nostradamus, quill in hand: rfm on street beers, ali robertson, dopaminos, feghoots, wizards of oi and richard youngs
November 1, 2017 at 9:15 am | Posted in new music, no audience underground | Leave a commentTags: alex drool, ali robertson, chocolate monk, collette robertson, collette robinson, dopaminos, drew wright, dwindling correspondence, eran sachs, evp, feghoots, giant tank, manuel padden, number stations, occam's hairbrush, ourodisc, pete cann, richard youngs, shortwave radio, street beers, voice text converter, wizards of oi, wizzard, wot is not
Street Beers – Seriously Hot (Chocolate Monk)
Ali Robertson & Guests (Giant Tank)
Dopaminos – Occam’s Hairbrush (Ourodisc)
Feghoots – Dwindling Correspondence (Chocolate Monk)
Wizards of Oi – Wot it is Not (Chocolate Monk)
Richard Youngs – For Shortwave Radio and Voice Text Converter (Chocolate Monk)
Street Beers – Seriously Hot (Chocolate Monk) CD-r
Newish jaxx from conceptualist, comic-lover and one half of the mighty Usurper – it’s Ali Robertson’s Street Beers.
A brief two-parter featuring a host of voices (Karen Constance [whose 100-page eye gouge ‘Optic Rabble Arouses’ is currently ripping my retina – search for copies sucka], Tina Krekels, Elkka Nyoukis, Dylan Nyoukis, Collette Robertson and one silent and unnamed Ice Cream seller) this disc meditates on the very British notion of a summer hit by recording a vicious wind blowing into a condenser mic and adding repetitive spoken word riffs via the synthetic marimba parts in Frank Zappa’s Jazz from Hell? Just like Whigfield did.
A German-speaking / English language / Scottish dialect text piece takes in mentions of Castle Greyskull and the Eurovision Song Contest in a stream of everyday observations glimpsed from beneath a heavy curly fringe. Powerful images are run through a clutch of mouths adding the particular emphasis and personal inflection that makes us all individual humans. It ain’t what you do eh?
In equal parts baffling yet academically vital this cleverly orchestrated confection is interrupted by one of the world’s greatest sounds – a ruler twanging off a desk – that somehow apes the massive and bassy reverberations of Sunn O))) or something.
It’s looped into abstraction. Captured chatter and accidental singing whirl through the massed ‘bbbbrrrrrrrrr’ in a dense fog.
Who needs dry ice with sounds so gaseous?
Ali Robertson & Guests (Giant Tank) CD-r in a greetings card-style package and free digital album
Three no-star jamz in exotic locations with erotic personnel.
First up it’s a sixteen minute table-top affair from Ali with heavy-hitting guests Alex Drool and Eran Sachs. Various gentle clutter-movements, simple tape-gasps and the presence of little mouths make this an almost ASMR-style listen. The crinkly crackle, busy pace and full-spectrum scrape are filling my tiny ears with tiny sounds but top-up my tiny brain with big, big pictures. Like staring at the Grand Canyon through a polo mint – the detail exists around the fragrant edges.
The cream in the sponge comes courtesy of our host with Manuel Padding and Collette Robertson. Without any of the oddball yuks this is a beautiful tape/performance piece of gentle clicks and solitary word play. The whirr of the tape engines adds a 100 tog warmth to the creaks, recorded footsteps and groans. Each word (Dutch possibly? I dunno) are spoken with the world-weariness of a sleep-deprived parent. Kindly but devastatingly hollow. Exactly the sort of thing slow radio was made for. CLASSIC!
The final hectic jam is a marvel of chunter and small talk. Pub bantz, motor racing raspberries and inane local newspaper junk is run through some form of goosey phone app by either Mr A Robertson or Mr Drew Wright (take your pick) to create a 5 min melange attempting to answer – ‘what are men actually for?’
Dopaminos – Occam’s Hairbrush (Ourodisc) CD and wee booklet and digital album
This mysterious disc was slipped into my hand at TUSK festival by a furtive shadow.
Warned, “It’s a bit of a one off.” I dropped this one into the playing slot as soon as was decent.
These eleven brief tracks of sketchy synth pop are pretty much all formed on some vintage YAMAHA PSS-570 machine found in the back of a leaky cupboard. This disc takes pre-sets to a new level of ‘fuh’. Digital noise clouds intrude on the bop-a-long rhythm settings, a ‘tiss…tiss…tiss’ snare sound and the ravaged mumble of some laid-back ‘singing.’
But what’s clear is the vision. A singular approach to wringing all that is good and great out of crappy equipment. Pushing at the boundaries of what is possible, probable and generally tasteful.
