>RICHARD H. KIRK >Loop Static >TONE12CD / TONE12EP (12") >UPC: 1753-32875-2 > > >8 tracks - 60:53 > >CD track titles: > >Devil in Your Name/All in Vain/With False Identity/Chemicals and Easter >Bunnies/Do You Transmit/One Zero/Get Our Heads Straight/Monday Morning... > > >12" vinyl - 4 tracks - 31:59 > >12" track titles: > >Devil in Your Name/All in Vain/With False Identity/Crimes Against Humanity.. > >His work needs no further introduction - check out >www.touch.demon.co.uk/kirk.htm and see the current feature on Richard in >The Wire (March issue) > >___________ > >MIKA VAINIO >Kajo >TO:43 (cd) >UPC: 1753-32874-2 > >9 tracks - 54:19 > >Track titles: > >Kytkenta (Connection)/Osittain (Partly)/Kolmas Piiri (Third Area)/Leslie >(Leslie)/Lahety (Transmission)/Aleksandrovsk (Aleksandrovsk)/Aaltomuoto >(Waveform)/Unessa (In Sleep)/Takaisin (Returning).. > >The 2nd solo release from member of Pan Sonic (cf TO:34 Onko) about which >the Village Voice (USA) wrote - > >"Techno with the snare turned off is nice to decompress to, but it's not >ambient music, whose object is to play with a sound environment to change >the texture of it, as careful lighting would. So the best recent >atmosphere-altering recordings have moved toward sounds that can't be >confused with electroglop. That's the beauty of Mika Vainio's Onko (Touch). >No matter how loud you turn it up, it won't take centre stage - it just >makes its surroundings seem starker and sharper. Vainio (also of the more >rhythm-friendly Panasonic) eschews frills like beats and notes in favor of >sounds that can pass for background noise: tape hiss, appliance hum, >seashell roar. His constructions are tart, ascetic and razor clean. When >the title track mutates into a random series of ultra-high pitched ticks, >you can practically hear your neural connections being severed.....There >are lots of recordings of unusual pre-existing ambience too, like >Disinformation's 12-inch single of solar radio emissions, and Chris >Watson's location recordings - "River Mara, Maasal Mara, Kenya 2130h, 16 >September 1994" is the jam." >________ > >HAZARD >Wood [CD] c/w Bridge/Field [LP] >ASH5.4/5.5 > (limited edition cd + lp package) >UPC: 1753-32873-2 > >The CD is in a printed slipcase inside the vinyl sleeve (both full colour) > >CD - 6 tracks - 36:09 > >Track titles: > >Fibre Test/Cut Out-Replay/Location South/Cords and Branches/Pylons/The Logfire > >LP - 2 tracks - 35:24 > >Bridge/Field > >The 2nd solo release from Benny Nilsen (cf Ash 4.5 North) about which >Autoxicity (UK) wrote: Two recurrent themes with the Touch/ASH unit >resurface here, both stamping their authority on what is essentially a >purely scientific documentative process, echoed globally with the likes of >Staalplaat etc. Hazard's 'North' is a continuation on the forces at work >within the symbiotic relationship between extreme environmental phenomena >and extreme noise. Whereas Touch operatives like Chris Watson tap the >directional vector from pure environmental source to tonal representation, >Hazard works the reverse direction and uses treated sounds, tones and >samples to evoke visions of his cold, barren and unforgiving Swedish >landscape. A couple of tracks manage to match the sonic achievements of >Ikeda's and Vanio's solo works providing sweeping electronic blankets and >beat-less slabs of noise (especially the opening and closing pieces). >There's a twisted sense of complacency in the tracks such that they are >almost guaranteed to find favour anyone who has followed the industrial >scene from its early days (Hazard's Benny Nilson draws on influence's from >'old school industrial'), but the challenge still remains for an effective >fusion of 'new school industrial' with techno. Certainly Pan(a)sonic occupy >this territory, and further openings have been forced by the few willing to >push the electro envelope.
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