a gentle move to the end.
'sienna' is dark whips and rumbles which intersect with nature samples, rhythms appearing in the depths, sample tones, keyboards, machine chitters and long tones layered onto each other. The 8rpm record player used in 'Lithospheric shifts' creates a evolution of crackles, dropping tones, a slow almost music and sine waves, then a noisy crackling, fading to a rumble and suggestive crackling. And finally 'Vertrek' with a long blowy pulse tone with all sorts of subtleties, changing volume and shifting round, the minimalist approach pulling relationships out of your listening as a rumble also come and goes.
Not music, but delightful and varied audio (audiOh!) works that stretch your listening environment – you will be pulled up and then pulled in by this release.
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Encycloplatypus
Resleep
Morphosis Music MMSE1
http://www.shocking.com/~garbanzo
Gaab (2001_16, 2002_03 and coming in 2002_09) here collaborates with R Stratton, who engineered and mastered the disk, with the promise 'we return each night to the world of our desires'. I am not sure what the division of labours was here, but the result takes Gaab into some dramatic edgy more minimal territory.
The 'Perch bird' leads us into sleep with a mellow slow synth with highlights and shimmers over, some soft washes and deeper more looping layers. A more atonal harshness crashes in with the growing distorted chord that opens 'Radiation', building almost to a scream with organ chords in it. It drops away to a more searching atonality with edgy keys and washes and high cycles, breaking and then slowly building chords to a conclusion. Softer long tones layer in 'Snowflake' to a buzzing and synth keyboards, pause before a dreamy melody, moody, to a soft rumble.
A tribal-ly rhythm invites us through the 'Open door' with irregular drippy processed percussion and high phantom tones, tuned percussion, and an odd tuned 'wind' rising. Darkly moody chordal organ weaves into long tones, a little melody over and gentle drift are an 'Invocation' which ends with a deep resonance. A more disturbed sleep for the 'Chameleon' where a dreamy booble has high harsh whipping tones, shudders and a mysterious rumble.
'Lake draw' takes a ringing long tone with underscores a slow and moody horn tune, surrounded by drones, into a dreamy edgy tone melody with a melodian-like tone, spooky shimmers drift, rising and building. There is some 'Serenity' in the beat and didgeridoo tones that switches to chords, pings and a slower beat: a brief distortion, the moody mellow tones and voices. Finally, 'Resleep' with stately long calling tones with phasing synths over and a melodic line, deep tones and washes taking us to an easier sleep.
A very satisfying album from the Encycloplatypus, blending Gaab's rich palette with a darker mood and a subtle restraint.
(As an aside, the back cover says 'Resleep: eleven compositions' – attentive readers will note I have only mentioned 9, and there are only 9 tracks).
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Dan Warburton/Adam Sonderberg/Kevin Shea
Folktales No.3
Crouton Music Crouton 15
http://www.croutonmusic.com
Crouton are a label (like many) who are interested in the visual as well as audio aspects of their releases, with varied presentations. As the number indicates, this is the third in their Folktales series (Folktales No.2 was covered in 2001_20) where three artists offer 3" cds, with a collaborative text piece, in a folding card album. Like the Archipelago set (v3.07) the pieces are independent but they seek juxtapositioning.
The first disk, in relation to the packaging, is Dan Warburton's '20012002' which is also the most complex, created on the violin and soundfiles. The violin solo (recorded by Eric La Casa) is one of those scraping banging rumbling assaults on the instrument, with occasional bursts of bowing. This is based on an interleaving sheet of sound-samples, backward-like cymbal breathing scrapes and tones that create a strange undercurrent. A melodic tonal droning adds a further layer and provides some extended smooth stability into which the violin makes less frequent intense gestures. The mood is broken by wild eruptions of sound – possibly the violin but twistingly manipulated. This leads to a magnificent more reflective final section which sounds like an organ. Dramatic.
Sanderson traverses basically three states in 'I just want to make sure that we have the context correct here': the opening 8 minutes is a Japanese like tone piece. A couple of high tones are joined by a deeper one, echoing through your head, then a stutter that builds and varies and an occasional whoosh. An alarm like piercing announces the shorter, second part, a mad drum solo with electronica around it. Which suddenly stops after only a minute or so, and the last half of the piece is a minimal collation of crackling and rumble scrape which meander hypnotically in search of themselves, white noises washing over at times, to a conclusive fade. The internal variety is a subset of the breadth of the whole set.
The third piece is 'Among the ash-heaps and millionaires' by Shea and is primarily a 20 minute drum solo – a nicely paced and varied one on a standard drum kit, moving between gunshots and slower deeper passages. Over this Shea speaks/recites short, often surreal, prose-poetic fragments. Then in the last few minutes a synth keyboard enters and finally takes over with reverse and long tones, with what sounds like a crowd sample in the last half minute. All quite dramatic and unusual, and providing another contrast across the set.