Examples? ‘Bosch in Crayola’ is a 9 speed-metal pianola on digital time. ‘Esoteric Voice Research’ could be the ultra-unknown Co Durham bedroom-band Guns R Great, ‘Primordial Soup Exotica’ the weed-drenched wobble of a teenage Ween. ‘VWL RMVR’ is undeniably attention-deficit rumba. But things become perfectly formed on ‘More Confident’ as it gets down and dark with hypnotic self-help tapes battling a twig-dry beat and the sound of men crying. The ludicrous melody quivers like tangerine jelly melting over hot chips.
File directly between Robert Ridley-Shackleton and Keyboard Money Mark.
Feghoots – Dwindling Correspondence (Chocolate Monk) CD-r
New booty from horror film aficionado and noise-music abbot Pete Cann.
For those expecting dramatic fuzz and explosive squeal you need to re-calibrate your lugs as Feghoots trades in small-scale weird.
Opener ‘Alif Showcase’ features the microscopic wrench of rubber gloves. Elsewhere a peanut is dropped into a decorative Turkish beaker as Pete opens and reseals one of those stiff Amazon cardboard envelopes (Let Down Hair).
A shifting polystyrene crunch forms the base layer of ‘Shy Vein’ making this the noisiest offer but with owls hooting in harmony over the top any fist-pumping gets strictly Autumn Watch… it’s as mesmerising as lumpy frogspawn sculptures.
Analogue breath clicks through dry lungs on ‘Stirrup Residue’ while your roommate cleans the toaster of congealed cheese slices. The ill-tempered scrape soon melts into antique electronics and domestic field recordings.
The penultimate piece ‘Tenderloiner’ features the lightsaber sparkle of Atsuhiro Ito with the timing of a bird in the hand. The flickering and flighty splutters mimic a barista’s recurring dreams of hot steamed milk. At one point I swear a double bass makes an entrance and I realise I’m getting randy for Feghoots and John Edwards to collaborate. We gotta make this happen my well-connected readers!
A finality is reached on ‘Adze Rotor’ which may or may not be the digital processing of foul water sounds captured in both Leeds and Bradford. The gently swinging coda sweeps away any unpleasantness to focus on the slow rush of oncoming sleep.
Add a notch – Feghoots makes me nod like a Moorhen.
Wizards of Oi – Wot it is Not (Chocolate Monk) CD-r
There’s something about this disc that makes me think of the much-missed kings of otherness Reynols.
Possibly they share the murkiness and free, looseness of that mind-bending crew but what do I know? It just sounds wonderfully slack to me.
While it is important to mention W.O.O are only two small bears (who ably manage to handle drums, trumpet, swanee-whistle, dirt-guitar, Wurlitzer and gloomy vocals between their four little paws) the songs are studio-enriched with foul chicken drippings.
Effects are fully ladled on to these jams landing exactly between Teo Macero and King Tubby so even the straightest opening ends up in a double valley of rainbow-reverb. Just try ‘#Trumpets of Jericho’ or ‘#Metal Gardening’ if you doubt me.
But delicious difference is the order of the day with the too-brief ‘#Cool Pizza and a Beer’ sounding like the birth of Ska replayed by Renaldo and The Loaf in a grain silo.
It’s immediately followed by ‘#Thunderbird Glossalia’; a study for squeezed rodent and the Wurlitzer in the sort of time signature that would make Moondog honk. When the dust clears super-distorted voices chant insistent curses while the boys sharpen their knives on sopping calf’s liver.
There’s no mercy! When stripped back to basics (guitar and drums) like on ‘#Crayolish Oisters’ it kicks no less brittle. As if 10 Years After lost their fingers in a blues-related accident – this is the sound of the milkman ruefully cleaning up.
Closer, the intricate ‘#Free Jatz’, couples carefully controlled amp-fritz/saxophone bink with a snare-less drum snatch. All the better for the boom!
Possibly contains a Volcano da’ Bunk or something placing this firmly on the creaking essential pile.
Richard Youngs – For Shortwave Radio and Voice Text Converter (Chocolate Monk) CD-r
Richard Young’s work has been a kind of shadow that’s floated around my head for about 25 years. Every time I think – that’s it – that’s the definitive Youngs he comes out with another idea to top the last. A chocolate fountain of a man he’s spewed out another rich brown mess too tasty to resist.
I guess this is what some beards would call a process piece. So RY follows his own instructions…
- Record a shortwave radio. I used anywhere on the dial that sounded pleasing.
