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    Bora Yoon – Sunken Cathedral

    December 6th, 2014

    Bora Yoon - Sunken Cathedral

    You know how you wrote on your dating profile that you enjoy long walks on the beach and quiet evenings at home? Well, this here Sunken Cathedral CD by composer / vocalist Bora Yoon is the perfect accompaniment for the latter! It even says so in the liner notes: “For best results, please listen…during nocturnal hours.” So, get ready, Batman! Down inside this subterranean sonic space, you’re going to experience the best of both worlds: traditional melodic singing with freely improvised clatter chattering away in the background and all around. We’re talkin’ an experimental one-woman chamber opera without all of the typically crazy operatic singing. No, Bora’s vocals are just the opposite: hella pretty and simple, wafting like a gentle breeze over all kinds of instrumental and made / found sounds like organ drones, tinkling percussion, Tibetan singing bowls, layers of whispering, piano, barking dogs, sirens, recorded speech, answering machine messages from friends, quiet rustling, soft drones, trains, sawing viola, soft corroded feedback, thunderclaps, skipping records, spoken word, howling wind, heavy breathing, gentle blowing, tinkling chime sticks and choral singing. The results produce well over an hour’s worth of nice, understated ambiance in which things occasionally go bump in the night. Although the album picks up steam on one track with some invigorating, rhythmic noise blasts, the rest is all slow flow motion ecstasy eloquently suspended in time, courtesy of the talented and mesmerizing Bora Yoon.

    Label: Innova Catalog Number: innova 880 Format: CD Packaging: Mini-LP Gatefold Tracks: 12 Total Time: 73:15 Country: United States Released: 2014 More: Official, YouTube

    Text ©2014 Arcane Candy


    Bill Seaman + John Supko – s_traits

    November 23rd, 2014

    Bill Seaman + John Supko - s_traits

    The sprawling 77-minute CD s_traits is comprised of 26 short tracks of academic glitch from two members of the faculty of Duke University, Bill Seaman and John Supko. In case you lose track of which “song” you’re listening to, Supko recites the title of each one before it starts. (How nice of him! More artists should do that on their albums.) The whole shebang is built of cut-up samples from a 110-hour collection of sounds, all smeared out and laminated together like a pleasing aural layer cake. The ever-industrious Supko himself wrote computer software to surf these myriad sounds of field recordings, digital detritus, live instruments, his own juvenile compositions, piano and documentary soundtracks and combine them in surprising ways. You might call it automated improvised composition with occasional live instruments meshed in. As the pieces pleasantly ebb and flow, bobbing upon tranquil waters, I’m struck by how much they remind me of Oval’s 94 Diskont. In fact, a few passages sound like they could have been lifted straight off of that album. Of course, they weren’t, but you get the picture: Fans of Oval and Microstoria will have no problem navigating the waters of s_traits. On the visual front, the double-fold-out Digi-Pak is completely covered wall to wall with the tiniest text that will give you a headache if you try to read it–even with a big ol’ magnifying glass.

    Label: Cotton Goods Catalog Number: cottongoods–ap002 Format: CD Packaging: Digi-Pak Tracks: 26 Total Time: 77:18 Country: United States Released: 2014 More: Bandcamp, Boomkat, Bill Seaman, John Supko

    Text ©2014 Arcane Candy


    Ingram Marshall + Jim Bengston – Alcatraz + Eberbach

    October 3rd, 2014

    Ingram Marshall + Jim Bengston - Alcatraz + Eberbach

    You know how some DVDs boast a slide show as a bonus feature? Well, on this here Alcatraz + Eberbach job, the whole dang thing is a slide show! Hell, in its total running time of 48:09, there ain’t a real, honest-to-goodness movin’ image to be found anywhere! But, that’s okay, because this is some serious minimalistic ART, pal. There’s no need for a bunch of extraneous frames to clog up your brain. If you’re just looking for a regular old “video,” then head on over to YouTube, you heathen! Yeah, it’s safe to say there are a few videos on there. The rest of you well-heeled city slickers can just sit right down inside your home theater, plop this DVD into your player and enjoy the first piece, “Alcatraz,” from 1982.–Grandpa

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    Frequency Curtain – Frequency Curtain

