Dog As Master -- Dog As Master Dog Food (1986)

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Aastast 1986 meenuvad kõigepealt Tšernobõli tuumakatastroof ning Argentiina tulek teistkordselt maailmameistriks eesotsas Diego Maradonaga. See, kuidas Armando legend tollal õitsele puhkes, ei olnud varem ega ole ka hiljem mitte kellegagi jalgpallimaailmas juhtunud. Kes on vaadanud tollaseid videosid tagantjärgi, on ilmselt täheldanud, kuivõrd teisiti tollal vutti taoti. Mängus oli kindlasti suurem juhuslikkuse moment ning teisalt kui võimalus vabaks jäetuna trahvikasti taga tekkis, siis virutati ka kohe peale (naiste jalgpall meenutab tollast meeste mängu, kuigi ka naiste puhul on ilmne tendents ratsionaliseeritusele -- iseäranis Hispaania paistab silma). Liigne ratsionaliseerimine - arvestades, et tegu on mänguga (mille oluline komponent on lõbu ja loovus) - annab varem või hiljem tagasilöögi. Mõneti sarnast loogikat pallimänguga on ka Hal McGee kaheloolisel taiesel (kumbki lugu on kümme minutit pikk). Minimalistlikult kultiveeritud, parajalt juhuslik; juhusliku protsessina sündinud kompositsioon, mille aluseks on Hal McGee semu Toby O'Brien'i mängitud pesapall Commodore 64 arvutis. Mis tähendab seda, et see on helikollaaž 8-bitistest helidest, mida ilmestavad nurgelisus ja toorus, kus kõrvuti elulevad umpa-umpa külakapelli tatsumine ning abstraktsed madalasageduslikud heliefektid (antud juhul loodushelisid meenutava pruuni müra lainetused) ning tollastele mängudele nii iseloomulikud stamphelid. Hetketi tundub, et parem stereokanal lakkab töötamast. Ütleme nii, et see on põnev ja nostalgiline kuulamine, ent kindlasti saanuks ka huvitavamalt kokku kleepida ja interpreteerida. Kuivõrd Commodore 64-põhine skeene on järjepidevalt tegutsenud neli aastakümmet, siis erilisest kurioosumist ei ole ka põhjust rääkida. Ilmus algselt kassetina 1986. aastal, (C20), Cause And Effect plaadifirma alt. Kaanepildiks on modifitseeritud Frito kaubamärgi Corn Chips'i kott. Kaanepilt ja lint olid lukuga plastkotis (meenub Kohvirecords'i all ülllitatud Uni debüütalbum 1999. aastast). 7.5 (7.0-8.0).

Minoy/Zannoy - Deaf Mix for Jake Hobo (1986/2004)

zh27

/Freeformfreakout, Spoken word, Noise, Sampledelic, Psycho-acoustic, Electronic, Sound art, Experimentalism, Avant-garde, Plunderphonics, Non-music, Acousmatic music/

Comment: these 44 minutes are another instance of huge legacy which is left by Keith Bowsza (1951-2010) aka Minòy. The US-based artist who released his music mostly in the 80s, however, finished off producing music in 1992. Later on, he was being known under the name Haint by taking on the black and white photo paintings. Deaf Mix for Jake Hobo is a collaboration album with another US-based noise/experimental/sound art musician Zan Hoffman. As the title might suggest the duo deals with hearing and perception problems. Moreover, these 44 minutes used to disorientate the listener because of involving a shitloads of abrupt turns and changes in sonic fabric and colours. It includes many samples pulled out from unknown sources. However, these loans are intertwined in a way to yield new, uncannily frightening contexts and mind-shifting impulses. In a word, it is an example of sample-based art, however, reflecting upon neuropathic problems which excruciated Keith Bowsza throughout his lifetime. At times Bowsza and Hoffman use slowed-down and pitched-up algorithms to spice up their occasionally lethargic soundscape. The listener can discern those warm analogue tones and timbres being so characteristic to the 80s. Of course, I recommend to dig up other Minòy and Zan Hoffman`s issues either which were being an important part of the 80s cassette culture movement. The album was initially released under the Elevation of Anxiety sub-label in 1986. At the moment it is a part of Zan Hofman`s zh27.

Sonic Clams - Sonic Clams (1986)

Bob Chaos

9.1

/Weird pop, Avant-garde, Non-music, Experimentalism, Improvised music, Psychedelia, Psych-music, Sound collage, Found sound/

Comment: approximately 2 years ago I reviewed Phil Reavis` amazing album The Reagan Years, which was issued on WM Recordings in 2008. Before it Phil Reavis played in some Muncie/Bloomington, Indiana-related bands which in turn were related to Bob Chaos Records, a avant-garde cassette label having had the lifespan from 1984 to 1988. Anyway, Sonic Clams represents an album of 18 tracks which can be deemed to be one of the precursors of nowadays lo-fi/DIY/tape music culture (the label needs to be discovered by a wider audience yet). More profoundly, all is revolving (or revolting) around those hazy soundscapes which are loaded with deliberate tape hisses, spoken word samples, found sound additions, somewhat majestic organ drones or on the other side filled in with angry, obsessed prepared guitar shards and noise. However, at times this album seems to be a chain between R Stevie Moore, and The Residents, for instance. It also borders upon the early doings by John Crewdson aka the Hirundu and Halloween-induced compilatons.