Why three mini-cds when it could have fitted on one 5"er? Because they are three independent pieces which can be listened to in varied contexts with this format, as with the Archipelago set. Anyway, once again Crouton take a step along the eclectic pathway that makes it such an interesting label.
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Oeuf Korrekt
podweek
No-type/Diffusion I media IMNT0205
http://www.notype.com
http://www.electrocd.com
Third in the first series of IMNT releases following the overwhelming compilation with which they burst out of cyberspace (see 03 for the compilation, 07 for the other two albums). Oeuf Korrekt (Frederick Blouin) creates varied techno using obsolete software (Scream Tracker, Impulse Tracker) which creates 'a kind of sequenced, robotic music devoid of fluff, but often complex and surprising' (David Turgeon describing the computer music pioneers on the liner notes) and this album collects an overview that David considers important, created since 1995.
The liner notes accurately describe the music contained here – the software provides a crisp clean sound, simple sounding elements layered and combined to create meaty beaty big and bouncy tracks which often have a kitschy retro sound that is complex and inventive. Simple melodies remind you of Kraftwerk or YMO and other early purveyors. Longer tracks such as 'King of the elephants' and 'A ride in elephant city' demonstrate Oeuf's skills – they are both meditations on the thudding techno of hardcore or trance, but through varying the surrounding beats, some finely judged breaks and a sense of playfulness, maintain an interest and intelligence.
The mood had been set through 'Get binary' a futzy melodic piece combining the synth lines with some edge and beats, followed by a slower moody murmuring in 'We have arrived'. The album then traverses a number of audiostrategies. There are some fine techno pieces like 'Pochacco', 'Byte the funk', 'Before bedtime' and 'Podweek theme' which combine bright melodies (some displaying an eastern influence) with varied beats, taken to an edgy extreme in the fast 'Taco fiesta'. Another longer track 'Resem one' has more of the choppy beats and breaks, and also tunes which sound quite baroque – Oeuf has quite a nice ear – and ends with an autobahn-ish buzzing.
'Screw my samples' creates a base of rhythm/melody loops with fragments of different sounds with slow and squelched tones plying over, and samples are taken further in 'Alright well okay' where that phrase cycles irregularly through a slow stepping beat and synths, expanding to a short narration later on. Voices appear later in 'Osaka commtech nine', obviously Japanese, looping and sticking, leading to a strongly oriental sound in the second half. The 'Four channels' seem to be a fairly pedestrian beat, woozy scifi synth, piano and a gritty sound paralleling a synth guitar solo, combining to create complex layers. A contrast between more ambient tones and synths sets up 'Ruffly' as a smooth piece, which encapsulates the balances throughout the album - rhythm/melody, fast/slow, simple/complex – which keep the ears alert where many techno albums slide past.
An great collection to complete this first set of releases – No Type has successfully entered non-virtual reality.
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Tralphaz
For The Leak
Throat
http://www.throat.org
From Ven Voisey's Throat label comes another 3" cd-r adventure (see 2001_19 for V.V.'s disk). Tralphaz is David Lam, a film and sound artist and this reckless ride is his first release. There are 9 tracks making its 21 minutes that split between 7 noisey bursts and 2 ambient excursions.
'Poster of a cake' is an aggressive opener with assaultive guitar, harsh static and tones, followed by the shifting 'Clap for hat': distorted voices, crackling accordion, sine tones and computery boobles alternating. A similar variety in 'Off' where a rapid choppy techno segues into a cartoony jazz that stick in noise burts with voices in there. Then 4 seconds of static 'Ear over rice'. After this full-on four minutes, 'Gost' is a quiet still heart – six minutes minimal tones clicks and pulses that build in complexity and interest.
'Litbot' spans the ambient/noise divide with cycling tones becoming a boobling blip and distorted voices like a game falling apart. Noise bursts and voices in 'Hairsteaknife', followed by a longer ambient piece, 'Drain'. Genlte at first, it develops beats and sonar pings, pulsing and tones build and it finishes its journey as a dark train of rumbling distortion. 'F-art' sees us off with alternating nasty bluzzy blurts alternating with whistly breaks.
An intense and varied 20 minutes, which is great as it stands, but could easily be extended – Tralphaz has a good ear for sounds and structuring aural variety. A pleasure.