    September 2nd, 2014

    Frequency Curtain - Frequency Curtain

    Do you remember that AMM album called Before Driving to the Chapel, We Took Coffee With Rick and Jennifer Reed? Of course you do. As it turns out, Rick and Jennifer Reed are actual human beings presently living on planet Earth, and one of them even plays in Frequency Curtain! I’ll let you guess which one. Joining the one Reed during this 2001 recording in their home base of Austin, Texas are Josh Ronsen, leader of an improv music + performance art outfit with the catchy name Brekekekexkoaxkoax and publisher of Monk Mink Pink Punk music magazine, and fellow media artist John Grzinich.
    So, what kind of sound does Frequency Curtain offer to you, the discerning music listener? True to their name, they gargle up four long tracks of gritty electronic drones in which the vintage technology of sine wave generators and short wave radios are seamlessly layered with the infinitely itchy aural pixels of modern laptop computers. Painful, high-pitched tones and all kinds of brittle skittles meld with deep synth-like clouds and packs of percolating barbs, forming the perfect menacing backdrop for an all-night slumber party in a pitch black utility closet. And the black, abstract cover and psychedelic disc art–both of which are quite lovely and minimal–match the music perfectly. I highly recommended this CD for any and all drone fans who like it rough.

    Label: Elevator Bath Catalog Number: eeaoa9 Format: CD Packaging: Digi-Pak Tracks: 4 Total Time: 54:52 Country: United States Released: 2002 More: Official

    Text ©2009 Arcane Candy


    Brekekekexkoaxkoax – We Used to be Such Good Friends

    August 1st, 2014

    Brekekekexkoaxkoax - We Used to be Such Good Friends

    Brandishing a bizarre band name that sounds like Popeye’s laugh followed by the throaty call of a tropical bird, Brekekekexkoaxkoax first appeared within the space-time continuum that we call home back in 1996 around Austin, Texas, where they secreted a great bog blob of improvised music, performance art and image projection into their immediate biosphere. Led by artist / musician Josh Ronsen, the outfit, featuring a large, rotating cast of characters, finally got up the gumption to release their first album a full decade into their existence. Emblazoned with the title We Used to be Such Good Friends, the homespun artifact presents four selections of spontaneous aural treats that span the years 2000 to 2005. Kicking off the proceedings with guitar, banjo, violin, flute, clarinet, oboe, organ, snare drum and electronics, “Haifa Hi-Fi” spreads out a nearly half-hour dollop of plinky-plonk prickly peanut clatter. After starting out extremely quiet and sparse, it starts to pick up a little steam after 20 minutes. Fans of AMM would have no problem with this piece.

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    No-Neck Blues Band – Intonomancy

    July 28th, 2014

    No-Neck Blues Band - Intonomancy

    Once upon a time, there was a man with no neck. Due to the fact that he was neckless, this man was unable to swivel his head in any direction, which forced him to stare straight ahead at dull inanimate objects for lengthy periods of time. To make matters worse, he was also a blockhead. We’re talking a total organization man who played by the book, never wavering from the middle of the road. After seconds, minutes, hours, days, weeks, months, years and decades of living life as a total square, the Neckless One, as he came to be known, finally fixed his gaze upon the exact center of the universe, which is contained in a singularity ensconced deep within the forehead of a 1/24th scale marble / polystyrene laminated statue of the original all-seeing, all-knowing, all-creating consciousness. At that moment, the Neckless One’s bleak existence was shattered wide open by the appearance in his head of deep saurkraut-infused improvised space rock jams that were looser than water flowing down a craggy creakbed. The source of this wellspring was an entity with a similar name as the Neckless One; they were known around town (and throughout the Milky Way) as the No Neck Blues Band. Formed in 1992 in Harlem, New York, NNCK, as the seven-member ensemble is also known, originally took cues from such free-form improv outfits as AMM, Limbus 3 and A Handful of Dust, then went on to combine them with folk, psych and free jazz elements to spontaneously flow out the nine pieces on the CD in question (shown above), Intonomancy. Give it a whirl at your earliest convenience. Your head will be glad you did–even if it’s not supported by a neck.

    Label: Sound@One Catalog Number: s@1#64 Format: CD Packaging: Jewel case Tracks: 9 Total Time: 67:43 Country: United States Released: 2002 More: De Stijl, Discogs, Forced Exposure

