Andrew kirschner
(905 tapes)

Andrew Kirschner presents his latest release on 905 tapes compromised of two pieces .Side A introduces us to a sea of corrosive waves as a delayed electronic tonal cry bleats at rhythmic intervals .As the piece evolves the tumultuous,distant bleating electronic chimera becomes louder until the rhythm dissipates into broken shards that pierce the tempestuous ocean of sound ,like some vessel lost at sea. Something about this piece makes makes it perfect for brainwashing sequences from 70's dystopian sci fi movies...

Side B begins with clicks and whirrs that slowly forms a pulsing dissonance with inquisitive top end rumblings, like the underwater sonar communications of some aquatic creature of an unknown species.As the piece progresses there are dramatic bursts of urgency, like some unseen force threatening to reveal itself but remaining eclipsed by the wall of noise...Overall great and atmospheric immersive pieces for those who like their ambient exploration tainted with the sense of unease...

Justice Yeldham - Live at supersonic festival Oct 22 2012

Australian performance artist Lucas Abela aka Justice Yeldham, makes his Birmingham debut at the annual three day supersonic festival. Utilising just a piece of glass (found in the area of the performance), a contact mic and some pedals, justice comes onto applause and anticipation from the audience anxious to see the spectacle. Dressed in what looks like a doctor’s gown, his attire gives Yeldham an arguably fitting sideshow freak appearance. After a brief introduction Yeldham launches into full performance by doing what he does best. An intense cacophonic human explosion of condensed cathartic vibrations follows, laced with a kind of transgressive, yet genuine euphoria .In a world of digital laptop complacency, Yeldham’s performance nods more towards Jap Noise legend Masonna for its organic tour de force and true outsider punk spirit, with a tongue in cheek (or rather in this case, pressed up against glass!) approach and cutting humour that the noise/improve scene usually lacks. An audience member between 'tracks' asks Yeldham to bleed at one point, evoking brief vocal disdain from Yeldham. Indeed Yeldham has stressed that any bloodletting that may occur is a by product of the show and not the primary intention. And disappointing for some, Yeldham does not bleed during this show, but bites through the glass toward the end to shocked gasps from some members of the audience. Whether or not Yeldham bleeds after his performance (and at 20 mins Yeldham leaves not his repertoire to overkill, much like classical punk performance) is irrelevant, as in a world of contrived noise makers, Yeldham’s show cuts straight through to the jugular by means of simplicity. And succeeds - in being both unique and bringing a much needed breath of fresh air into the scene. Famously described by one journalist as “The most exciting performer I have seen in the last three years – in fact, since I first saw Iggy Pop" .He’s not far off - its exciting, raw untamed stuff in a world of full of complacent bores .If you ever get the chance (and Yeldham has toured everywhere - from Berlin to Korea with his show!), catch him if you can….

His whole entire back catalogue is available for FREE at his web until the end of the year here:

Oren Ambarchi - Sagittarian Domain (Editions Mego)

The latest opus from multi-instrumentalist Oren Ambarchi is a 33 minute affair of tightly paced orchestration that builds into a kind of almost giallo-esque soundtrack feel. Differing from the usual output on Editions Mego in being what you may call a rock band set up, it still manages to sound alien. A harmonic guitar leads us into a sparse repetitive electronic bass phrasing which repeats throughout, serving as an hypnotic hook to guide us through Ambarchi’s noisy guitar output. The aforementioned guitar work in particular reminds of Faust or Can at their most intense, whether the krautrock elements were deliberate or not on Ambarchi’s part doesn’t matter – it’s obvious by this release that his influences are vast. Altogether it comes on as a lumbering psychedelic behemoth born from urban alienation, the music seemingly evoking the feeling of being stalked at night through urban projects by unseen forces, which may be in part deliberate autosuggestion from the fitting austere, nocturnal cover photo. Having only ever heard Ambarchi's solo guitar works and his collaboration with z’ev, it was nice to be introduced to this unexpected full band sound, although ironically, all instruments in the main segment are all played by Ambarchi himself. He is joined by Elizabeth Welsh, James Rushford and Judith Hamann on viola and cello, who although only make their presence felt toward the end climax of the piece, do so, in stark contrast, adding a more humane touch to the proceedings, which as well as giving release from the urgency of the previous segment, also give the composition an unexpected depth.
Apparently all recorded in just one studio session, Sagittarian Domain, despite its running length, is surprisingly very accessible, and the pulsing, incessant, almost menacing bassline lures you in to a trance, making the passing of time seem irrelevant - which is always a sign of great music.
This cd clearly demonstrates there is definitely more to Ambarchi than meets the eye.

