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Ampersand Etcetera – 2003_c
Ambient & microwave & electronica & experimental lowercase &
postclassical & minimal & techno & etcetera
Another sweep around the world – either in terms of where the labels are
or the artists they release. This one focuses on some grouped reviews one by
region the others by label. The next issue is all single reviews (it made sense
at the time) including Janek Schaefer, Soundician, Musique Concrete Ensemble,
Accretions comp, Rhodri Davies, Bokor and Formatt and any others that turn up.
Good news for web-music gatherers Aesova has been able to re-present the .tiln
web label (see volume 3 special edition). Go to http://www.tiln.com to find
a rapidly growing listing which includes material from Marc McNulty's original
version plus new material. The interface is designed to be mysterious –
each music page is set of nine images which link to the individual releases
with no clear indication of who the artist will be – to tempt you to dive
in and try it all. The serious collector will have to keep in mind where they
have been (especially if expanding their collection from the first iterations
of the label). But it is great to see it back – there is an amazing range
of music from well known and lesser known artists, many of whom have passed
this way.
Recently Stuart Dodman sent me a demo of some of his work 'concerning the displacement
of frequencies in an architectural space' in which he records objects/spaces,
manipulates them slightly and plays with them (plus chicks in a statistical
analysis) creating 'a conceptual sound installation'. The six tracks total about
22 minutes and are gorgeous. There is a passing similarity to some of the Japanese
sine-works especially in their changes as you move. But Dodman is working in
lower frequencies and with rumbles and hisses that slip and glide past you,
slowly modulating and layering, mastered at a low volume and very effective
as subtle shifting ambiences. The first is long and more stately while the other
pieces maintain the tension in a shorter frame with more activity, pulsing and
shimmering. Dodman can be contacted on stuartdodman@hotmail.com and as parts
of an 'ongoing study' they would be perfect for a release through .tiln or similar
label – although I believe they are strong enough to 'survive' and deserve
a more formal release.
Jeremy
ampersand@pretentious.net
&
http://ampersandetc.virtualave.net/ampersand.html
&&&&&&&&&&&&&
Marcelo Radulovich: 917 (Titicacamanbox-003)
The Assholes: Johnny and the Big Prairie Fire (no number)
From m@marceloradulovich.com
Nathan Hubbard: Born On Tuesday
Cosmologic: Syntaxis
Circumvention SA-081 & 035
http://www.circumventionmusic.com
Early on in the & lifespan (v2.08), Marcos Fernandes of the San Diego label
Accretions started sending me stuff – Marcelo's album Two Brains. Since
then there have been regular sightings of the label. This quartet represents
talent from the Trummerflora collective that feeds into the scene – two
from Radulovitch and 2 from another San Diego label (which leans more to the
jazz side) featuring artists from the collective, most of whom have appeared
on Accretions.
&
917 is a simple but very effective piece – on the seventeenth of September
Radulovich did some normal stuff – walked along the beach and near a road,
improvised on his keyboards, did some chores. What was different is that he
recorded them on his minidisk, and then edited them together as the piece found
on this 3" cd. Simply atmospheric it combines the sound of waves, drifting
synth lines, chopping and walking as percussive lines, intrusive vehicles, blowing
and scraping to witness the passing of time. As with his other sample based
works (the second Brain, the Thumb or the more recent Titicacaman) there is
a deceptive simplicity in a suggestion of 'merely' placing things over and adjacent
to each other. However the skill is in selecting which bits to use, the order
so that a movement is created and getting the density right. This is not phonography
(which is the start – recording something interesting as seen in the Phonography
compilations (which I'll have to follow up again)) but the next step that here
creates an atmospheric musique concrete. It takes an alchemist's skill to turn
the everyday into auditory gold, and here we have it again.
&
In 1979 Radulovich was part of the Assholes, along with some with a like-minded
punk can-do aesthetic (the others were Joel Smith, Christopher Stephens and
Christian Sondergard). They recorded their rehearsals and a live set (plus a
2001 reformation) and have assembled them here together with samples and material
some of the members recorded since. Assembled is the right term – this
is a strange beast of a record, rather like the head Smith designed for the
label: indeed one of the more skewed to come my way. It is like listening to
a fairly constantly shifting radio – slewing from samples (opening with
the eponymous Johnny) with ambient noises into chugging rhythms, loops of guitar,
voice, thrash guitar, ambient density to whatever. Songs emerge from the surrounds,
guitar and sungspoken lyrics (probably free associated, like the Pistol's 'cover')
– reminding me of Reynols at times and of the Resident's God In Three Parts
at another.
