BLIZZARD DAS MAGISCHE RENTIER GANZER FILM
But, if you are looking for something that will challenge and enlighten you, then Alphabet is a good place to start. So, ‘Orange Record’ seems to consist of layer upon layer of hysterical voices sped up into lunatic emission while a Farfisa organ speeds along at a ludicrous pace. It appears there are some guitar samples jammed into the mix at points, but it’s a bit less like The MC5 than some might hope. If anything, this refinement has brought the potency of his creations into sharper focus. Looking forward therefore to the more extended programm. Grab this, take the phone off the hook, whack up loud and buy yourself and your living room a ticket to a strange place. It grabs your brain in a vice-grip from both ends for an overwhelming and satisfying, if a bit sloppy and trite, experience. A shimmering drone builds over subtle percussive effects before giving way to sustained horns.
Like cinematic horror, noise seeks to strike too often by jumping from dark sites off camera. Vibrating in tune with the record’s derangement, he sings like someone who has suffered from an irreparable internal cave-in. The music is stifling, decelerating and suffocating, but in a polite way. Here it might also be missed because of context: Earth is a mirror of Earth radio ; it is also a portal. Record Collector UK. Gorgeous gatefold sleeve; a psychedelic painting-and-collage mind-meld from the hands of Oliver Ross.
Let’s hope Marc can take time out from his busy release schedule at Dekorder see elsewhere in this issue to work on an album-length version of the same material. Neither side is either better or worse.
There is a sudden change as the soundscape becomes warmer and fluttering nature comes to prominence as yet more queasy textures lurk in the background. For starters then, this is not dinner party music.
The computer treatments are more of an enhancement rather than something that would radically alter the source sounds. If you turn around and around on the same spot like a whirlwind, who is able to tell bpizzard you’re gonna end up in?
Dat levert een spannende, duistere en bovenal hypnotiserende hybride op van glitch, ambient, Vaudeville, psychedelische muziek, plunderphonics, soft-noise en drone-muziek. In between the mood changes between droning layers of minimalist sounds mixed with noise bristling with life and energy and sample-based tracks contrasting quite clearly discernible bitparts of sound sources.
How important is context? In the end, Black to Comm has breathed new life into modern classical and experimental music. Elsewhere the bluster of backgrounds obfuscates string melodies until they become more entangling than beguiling. With tracks like these, we don’t feel the need to take the whole filn in at once: The final track on the first 7″ is an unexpected fucked up dub number, gloriously heavy on the delay with some suitably mind warping mid-range frequencies.
Rentiier B starts off like a Melvins-bass-drone-record and then moves slowly but steadily into the harsh-noise-territory of the end of side A by laying interferences and bass-drones over each other over and over again and then suddenly introducing interference-sounds and white-noise-frequency-manipulation.
These are drone pieces – intersecting plateaus of gaudy and baroque dada noise but now with a slightly less jagged flow- BtC running on a smoother surface. With the sudden emergence of a new drone dialect in underground music, Richter brings a classical sense to his concoctions, drawing on the likes of Steve Reich’s organ magissche, La Monte Young’s extended sense of time, Hermann Nitsch’s sound world and Charlemagne Palestine’s power far more than psychedelic babble steeped in rounded edges.
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Its too ‘opera’ like, too ‘pathetic’, maybe too much like a serious rock singer singing slow stuff. Listening to the record on full volume over good amplifiers might straighten them out sooner than you think.
The end result is a fascinating and sonically stimulating combination of seemingly disparate sounds and moods. The only problem is, as I say, that the tracks start fading out just when you’re getting really interested. Spread across nine labels, his work as Black to Comm represents an epic voyage into the outer reaches of organic drone. But I am digressing. The best track is the last one, “Mirror”, where tidal keyboard chords bleat and bleed into bowed cymbals and a distant tambourine drags the song along at classic Nikki Sudden nod-out pace.
The five tracks here – made by splicing sound pulled from harmonium, singing saw, acoustic guitar alternating between tender plucks and dissonant strums, looping shellac, and much more – have been carefully constructed into off-kilter chamber pieces much like late-period Walker that let the album rise and fall in a theatrical five song structure. The most marked aspect of Earth is the voice of David Aird, aka Vindicatrix.
The mission statement for ‘Alphabet ‘ was to write an album of magksche for want of a better word. ffilm
Side B is more monotonous. Marc Richter the man behind the moniker presents us with ten very different tracks on this release. As opposed to certain arrogant-sounding projects in which what shines is exclusively the composer’s sense of self, this record – which, let me be extremely clear, doesn’t belong on my hypothetical desert island anyway – is lively, funny and enjoyable.
As label curator, Richter has released an endearingly eccentric collection of music, ranging from the pastoral noisescapes of Xela to the hyperactive pop songs of Doks to the quirky radio collages of Felix Kubin.
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Nor is Richter afraid to indulge a more flippant side to puncture the austere air. This, it seems, is why they recommend it be played loudly. Black To Comm is Marc Richter, who wrote most of the music flm Earth while drugged on intense doses of painkillers during recovery from a broken leg.
Even with the change in tone, there is still a near classical beauty to be found among the darker shadings of these songs. Dekorder label owner Marc Richter, aka Black To Comm, has been on fine form lately, and “The Soba Noodle Shop Incident” and “The Convenience Store Incident” are as impressive as their titles are intriguing, and make for another solid if all too brief addition to the Richter discography.
After amassing a highly regarded set of recordings for his own equally awesome Dekorder label and a celebrated release for Digitalis, Marc Richter vanzer one of his most concise compositions yet upon the Type label. Examples are “Insects” by Type Records puts out a lot of decent stuff but this is something else altogether.
Perhaps there’s a residue of outlaw spirit in Richter’s queasy compositions, though you magisch he’s less interested in breaking the maagische than in circumventing them altogether. This sort of slow development does more than its share of demolition, but it also reveals a fully realized vision and a musician whose focus and sonic sense are at once contributing to and one step removed from so much of the drone music coming out now.
This CD could very well finish end up in a high-ranking position on my Top It has the grandiosity of Godspeed you! Richter basically revisits pre-existing melodies by using shellac and vinyl loops, adding some bizarre vocals here “Bees”some toy gamelan there “Virtuosity Is A Means To An End” and environmental recordings, creating floating and fragile soundscapes which will appeal anyone into Philip Jeck’s humane turntablism.
Richter only adjusts very fine parts of it, so that the different parts of the drone come forward, go back in line to make room for other parts, etc. These six spacious tracks – the word “drone” singularly fails to do justice to the wealth of detail Richter creates with his loops, patches, pots and pans – could probably all fit on one CD, but they wouldn’t sound half as good.