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Francis Dhumont: Cycle Du Son
Yves Baupre: Humeur De Facteur
Empreintes Digitales IMED0158 & 0160
http://www.electrocd.com
Born in 1926, Dhumont is the oldest artist on the impressive empreintes DIGITALes (most were born in the 50s and 60s). His experience and ease with the language of musique concrete/electroacoustic writing is demonstrated clearly on this understated but compelling collection of pieces from 1998, incorporating works from 1989 and 1996. As one of the founders of the field, he originally worked with magnetic wire (the original tape) and since 1963 has produced only works for tape. This combination of experience and medium creates a more measured music without some of the fragmented flourishes that computers can bring to the form.
This disk is something of an homage to Pierre Schaffer, and incorporates sounds from his Etude aux objets, amongst other musicians and 'celebrates sound and musique concrete'. My musical education is lacking, and I can't recognise all the references, but it is a pleasure none the less. In 'Objets retrouves' we have a warm, analogue introduction that slowly flows as mysterious noises emerge in volleys, hovering on the edge of recognition. 'AvatArsSon' is in six parts, and dedicated to 'the inventors of the treasure' (some of whom are named) and traverses 'some of the stages of the sound odyssey'. Each part is distinct in structure and method: 'paysages' opens with a naturalistic sampled village then shifts into manipulation, 'voix' is not surprisingly a complex voiced based piece while 'avatars' is buzzy dits and electronica and 'a suivre' takes long tones and buzzing. A fascinating journey which those more knowledgeable can mine. There seem to be two modes in 'Novars' – one is lyrical ringing tones with washes and a pulsating cloud, while the other is more percussive, swirling, more effected. The two forms alternate, flirting with recognisability and dancing away in this light duet. Finally 'Phonurgie' is more dense with hollow sounds, whistles, bleeps, fluttering wings and a darker feel created from similar sounds to those which have come before. Distorted strings, voices a light swirl and fade. A classic/al musique concrete album, very listenable and endlessly satisfying.
Baupre's is an album of harpsichord music, but composed from sounds recorded while he makes them (percussive, plucking, planing and so on) processed and constructed electroacousticly. Not surprisingly it is a complex album, which hardly ever really reveals its origin. 'Prelude demesure' rumbles, twitters, tinkles loops, percusses, sirens and fades. More fragments in 'La beausejour' including some string strums, then looped rhythms, dits, soft tones, some voicey propulsion; strings looping and light hammering; tones chits and more voices, relaxed ratchets, computer boobles; building light percussion, the strums return manipulated, loose and stretched, whispering end. The other tracks are similarly eclectic – more angular in 'La laurendeau' with a loop that sounds like 'into the car' (unlikely as it is) and percussive, 'La pelots point' is abstract and dramatic, with a plucked melody which leads to the still heart of the album, tones and scrabbly voices, very lovely. After which the piece rebuilds with some computer bubbles – the samples have been processed – keening tones. More little noises and melody in 'La DDB' with swirls tones and processed voices (was Beupre talking to himself? The clittery clatter drones tones and more of 'Peroraison' provide an rhythmic and lovely conclusion. Neither academic nor unapproachable, this is a delightful album of sounds which have been recorded selected processed and sequenced with an ear to the delicate and fascinating relationships that can be created through them. Begun in the labour of wood and metal work this is a grounded and delightful album.
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Achim Wollscheid
Resolving Interactions
Selektion SB05
http://www.selektion.com
The five documents that comprise this book (yes – a book review) consider the theory, practice and pitfalls of installation arts.
In 1995 Wollscheid proposed 'Licht' a computer-light-installation in the County High Court in Frankfurt, to fit around renovations. The first document is his proposal, describing how as people moved through the lobby, sensors, computers and lights would work together to respond to the movement – sometimes following, shadowing or anticipating the people, more complex interactions with people and some random/programmed activity, with some indications concerning privacy and intrusion.
The photographs in the second part cover the model, prototypes, a preview event and the start of installation. During which 'we find a strange substance' (I assume asbestos) and the whole renovation became a rebuilding and the Court became unavailable.
We then encounter an extended essay on some of the artistic, philosophical and theoretical issues related to an interactive installation (visual or sound) including the different response to that we have to a static picture.
In the fourth document there are images of a new 'licht' installation, now in the Amtsgericht: and we realise that the installation has moved to ground level – lights shining out from the bottom of the wall over the floor of a corridor. In addition to the development photos there are also some from a concert with Asmus Tiechens.
Finally, the installation notes for viewers, participants, explaining what is happening and why, followed by images of the installation in action including a photo of a computer screen that shows the observer what is happening.
This fascinating installation catalogue is visually satisfying – the photos are artistic, innovative or descriptive and include some colour pictures from the final stage – intellectually stimulating, and beautifully designed by Selektions Charly Steiger.
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Derek Bailey & Franz Hautzinger: <self titled>
Van Bergen, Prins and Fennesz: Dawn
Reinhold Friedl & Elliot Sharp: Anostalgia
Grob Grob 425, 427 & 428
http://www.churchofgrob.com
Another batch of easy-listening from the Church of Grob – and the appellation seems appropriate the more I here. These are strong albums for the true believers in improvisation.