Like watching a car wreck it is fascinating and hypnotic – the songs have
that free spirited punk feel, lofi garage, and the surrounding material has
been selected combined edited and inserted with the sure hand of a skilled musico-artistic
adult. The collage works to keep your attention, placing the rough youth into
a more complex environment in which doesn't it.
Another sequence to give you some idea – a little treated voice into sophisticated
guitar and shouted vocals, crowd, ambient atmospherics, backward sample into
another punky piece, chopped samples, slow drums guitar and spoken piece with
guitar skittering over finally messy thrash.
Not a pretty set but an intense one. The whole far surpasses the sum of its
parts that is more than a historical document (which a lot of archive raking
over is) but a vibrant and alive artwork.
&
Hubbard is a percussionist, and this is a percussion album. He plays various
drum kits, sometimes prepared (there is a picture of a drum full of beads),
and also 'frames': these are metal frames (surprisingly) to which different
things are attached – springs, cutlery, metal rods, egg slicers and other
objects - that can be banged twanged or whatever. Then there is some processing,
sampling and echoplexing. All of which give a varied sound palette to work from.
A later track, 'The gift', travels across the range – opening with some
spacious percussion that builds into a drum kit solo, then shifts into the frames
and their percussed sounds, a period of processed shuddering shimmers before
drums again, some processing then finally individual elements from the frames
plucked.
'In the year of the dragon' starts the album with some fast and furious drumming
from the kit, cymbals and things that slides into softer single sounds before
regrouping a little. A similar structure to the longer title track, which starts
with a sampled buzz and percussion building to bells and shakers, becomes noise
before the second half is more restrained and spacious as sounds are placed
into a quieter space. '12+ 4 – voice in the machine II' is shaking almost
insect like metallic out of which a pulse emerges as a soft solo.
The 'problem of percussion' for the reviewer is how to describe various combinations
of bang tap plink twang plonk plang thwap rattle ring. Which is continuing in
'Enabler' but with an added depth of sound through the echoplex and more tonal
moments, as is 'Turn the tide of the tale' where the processing broadens the
sounds.
Then 'Voice in the machine' takes a totally different turn, part of a live performance,
processed to billy-o which takes it away from percussion into a strange world
of whooshes scrapes blips and sounds which originated in a drum kit but have
passed way beyond, ending with a chuggy clangy finale. 'Student studies' is
a series of delicate solos for drums and preparations, followed by the drama
of '5/25 – sleepwalking through childhood' with wonderful low rumbling
and vibrations from the thundersheet joined withscrapes and taps from a bass
drum.
'Azungu sa ndi tsitsi' is a short, straight drum solo shifting around the soundspace
dynamically that is another feature that broadens the album before 'Gate 6'
closes with another fractured processed piece of percussivelectronica that again
takes the album beating burring crackling and drifting into new territory while
still grounded in the root instrument.
At the end of the day, this is still a percussion album although the production
and processing add dimensions – I particularly enjoyed the ones that went
over the edge. Like some other improv it is not something that I find easy to
listen to from beginning to end. However, combining Hubbard's skill energy and
enthusiasm with the variety of struck sounds used here makes listening to it
in parts easy and enjoyable.
(note – I never played the Toad side of Wheels of Fire)
&
As a member of Cosmologic Hubbard's percussion falls into place in this quartet
with trombone, sax/flute and bass which exemplifies the jazz leanings of the
label. Recorded over two nights these pieces have the structure and sonorities
expected of a jazz quartet, which is no bad thing.
'Restless years' draws us in with bouncy rhythm section joined by sinuous sax
whose pulsing sol becomes edgy then gives way to faster drums and the trombone
before rejoining to harmonise with the trombone in the last half minute. The
combined sound of the sax/trombone is great and played on in a number of tracks.
Some soft percussion and bowing sounds (perhaps some of the electronics which
are unintrusive to say the least) before late night trombone and light sax in
'Mr. Hubbard's shock installation' are a prelude to an extended solo that covers
all the directions seen in the solo album and is very restrained. Trombone then
sax return to solo before another combined conclusion. In 'Artichoke clock'
the two wind instruments have a forceful interplay, mirroring and diverging,
joined by the rhythm section who take a solo, there is a mournful sax, rhythm
trombone and electronics (I think) before a group conclusion.