2. Imitate the sound of the shortwave radio into a voice to text converter.
3. Cut and paste the resulting text into a text to speech converter.
4. Press play and record the result alongside original shortwave. Stretch to fit.
5. Repeat.
A clever approach for sure but snazzy brains don’t always make great music yeah? (see Brian Eno).
This is of course marvellous. Like the freakiest number stations or creepiest Electronic Voice Phenomena this exists in the limbo between found sound and dream logic.
Disembodied voices speak an almost-language, part-words form some yet-to-be-unencrypted dialect they pinch a brain node but leave any meaning wanting. Sweeping from ear to ear they sound like they are warning me of something and make me scratch my pate like Nostradamus, quill in hand, hot to translate.
The shortwave pulses flutter as a jammed signal – pitchy whoops and spelks high in my hearing range.
Imagine a ghost captured on camera but then you find out the ghost that’s been deliberately summoned.
How does that make you feel? How does that make you really feel?
-ooOOoo-
leather duck, baklava bullet, wrecked snail: joe murray on tapes from tutore burlato
November 23, 2016 at 4:26 pm | Posted in new music, no audience underground | Leave a commentTags: alex drool, eran sachs, ezio piermattei, f. ampism, ilan volkov, joe murray, maya dunietz, the custodians, tom white, tr/, triple heater, tutore burlato
Triple Heater – Aurochs (tape, Tutore Burlato, #15)
Tom White – Commemoratives (tape, Tutore Burlato, #14)
TR/ – Amici di Filippo (tape, Tutore Burlato, #13)
The Custodians – Moribund Mules and Musket Fire (tape, Tutore Burlato, #12)
Usurper with Alex Drool, Maya Dunietz, Eran Sachs and Ilan Volkov – untitled (tape, Tutore Burlato, #16)
Triple Heater – Aurochs
Not a three-o but a two-oh! This new pairing from Tutore Burlato High Priest, Ezio Piermattei and the supple-limbed-totem-pole F Ampism flaps at the ears like a leather duck.
Students of the WTF scene can already imagine the smooth Tiki-delic jungle vibes and Red City grit yeah? But what this charming tape does so well is place the scribble-scrabble gently in a perfumed mango’s peppery slickness.
So a bagpipe meshes seamlessly with egg-slicer, a warped tape workout wetly dribbles into a pink sponge. Those robot-voice toys are underpinned with a twisted groaning and wrenched knot work.
Voices; children’s voices, male and female voices are a recurring warble that change the emotional resonance of every rattle and honk. Each piece remains human as a result, the occasional frenetic crackle an umlaut or other such punctuation. YEAH… I’m picking up a master’s hand in the edit suite ensuring each piece is a perfect mix of wet and dry, organic and man-made.
But it’s not all high-octane, fingers-on-triggers yucks. These gents are not afraid to whip out a haunting beauty-jam. ‘Telamoni Curiosi’ has a rich drawn-out slowness; the kind that floods through your body like hot opium immediately before you have an accident. You’re powerless to stop the door crunch the finger, the heel slip on the banana peel but in that moment of submission you taste the bitter tang of true happiness.
The perfect music to accompany images of Oscar Niemeyer’s Brasilia dream.
Tom White – Commemoratives
As 2016 continues to be that damn Tom White’s year this cassette might just be the best one yet readers.
The nosey will know the drill already; a reel-to-reel tape recorder is used to manually manipulate a loop of innocent brown tape; possibly a few pedals get pressed. Sounds easy enough, eh?
But on Commemoratives Tom’s gritty palms are transferring some kind of magnetic-manna to the slowly looping sound resulting in remarkable acrobatic leaps and whorls absolutely RIPPING out of the speakers like a sweet baklava bullet.
There’s a depth, a real colon-churning depth, to how these sounds roll bilious and tight. And just when you’re feeling fit to burst a cow-bell ‘K-LUNG’ bouncing between the speakers rattles you back into the world of flat stomachs and healthy greens.
The excellent side-long ‘Evoke a Yes’ drives Alpine cattle from their lush pasture through granular hair-pin bends; a single brassy ‘donk’ becomes the repeated motif lurching drunkenly on the local firewater until a chrome trebuchet hurls great gassy grenades into the steaming tar pits . But at the same time I’m minded of an early tape music boffin, wrapped up in labcoat and thick Clark Kents, dancing to this in his cluttered broom cupboard.
Performance-wise there is nothing held back and at times I’m pretty sure a block of particularly hectic loopery has sent me back in time a couple of seconds… a couple of seconds… a…
A powerful and heady brew that even when it’s doing nothing in particular is re-calibrating your brain-pod with subtly shifting patterns – a sly parquet interlocking those lazy synapses.
TR/ – Amici di Filippo
A right beanfeast this one – comforting and creamy.