Get it here:

Colossloth - All Butterflies are Witches EP (Sombre Soniks)

Leicester’s Colossloth makes a return with his follow up to 2010's 'Antipathy in nature’ LP which was released on cult label Doom Mantra .Known for his dense excursions into the fringes of consciousness with his brand of twisted dark pagan electroacoustics, this time sees him release on esoteric based web label sombre soniks. Filled with Cryptic allusions to wicca and arcane gnosis, the 5 tracks here would suggest they had been culled from personal experience of such things rather than a keen interest. Here we are thrown into forays into the magickal unconscious via sublime robotic voices and strings, conjuring up an image very much like a junkyard strewn with possessed animated matter trying to make sense of itself and order itself into some semblance of form. Indeed the ghostly textures would not be out of place in some warped kids TV programme or the baroque world of Czech filmmaker Jan Svankmajer. Drones and the kind of sonic maladies we know him for are present, but more restrained and at times, and dare I say, melodic, albeit still full of unease. Indeed, you could say all the tracks here seem bathed in some kind of preternatural anticipation and uncertainty.
Whilst wicca’s musical companion to some degree for some of us might makes us think of folk (the most significant and celebrated release in that genre perhaps being Seldiy barns and Nigel Bourne’s Pagan Easter: Ritual Music For The Spring Equinox on Psychic TV’s Temple Records imprint back in 1988), the emergent UK drone/dark ambient scene of recent years though is perhaps becoming the new folk soundtrack to Albion. If this is so, then it makes this release definitely the perfect thing to draw down the burgeoning post-modern moon with.
Ending with the tempestuous disquiet of ‘Bones Beneath the Balefire’, (for me the EP’s standout track) All Butterflies are Witches ends in a crescendo leaving us enthralled and anxious to hear the next release by Colossloth.
All in all it’s more of a ritual soundtrack and less visceral than the previous Colossloth releases, making it perfect for a quiet nights eerie contemplation.

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Keith Fullerton Whitman - Generators (Editions mego)

KFW returns to his generator composition, this time showcasing two lengthy live interpretations from 2009 and 2010 respectively. The first recording is taken from a performance at New York’s Issue Project Room and is dedicated to french electronic music pioneer Elaine Radigue, and for those not familiar with the generator piece, is a maze of processed arpeggios with melodic harmonics, scales and oscillation. It’s a complex live reworking of the original generator piece into something more spectacular and progressive, giving space for improvisation, rather than the static entrancing contemplation of the studio version of generator. The original piece itself is an exploration of old analogue synths ,oscillators and ring modulators approached in the same methodical manner as the days when synths were locked away and only available to those versed in academia. To say its approach is purist alludes to snobbery, and that would be disparaging as Whitman fills his generator compositions full of warmth and soul, though still crafting a meticulous aural work out for the ears .Full of awe and wonder, the rhythms after a while seem to become autonomous, seeming to infinitely multiply joyously whilst trademark Whitman sounds are overlaid onto the mix.
The second cut(recorded at Baltimore's High Zero festival) which although again a live reworking of the generator composition, is a rough digitally manipulated piece, replete with detuned scales and octaves working a kind of discordant havoc .A complete opposite to the harmonium at times present in the first recording. It makes an interesting contrasting companion piece, the more coarse manipulated textures sitting against the bright melodies of the A-Side.
The original ‘generator ‘was a cassette only release affair, (perhaps seemingly in honour of the analogue world it so passionately celebrates?) now we have an entry on vinyl and cd of this lovingly crafted interrogation of analogue pandemonium for our listening pleasure, and all the better for it.


Available here:

Emptyset - Medium (Subtext)

Bristol’s Emptyset, have a penchant for atmosphere, and with regard to releases, a preference for quality not quantity. For this release they travelled and set up a labyrinthine construct of microphones in a dilapidated Gothic mansion in Gloucestershire that oozes atmosphere, looking like it could be the setting for a Hammer Horror production (renowned Bristol producer Mat Sampson taking up the challenge).The idea to utilise the mansion as a kind of instrument or third member, and not just as a reverb hungry echo chamber.
Rather than enter a semantic discourse about the esoteric relations between their chosen geography and investigation. Emptyset let us feel the results of their enquiry directly through the sounds themselves. The Emptyset trademark sound is there, but in a more restrained way, as if Ginzberg and Purgas’s rumbling bass heavy clicks and whirrs and beats are being used to commune and hold a dialogue with the house itself. On ‘interstice’ it’s as if the beats themselves become footsteps, like some spectral mechanical presence guiding us spatially around a tenebrous location. The only other release that comes to mind to draw a comparison to is Mark Bain's 'Vibronics ‘(Staalplaat) from back in 2000. But this release is not merely a field recording, Medium’s digital pulses breath new life into the surroundings. Emptyset show with this release they Continue doing what they do best – making spectral electronic music to explore the vast recesses of the human experience.

© 2012 Andy Black Forest