Simple and effective, mainly solo, sax in the short 'Birdrock dub' has few obvious
dub effects the fast rhythms as the trombone solos with sax dancing, then switching
around in the rather wild 'A secret no one knows II'. A complex maelstrom of
sounds opens 'Metal tears', string-like drones in there (or kazoo!), a more
exploratory piece, the final bass solo of which continues into 'Circle syntax'
which develops into another easy night piece for trombone and sax.
In 'Axis' the sax plays up and down the scales, joined by the otehrs for a big
rhythmic pumping, a couple of wind solos in which the sax revisits the opening
gambits before a big band finale. And finally 'Ten directions' where held tones
and scratchy percussion (looped?), flute and trombone achieve an almost Middle
Eastern flavour in a melodic and lovely piece that provides a great conclusion.
This is an enjoyable set – edging towards improv without losing site of
rhythm and melody that is useful for taking the listener along.
&&&&&&&&&&&
Rapoon: Dream Circle
Birds of Tin: Motion Mimic
John Hudak: May 5
X-ZF XZF02, 03 and 04
http://www.x-zf.net
Terry has cranked up the out put from the Pretentious label stable with three
from x-fz (reviewed with the repeat caveat that I have Pretentious connections).
I had often seen the names of Rapoon and Muslimgauze linked, but in the albums
I had heard couldn't see the real closeness – yes there was a tribal/ethnic
aspect but it was handled quite differently by the two. The rerelease of Dream
Circle provides the missing link.
'Najam jikkah' throws us straight in with rubbery fast drums and bells with
tones through that are a settled base – a structure for most tracks –
hypnotic and shifting into which are thrown deep strings and synths and fragments
of female chants and voices. The presence of synths and a more structured use
of some of the loops points to the difference from Muslimgauze, while the rhythm
and drums parallel him more – differences become more obvious though as
the album progresses. A fast hand drum and loop of a voice possibly saying 'fruits
of Allah' are combined with shimmering light synths and aethereal blowing, twittering
synths and backwards tones in 'In light'. Quite a rocky rhythm in 'Govindahal'
as a drum loop with a synth whip in it and bass push on, while building/falling
organ chord is the more varying element together with longer tones and judderings.
Looser, lighter and more open, 'Dream circle's strings and echoed claps are
lightly manipulated with soft whisperings. Chopped up voices are the rhythm
element of 'Lotus' as shimmers and pulses slide across, ghost drums pass and
longer vocal lines weave through. With 'Wind chime' an extensive distortion
makes the rhythm bed into an industrial rumble over which rainstick waves and
a hissy singing blow, before the loose tabla of 'Radio ganga' underscores synths
and a rumble like a train.
Voices as the main instrument again in 'Imdeepah' where words and fragments
dance with an over-drumming, and then 'Na jam-fal' which is based on a deep
synth drone which adds a later pulsing, voices redolent from earlier tracks
and more drums is another extended meditation.
The Rapoon albums I have are later – just by a years or so – and relistening
(Fallen Gods/Cidar is on now) you can hear the similarities and developments
of the sound palette from Dream Circle. The key element which runs through them
all (up to the most recent I have), though is the hypnotic rhythmic ambience
and wonderful play among the sound elements. The Indian-influenced art work
of this release is based on original material designed for a much earlier re-release,
and is printed on thick stock. But, most importantly, this is not merely an
historic artefact but an excellent album that still works really well.
(Now, at some stage I will have to explore :zoviet*france:!)
&
There's very few disks that come to the House of Ampersand out here at Mount
Macedon that don't surprise and enlighten me. Most of what comes to me I enjoy
(for many reasons – because it is beautiful, soothing, confronting, stimulating,
diverting, attractive, expands my appreciation and understanding, and more).
But a particular pleasure, though, is when something comes which has a different
approach (often indescribable) or direction. Often the issue is my musical education
– perhaps there are hundreds of people making sounds the same way, or this
artist has for years, but I haven't come across it. The shock of the new is
exciting (not that I want to down play the overall excitement I gain from the
music you-all send me – I am forever in your debt).
