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* click on the man standing and cancel...
reviews: combined review of mn009 and mn010two new releases by the excellent minus n net label from japan, and i believe both artists are not japanese, at least i'm not sure if irish is. irish was part of a rock band named cap-d, but out of growing frustration to be part of that band, he started to make his own music. 'manufactures' was originally released as self-released cdr, but now is re-issued as re-mastered mp3 release. irish uses a computer with all the regular software (pure data, ableton live, cubase) as-well as a yamaha dx21, korg electribe em1 and sounds from his own and kitchen. irish main inspiration is the minimalism and mechanical sound of techno. this works best when he implements a 4/4 beat under his music. that backbone always works well. in 'cut my throat' for instance this is very uplifting music, sauced by the use of an electric piano (or perhaps vibraphone?) and electronic sounds flying in and out the mix. sometimes however the marriage is more uneasy, and the time-stretched rhythms don't work as-well, and everything seems to be in an off-beat mode. irish plays with very detailed sounds and everything is excellently produced and luckily there are more good than bad tracks. titan and yez are two norwegian artists, who did an eight hour live improvisation from which they selected eight tracks. four of them are presented in the form of a cut from the original session recordings and four others are edits. they too have a background in rock music, but their release is entirely made with computers and analogue equipment of an electronic nature. titan and yez play also with minimal dance rhythms, just like irish, but are more monochrome in approach. irish sauces his music up with a lot of extra sounds, in the music of titan and yez this is more covered and the rhythm section is the most important thing. here too the main objection might be that the music is not always the most danceable thing, despite the fact that 4/4 rhythms are used, but when it does, those pieces are the best. throughout quite a nice release! by frans de waard @ vital weekly comments: Well.this is defently about time, i have been waiting for this a few mnt. And i must say that this is of the best new shitt iv heard for a long time. The complexity of this sounds are beyond my perceptions. Go for it dudes. and go touring Vital posted by About time - 2006.03.16 I basicly layed the audince flat by playing 05.edit_1.mp3. this is a floor shaker. The low base lines in this shakes down the glasses in the bar.!!! blast it. Ss posted by jodi - 2006.10.05 It's rare when an improvised session is this good. The glitches, crackles, clicks and cuts are impressive making this an essential listen. Again more great stuff from -N. posted by GC - 2007.12.08 post a comment: |
[mn009] titan and yez - cancel, don't save, save
01. cut_01 (02:15) - download this mp3 (192k, 3.11mb) 02. cut_02 (05:41) - download this mp3 (192k, 7.82mb) 03. cut_03 (01:20) - download this mp3 (192k, 1.86mb) 04. cut_04 (15:11) - download this mp3 (192k, 20.8mb) 05. edit_01 (05:32) - download this mp3 (192k, 7.62mb) 06. edit_02 (11:17) - download this mp3 (192k, 15.5mb) 07. edit_03 (03:32) - download this mp3 (192k, 4.88mb) 08. edit_04 (00:31) - download this mp3 (192k, 0.77mb) download the whole release (zip, 63.3mb) download the cover art (double-page) (jpeg, 655kb) download the cover art (for web) (jpeg, 15.5kb) description by titan aka morten n. halvorsen what we have got here are some excerpts from intensive eight hour live improvisation by norwegian artists, titan and yez. they are rough and raw but absolutely real and beautiful with all the hiss, glitches, pops, distortion and even skips that are meant to be there for the aesthetics of noise - capturing the very essence of the jam session. we were afraid of losing the energy and passion that the rough mix or edit of the original session had by further editing, so we just took them as they were and went straight to the mastering process. it is such an impressive work. we just had to ask them what motivated them to start the project together and the process and setup of it.  morten: we both always have had an interest in music from all corners of the spectrum, and i think the first time we played was when yez was a stand-in for the rhythm guitar section in a band i played the lead guitar. the band was called 'koala rundpult.' it was a short lived but explosive rock band around '97... and then, gradually, we both ended up building up more with electronic equipment and computers. while doing so, we had started to do long improvised sessions - meeting every now and then to record. we just always had this weird urgency in doing it. 60% was for fun and excitement, and 40% was for therapy. i have personally been doing mostly solo projects and dj stuff, and for me, it's just fun to play with yez. in the first sessions, there were a lot more of analogue equipment and homemade stuff. then, we got more computers synced by bpm and also by ear. in the mean time, we got more into noise related sounds, and now, i guess we have our own setups that we bring and setup, sync and play, but they are still difficult to give a good description. i'm totally schizophrenic, and yez is a fan of making his own machines in reaktor and max and using no-input mixing board, various outboard effectors and sequencers etc... i also use reaktor, reason, trackers and all sorts and a trusted korg ms10, but the main thing is that we use the software as a sequencing engine for our sounds. we change our roles as we go on, but they are pretty much divided into beat/rhythm section and other sound section... once we're on a roll, it gets more difficult to say who does what... but we both take pride and time in our source material and the treatment of the sounds. most of their solo projects are noise related, but you can apparently hear four-on-the-floor from this session, so we threw this final question at morten. 'if it's not for dancefloor, why rhythm section in the session?' morten: ideally, we'd play in clubs for the dancefloor, but it's just yet to be realized... and we do dance while doing it;) the rhythm is also for setting small sounds into the system, but we are obviously approaching the four-on-the-floor in this album. |
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