‘Sabato’ starts with thick slapback-echo riffles over electronic-sand, creating waves of
…wuhhuhuhuuhu…
Pietro La Rocca’s lumpy canvas to paint up with Patrycja Stefaneck’s wonderful smeared voices.
Things progress at a wrecked snail’s pace: the canvas becomes laced ribbons of liquorice empowered with a mystic charge; the voice gobbles and mutters, wriggles and stutters slathered like golden butter.
Side two opens with something akin to a song but in this instance the campfire we are sitting around has been built of oleander creating choking, hallucinogenic fumes. Urgently strummed guitars stretch their steel strings to the horizon, shimmering like a Fripp-mirage while gentle disembodied voices float overhead.
The closer, ‘Digitale Terrestre’ pulls all these elements together in a light sketch, an open doodle of huffing and mithering. Innocent squeaks escape and fly between the massed mouth-chunter. This time it’s the guitar that floats overhead, darting in and out of the weft like a stickleback – silvery but sharp enough to draw blood. These enhanced throat and lips have a Residents-style quality and I’m half expecting to launch into an Infant Tango before long.
You want some sweet to go with that gravy? Look no further than duo TR/.
The Custodians – Moribund Mules and Musket Fire
Radio 4.
Radio-o-o fo-o-or.
R’aid-eeeeee-oh oh oh oh oh fuh, fuh, fuh Or?
Forgive my brief extrapolation but these Custodians (just plain Custodians on this tape – not ‘of the Realm’ as on the previous outings I’ve heard) serve up a classy dish that breaks apart that British institution of cosy improv and spoken word like a Terry’s Chocolate Orange, leaving 12 dense segments splayed and easily snackable.
Their M.O. involves occasional multi-tracked speaking parts weaving between Adam Bohman’s carefully curated sonic-detritus, Adrian Northover’s saxes and synth and Sue Lynch’s tenor sax and lyrical reeds.
It’s a truly wonderful listen; light, airy and unhurried. You just can’t fake the love and respect in this playing. It’s clearly defined yet ego-less, economical but happy to gild the occasional corner.
Each player, a standout in their own right, dons the collective cap with aplomb so shimmering brass sings and croons, often swooping in the wake of a wagtail’s gentle undulations. The ‘objects’ (large glasses bowed and combs teeth pinged with a thumb for example) add just exactly the right level of clutter and stroking to keep things tasty.
The text pieces seem to follow Adam Bohman’s ‘instructional/institutional’ approach with medical terms dropping from three mouths like ripe plumbs.
It couldn’t be more English if it wore a bowler hat.
Usurper with Alex Drool, Maya Dunietz, Eran Sachs and Ilan Volkov – untitled
Here the brothers Duff & Robertson are joined by Tel Aviv’s finest for some surprisingly tender hap, grapple and schooshh.
I guess the temptation with such a big-band is go the full Ellington and honk it up outta each loud hole. But on this occasion, and I’m not sure if it’s the brothers instructions or our host’s impeccable manners, these side-long pieces balloon like parachute silk and float with nowt but a gentle ripple.
Side one. I’m getting a tingle in my loins that suggests method. Old bronze coins dropped with arthritic fingers, cold marbles rolled across the wooden floor, straw flutes blown listlessly, burbling electric soup (sans batteries), rocking chairs rough squall, soft mouths chanting under flannel vests and knitting needles wrapped in sellotape tapped against the kitchen table. These bare-bones are constantly reinvented and realigned.
I’m getting signals in my lugs that indicate structure. A gentle moraine, its gritty interconnectedness based on Turkish carpet patterns. Twelve hands reaching out and six brains sparking with damp electricity. A bustling village of gossip coming to rest at the end of a particularly busy day.
The nervous rustle of bodies and fingers has an ingrained tension, of course, because (SPOILER ALERT) the moneyshot never arrives! If you’re waiting to see who’s going to crack first and ‘blah’ out forget it Bub, this is one saucy tease yeah?
Side two is hardly any more physical but wears its influences proudly in a collective throat-jam.
Dry coughs and sighs and huffs are double-bubbled to form a bivalve experience: left and right unite in slurpy kisses on stubbly cheeks. I picture our sacred six stretched out on roman loungers dripping sweet grape cheek-parps and wet gonzo hawks. The odd spare hand languorously rattling a tin fig or ripping off an elastoplast completes a decadent sound-image.
I riff on the chorus of grunts. I goof on the collective harmonic gasp. We follow the da-dada-dada-da-da conversation; until ‘uh uh errr…’ it descends into laugher as a Pangolin snuffles for truffles.
The real true joy yeah!
—ooOoo—
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