    Text ©2014 Arcane Candy


    Chris Campbell – Things You Already Know

    June 23rd, 2014

    Chris Campbell - Things You Already Know

    For his third camping trip up on the peak of Mt. Innova, where he works as the operations manager, the young whipper snapper of a composer Chris Campbell dips his feet into the wading pools of two different musical worlds–avant-garde classical and indy almost-rock–and blends them stitchlessly. On this new CD, which is called Things You Already Know, Chris presents a loosely organized collection of sounds you never even knew belonged together…until now. Instrumentally, he achieves this by combining the unusual: propane tank drums, bowed psaltery and singing bowls, with the usual: guitar, cello, piano and drums. Opening with a brief overture called “Form = Emptiness,” Chris establishes an incredibly mellow mood with nothing more than a sparse, lyrical theme on piano accompanied by a bit of plaintive singing far off in the background. “Lord Byron” kicks it up a huge notch as it segues back and forth between oddly rhythmic woozy workouts on stringed instruments and percussion that coalesce into busy blurs, only to lapse into quiet, tinkling contemplation. Then, on a wooden nickel, some super lyrical violin sweeps you away into Swoonville for a while until–bam!–it’s off with your head as you’re sent packing back to that gray area of shambling oddities. This track perfectly encapsulates Chris’ aesthetic of “accumulation and punctuation,” which artistically reflects how the outside world gets inside each of us.

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    Christoph Gallio + Beat Streuli – Road Works

    May 27th, 2014

    Christoph Gallio + Beat Streuli - Road Works

    Watch out for that sign up ahead! You know what I’m talking about: Men at Work. More specifically, it’s Road Works, the fourth album by the two men Christoph Gallio, a composer, and Beat Streuli, an artist. Written for sax, piano, synth, double bass and drums, Road Works, despite its plural name, is actually one long work divided up into 72 extremely short tracks that range from 13 blinks of an eye (13 seconds) up to almost a pop song (a whopping 2:07). The material seamlessly moves from pensive chamber jazz to field recordings of birds and dogs barking to upbeat jazz rock to melodic sax with synth drones to quiet stuttered electronics to cool melodic jazz to more field recordings combined with prickly improv to free jazz screams to drones with tinkles to melancholy piano ambience to free drum / fart synth workouts. My favorite part is the cool jazz with a gentle thunderstorm crackling in the background, which is an obvious yet perfect combo. Overall, Road Works is quite a quirky, fun little album chock-full of interesting aural nuggets suitable for fans of jazz and experimental music alike. Note: This package also contains a DVD, but unfortunately, it would not play in my laptop.

    Label: Percaso Catalog Number: percaso 28 / 29 Format: CD / DVD Packaging: Mini-LP Gatefold Tracks: CD: 72 Total Time: CD: 48:54 Country: Switzerland Released: 2013 More: Official, Vimeo

    Text ©2014 Arcane Candy


    Laurie Spiegel – The Expanding Universe

    April 24th, 2014

    Laurie Spiegel - The Expanding Universe

    Laurie Spiegel (born 1945) is primarily a composer of electronic music best-known for the pieces she created in the 1970s at Bell Labs, which was also the home of James Tenney’s groundbreaking computer music of the ’60s. Originally released as a single LP in 1980, The Expanding Universe contains some of the work Laurie made in that time period, and has since been, uh, expanded into a double CD with a bunch of bonus tracks tacked on. Employing such archaic equipment as a room-sized Control Data Corporation DDP-224 computer console / keyboard, GROOVE (Generating Real-time Operations on Voltage-Controlled Equipment), a magnetic tape drive, a music keyboard, a 3-D joystick, a touch tone keypad, punch cards, three 1/4″ reel-to-reel two-track tape machines, analog synths, a washing machine-sized disk drive, sawtooth oscillators, voltage controlled amps, a plate reverb unit and a mixer, Laurie really had her work cut out for her. Yeah, I know you could do the same thing so easy on your iPhone now, but Laurie accomplished it all back in the days when it was a very labor intensive process. These pieces were composed then stitched together over a period of weeks or months in a situation that required Laurie to repeatedly walk up and down a long hallway and flights of stairs between the computer room and the analog equipment room to make the gear talk to each other. It’s safe to say the results paid off, as Laurie’s hard work birthed a music of such mesmerizing beauty,

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    The Bowed Piano Ensemble – Ice and Fire

    March 22nd, 2014

    The Bowed Piano Ensemble - Ice and Fire

    Founded way back in 1977 by composer Stephen Scott, The Bowed Piano Ensemble conjures up the myriad sounds of a chamber orchestra miraculously while employing only one instrument: the grand piano. On the back cover of their sixth album, Ice and Fire, the nine members of the ensemble look like a bunch of black-clad doctors hunched over the operating table performing surgery. And that’s precisely what they do: open up the wound (lid of the instrument) and tease out its guts to produce an array of aural pleasantries that nurse our sullied psyches back to health.

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