Bailey and Hautzinger brought together their guitar and quartertone trumpet, and is one of those albums that I just don't get. Through most tracks Bailey plays guitar in a variety of ways – sliding, scarping and pinging ('Tea', for example or 'Appointment' which also has clouds of small notes), strums ('Talk'), slide ('Contracts', electric in 'Weather'), picky ('Details', Krautrock') forming melodic or close to melodic improvisations. Around these the quartertone trumpet works. It releases a strange mixture of percussive pops, blowing noises, purrs, growls, blurts and winds. While the two components produce some interesting moments, neither is sufficiently interesting on its own – the guitar seems like the sort of thing that many guitarists with something of an ear and technique play as doodles, while the trumpet sounds like someone blowing down a tube (its probably harder than that). And the result is less than the sum of the parts, as the two seem to hardly relate – I was surprised when there was something of an dialogue in 'The Vietnamese driver'. One or two tracks is interesting, but as an album it flags, and makes me wonder about the emperor's new clothes.
'Dawn' is a 41 minute piece by Peter van Bergen (windinstruments, EWI, sampling, computer), Gert-Jan Prins (electronics, fm modulations) and Cristian Fennesz (computer). And on the whole the sound is what you would expect from such a combinations: buzzing distortions tones electro-winds scrabbling buzzing futz that ebb and flow under sure control during the piece. The wind instruments are represented in a couple of obvious passages (one sax, one trumpet; and possibly some flute) where edgy lines are created and then fed through the computers where they join the distorting complexity. The samples are also used to good effect, with distant and ghostly voices muttering and disappearing. However, what really holds the piece together, providing a constant theme that is returned to, is the piano. What piano, looking at the credits? But there is definitely one in there, played as a straight improv instrument, and also periods that sound like its insides. If it is a sample, its well disguised and used. Either way, it offers a structure and focus for this excursion into what is usually a decentred form. Around it the excursions and explorations of sound are varied and manageable, with some nice mood changes, leading to a dramatic conclusion, choppy wild samples, before disintegrating. An strong release, forming something of an interface between electronic and instrumental improv.
Anostalgia comes in a sleeve with moody B&W photos on it, and another on the disk – atmospheric and nostalgic. The music is modern, with little or no nostalgic reflection on Friedl's piano or Sharps guitar and sax. Once the expectation was shocked out of my ears an appreciation ensued. It opens with a delicate scrabbling inside the piano surrounded by electronic blips of the guitar in the short 'Inblick', while more percussive activity occurs in the piano in 'A chance moment' as Sharp scrapes his strings and then delivers some quite straight, twangy guitar. Following the final seconds of silence which complete each track, sax enters the scene, blowy but also tending to melody, rapid percussion of the piano strings and a strange percussive coughing make up 'Sand'. Sonority abounds in 'Incognito' - deep slow piano and picked acoustic guitar, with some stretched slidey notes that become more electric at the end. Guitar and piano are picked through the first half of 'NostalgiA' which is driven by a lovely, finlely controlled feedback that pulses and scrapes and an echo/reverbed guitar solo, with strange whale calls behind. The second half has drones and squeaks leading to a noisy guitar conclusion. Bitty percussive picky guitar and piano chords in 'Also known as' before a rapid picking that runs through the first half of 'Afterlight'. This is joined by scraped strings – both short percussive and long coughing – short and loose guitar, and a wonderful high ping. This is multi-layered, and more aspects are added, like damp piano notes, picks and scrapes and guitar. 'Ostseh' is a marvellously complex piece – suggesting that these are not necessarily one take improvs. There is a melancholy layered echoed and looped sax, gentle piano, loops that stick, sax-poots, piano like soft rain: suggestive of minimalism in its structure and with some classical sounds; climaxing with a drone, blowing sax and percussive piano. All manner of sounds appear in Dust age': rumbly background with a repeated single varying note (at times sounding like a tambourine), piano, electric guitar, wahwah: dittery percussive and multifaceted. Then finally 'Lipstuck' a powerful percussive piece, where once again the two instruments sounds like an orchestra, as a fitting conclusion. This is probably my favourite Grob release that I have heard to date – it is not easy, but the combination of sounds, their variety and the albums structure make this an album which is worth persevering with and returning to.
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And of course, all past issues, with hundreds of reviews, on site.
Copyright for these reviews remains with me, Jeremy Keens. Artists and labels are free to use and quote them as long as they acknowledge Ampersand and don’t mess with my words! And if anyone else happens to mention one of these reviews, do pass on the web address or my email address so new readers can find me. Thanks.

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