Anyway, Birds Of Tin is one of these times. The long opening title track absorbed
and confused me. Mysterious fast-forward samples, whooshes and flappy music
slide across the audio field, on building shifting shimmery undercurrent. Pulsing
rambling, the feel of a soundtrack as machines and high tones fade to new machinery
and deep organ resonances, a rocket rumbles and it eases again, burring and
notes swirling pulse and spiral. It is dense but light, passing ungraspably,
organic and yet industrial – a solid ambience. The next two tracks 'The
idea of order' and 'Circumvent' continue the feel – the first judders and
shimmers with sustained notes and samples, longer tones and beating machines
followed by breathy rumble pulses and more stable waving tones, whooshy long
tones, a post-apocalyptic industrial wasteland, echo pulses.
Then 'Plucked kinetic' presents a suggestion of the technique as definite sampled
loops are layered and phased, panning, rattling under a foreground shimmer.
The sound is an imagistic fairground nightmare, musical but edgy. The other
tracks are probably similarly constructed from loops – manipulated and
modulated, but with an emphasis on their cycling nature. The most recent album
it reminds me of is Michael Gendreau's 55 pas de la ligne au no. 3 which is
mainly based on recordings of turntables – there is the same interplay
of dark and light.
'The beauty of creation' has soft loops and taping that builds slow and moody,
gently mysterious. Long tones with tolling over it develops into a tonal melody
and a surprise is a spoken sample at the end. We move into space in 'Kin dust'
as high pinging becomes spacious spirals and rumbles of sound, bubbling sonars
and voice loops. And then we are 'Eaten by teeth of flame' as a deep rumble
is like a breathing monster with high tones, whipping cycles and shimmering
lights over easing to scrapes and ringing that suggest samples from nature.
Briefly developed in 'Thaw' which is thirty seconds of water dripping and crackling.
This album said something new to me – though Birds Of Tin have been around
a while, check out the Pretentious discography. The organic mechanical juxtaposition/interweaving
is not new, but there seem to be new aspects and developments here. Wonderfully
recommended (fore or back ground).
&
While the Hudak album is 52 minutes long, I am not going to be able to say a
lot about it (that refuge of the scoundrel, the PR piece, isn't available to
stretch my words). A continuously changing sequence of chimey ringing metallic
tones that ebbs and flows through short moments when you think it has ended
to fuller layers, an almost aleatoric feel to it. Or it could be an improv.
Some of the higher notes are quite resonant, and there is a wide pitch range.
I have listened to it a number of times, and can't pick the instrument (if there
is one): at times it is like a carnival calliope, or is it an organ in a cathedral.
But then again, the tone is very like that of a glassaphone (I once saw a program
which had one of the original ones, huge disks of glass that rotated, you held
your finger against them and created the same wonderful tones that can be extracted
from glasses, but only more so). Whatever, the piece is a haunting backdrop
that you can listen to or let drift by as it is now – I haven't identified
a structure to it, but it’s a wonderful atmosphere.
&
X-zf, as with any good small label, 'resplendent in divergence'.
&&&&&&&&&&&
Various Artists: Bip-hop Generation v.6
Tennis: Furlines
Bip-Hop Bleep 19 and 20/21
http://www.bip-hop.com
Another label which has appeared across the &etc horizon many times –
we have reviewed all but 2 releases that by-passed us
&
The final in the first series of Bip-Hop Generations. This has been a seminal
series bringing to us new material by 5 or 6 artists per issue: some new, some
known, a few going on to release full length Bip-Hop releases; but always interesting
and varied (plus the added bonus that the spines add up to a big Bip-Hop symbol
on your shelf).
This one is a highlight in a series which has set a high standard – the
impressive part is the sequencing: there is a building dynamic from A&A's
opening to Angel's dramatic closer, and a surprising eschewal of bip-hop-beats.
In 'While listening to radio rioja before going to sleep' the inimitable Alejandra
and Aeron provide a laid back and relaxed opening. Evocative loops of scrape
and tones gradually build, adding some guitar, delicate and abstract. Then a
ringing pulsing with a crackling phased (the radio?) and some more of the acoustic
guitar, and finally more of the typical A&A site-sounds distantly, a song,
the guitar and breathing before goodnight.
