ALEPH "Tasmy z dzwiekiem"
Simple Logic | simlog005 | CD-R | 2003
CHEFKIRK "(38-40cm)"
Simple Logic | CD-R | 2003

Another worthwhile Polish CDR label. Simple Logic's target is somewhere on the intersection of noise and ambient, and seems to neatly replace the gap made by the disappearance of Spear's own label Ignis. Aleph is a mysterious man who lives by the Baltic Sea and keeps making field recordings until he comes upon the sound that "turn[s] your mind off". His sixth release, "Tasmy z dzwiekiem" ("Sound tapes") is not exactly a typical field recording record, for the real sounds of nature are hardly recognizable (I believe, there're some deep-sea recordings here like of sonar or animals like seals). Aleph's main core seems to be analogue, synths sound - he makes wonderful dark background music with emotionally soaked moods. Think Gavin Bryars' "The Sinking of the Titanic," Hybryds' "Soundtrack for the Aquarium" or some of Pauline Oliveros' works. This is especially noticeable in the two opening tracks. The third redirects music onto more sound manipulation oriented methods of work. Aleph starts to generate serial sounds, and his activity in turning knobs [no pun intended :-)] increases. At this point, the music gets closer to primal recordings of Column One and some more obscure works by Daniel Menche, or Zoviet France. The two last tracks seem to be less intense. They show Aleph abandon the previous trance-inducing approach to music and veer towards more dark ambient areas with background sounds, and some harsh and droning pulsations somewhat in vein of Non. I must say I had a great time reviewing "Tasmy z dzwiekiem." Aleph may barely enhance your music knowledge but certainly makes for a pleasant hour's worth of analogue sound universe!

American's Chefkirk (who lives by the sea too, or the Big Pond in his case, to be precise) displays intense activity in putting out newer and newer releases - twelve in 2004 alone. Would it be a successful way "to get your band noticed"? "(38-40 cm)" starts in a very obvious for noise records way - some distant, modulated feedback evolves into abrasive and loud sound cannonade. Aube or Merzbow could be proud of it! However, what comes next shows Chefkirk's itch for more experimental areas. Basically, every track of the eleven featured here is a separate work, regardless of whether it lasts a few seconds or a few minutes. Things happen fast here - those two japnoise-like blows are followed by structurally broken beats, and next by some obscure electronics with scratches & glitches. Then some strangely reverberating tweaks and beats reminding a little of Delphium or Photek appear. A short noise outburst, and the counter indicates track 7. The most varied, and longest of all, it is a quite interesting audio work featuring crude electronics, clattering, feedback and humming. When it's over, the last four tracks come reverting to the form of short-lasting miniatures - electro lashings, arrhythmic noises, and some sound dissonances. The 30-odd minutes of this material are a quite successful presentation of Chefkirk and bode well for his future releases!

[krzysztof sadza]