Scanner drops in two tracks. 'Thulium hymn' has a strangely nostalgic feel emerging
from sampled long ringing (guitar or piano) and deep tones, chopped layered
jumpy voices as a verse followed by a dzitzy flitter, a quite beautiful hymn.
More deep billowing drones and tapping, then drums and chopped beats and voices
grow in 'Darska'
The restraint continues with Bittonic: 'Helix 1' burbles and subterranean drones
with semisinging softly over, drifting, ambient; then 'A theory of disorderly
behaviour' soft scattering scratchy, burbles and pulses, breaks and woobles.
Beats or more insistent loops from Ilpo Vaisanen – 'Horna' click scritch
fuzz loops (with hints of drum sounds) echo and build with a metal tone over
the top; a mixture of rapid and slow percussion in 'Koputus' that sounds like
bouncing balls – a strange game of table tennis as they move through the
sound space; then 'Vaara' with bass synth over an engine, various beats enter
(slow, high hat) and the bass drops out then returns with guitar synth building
and developing to the end.
'Sois dwofe' from Battery Operated is an indicator of computers in the extreme
– a cartoonish collation of cut-up voices, buzzy edgy noises, stuttering
loops that gains some musical edge in the second part but is a little too unstructured.
With 'Kloppy' they show they can provide a tight construction as more computer
work puts together voices harmonica rhythm loops building rhythm and density.
And the bang to end it – Angel (who had a solo Bip-Hop album) are Vaisanen
and Dirk Dresselhaus as a live improv-noise duo. This 9 minutes of crackling
fuzz with beats in, modulating to analog futz, fast pulsing, squeals and beats;
building noise and velocity, synth farts, guitar feedback and constant chugging
beat is a fine punctuation to the album and the series, and perhaps more satisfying
than the more extended album.
A definite conclusion to a definitive series. Get the set.
&
Tennis is Si—cut.db and Benge, seen separately and together on Bip-Hop
– this is their second album. They have moved from the melodic choppy sound
of the first album to a more restrained musicality. A relaxed beat, buzz saw
and insect crickling introduce us to the 'Inedible doormouse', the rhythm melody
pulls back to soft woobles (the mouse?) and rumbles. Soft hiss combined with
clicks twings echo (this is a 'Bat 2 far') with pulse melodies and phone tones
emerging like a slow moving animal. Some melodic elements join in and drive
the second half.
Faster loops and vocal fragments are choppy in 'Vole shapes', with some bass
and metallic twittering that has a voice-structure, echoed fragments and soft
keys provide a full active feel. The start of 'Pine martin eden' has a shimmering
wash and improv-style guitar, spacious with pulses and clicks before a slow
rhythm kicks in, with light and echoes through the openness.
Click-drum loop and white noise pulses give us 'Bad hare day' as chimes and
electric guitar, key pulses and a metallic sample slides into echoey dub. The
restrained space of the album is exemplified by the simplicity of 'Otter story'
where watery loops, clicks and pops create an environment where the entry of
pulses creates a strange threat. 'Badger tracks' are rapid scrabbly with tones
over, faster and scrappier than the other animals.
Our last nature walk is 'Mole colour' where slow pop rhythms, woobles sonar
and distant voices are joined by click rhythm and some loungey organ before
washes and a tonal end. And ends a well balanced techno album – an attractively
restrained mood with animals of around 6 minutes long, giving time for introductions
and development, but none of them overstays their welcome, and there is nothing
nasty to clean up afterwards.
And here's the half review: as a special bonus to celebrate Bip-Hop's birthday,
Furlines comes with a full disk of remixes from Tennis' first album Europe On
Horseback (the first artist album on the label). !5 different artists offer
their work, based on the original 8 tracks (some were more attractive to the
remixers than others).
'Self seal mishap' is jittery and swirling from Taylor Dupree, becomes an edgy
desert tending to noise under Time Hecker, the consistent key pulses are overlaid
by computer crashings by Cray and finally a vehicle for mysterious pulsings
and children's and choir voices under Bovine Life. Warmdesk combines key samples
and weird noises with rhythms to make 'Civic halo' quite groovy, while the same
weirdness becomes dark and brooding under BitTonic's hands. 'Contube alomany'
is mad wild and forceful through ElectroniCat, restraint on the verge of music
via Pimmon and glitchy scrabbles for C K Dexter Haven. The other multiple is
'Safelle' which sounds randomly aleotoric from Kim Cascone and crackles and
echoeys before big bass and groovy keys join Frank Bretschneider's version.
Delicate keys and click/pulses by Kptmichigan from 'Debonair content' and tonedrone
choppy beats and samples fill Scanner's 'Weakness together'. The Jerker is appropriately
named as his 'Port helix' is bloopy shimmering and choppy, while Mikael Stavostrand
creates some driving house techno from 'Loose-knit pierrot'. In other words
a very nicely varied collection.
Furlines on its own is a very nice album, but the added remixes makes it a bargain.
&&&&&&&&&&&&
Various Artists: Research Centre for the Definition of Happiness (#23)
Ilios: 18102002 (#24)
Absurd
http:www.anet.gr/absurd
The Greece-based experimental/improv label Absurd was seen in 2002_15, 18, 19,
and now the latest emissions.
We have previously noted the circular card covers – and it seems they all
were used on releases from a broad interactive group known as the Research Centre
For The Definition Of Happiness. This cd documents some performances from a
4 day festival in July 1998 which saw the birth of the on-going collaborations.
Musical events and installation were held in places across Greece, and some
are recorded here. The cover, and a more detailed web document, outline what
was going on – and eight pieces from 3 of the performances appear here.
I am assuming that the tracks are in chronological order, as per the cover,
but be warned – the titles/artists could be totally worng.
Costis Drygianakis – The marriage: a shifting between tapping and machinery
(a bit like gen Ken's Icebreaker), twanging bangs and voices, cluttering, feedback
whooshes and drones, more voices in the whooshy ending.
Nicolas Maldevitis – Infinite static worlds (laughing at Anaximandros):
noise – metallic ringing ones which shift to a continuous rumbly one with
tones and layers through it.
Tina Aste/Sons of God – The cabinet song: scraping of string, probably
bass, as a low resonance grows around the noises. The scrape is rhythmic, developing
percussive sides, quite subtle noise, that becomes dense and rushing like a
motor to a fuller assault.
Chrondos/Katsiani – Na!: an overture of bubbling electronica, ringing and
a descending note shifts to samples – an orchestral fanfare, traditional
Greek strings then pipes, dance music with electronic sounds over, jolly, before
returning to the opening sounds.
Ilios – Afternoon at the lounge: a soft scrape, 2 screams that echo, then
a long section of softly rumble, some metallic sounds over, scrabbly percussion
and a wind that builds as the whole track does to end in a siren wail.
Illusionists – Camberdean: a musical excursion based around slowed sounds
like voices, pulsing with tones, swirling over. Chugging like a train to soft
tones at the end.
C M von Hausswolf – Airport data log test: a warm piece built around deep
sine waves, overlaid with a crackle that could be running water, electro-winds
and buzz.
RLW – Even Weber knows when he's not Schmidt: sounds of a machine being
started up – sounds like a tape recording of people talking, You realise
it’s a film being played. Over it an electronic soundtrack develops of
local noises – clattering, whooshes, possibly on site – plus ringing
gongs, percussive tonal, swinging between restraint where the film is still
heard and passages of noise. The voices become enmeshed in the abstract soundscape.
As a record of a series of ephemeral events (which was reduced as the recordings
of one night got destroyed in a basement flood) this release forms a historical
role – but more than that it stands up as a compilation of performance
based noise/electronica, full of very intriguing pieces.
&
The Ilios disk was recorded live in Athens on the date in question. It is one
longish (43 minute) track of improvised electronica. The opening section combines
lightly piercing sine tones that build, creating shifting interference patterns,
and an occasional throb with crackles and rumble. A talking scrabble (possibly
a sample or turntabling) begins to subsume the sines, settling into a subtler
rumbling throb with pulses and clicks every now and then. In the centre it goes
quiet with a quiet hiss, whooshing wind with squiggles, lighter in feel. After
this there is another build-up: skritching and tickety sounds build and fade,
a white-noise hissing which starts to pulse noisily with high tones and ringing
through. This bounces around in your head, while descending spiral tones fall
through the sounds. Easing towards the conclusion, a high-sine, some burring
and now ascending tone-spirals, settled and stable gentle tones and squiggles
to a longer tonal fade.
A nice simple noise/ambient live electronica.
(But, why if Ilios was part of the original RCftDoH aren't they in a circular
cover!)
&&&&&&&&&&&&
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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