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└┐└──────┘ 04.02.2006
│play in.
artist: Different State
album: Azure
label: Vivo
cat: vivo2001 002
year: 2001
genre: Industrial
sub-genre: illbient
source: Cdda
grabber: Eac
encoder: LAME 3.90.3 --Alt-Preset Standard
quality: VBRkbps / 44,1kHz / Joint-Stereo
size: 55,8 MB
link: http://www.vivo.pl/
─┐└───────────────────────────────────────────────────────────────────────
│tracklist.
no. time track title
01 05:27 Honey Form Our Mouths
02 03:31 Tunnel
03 03:48 Wither
04 04:03 Plunge
05 05:54 Fluff
06 06:25 Resonance Of Feelings
07 07:53 Azure'98
total time: 37:01 min
─┐└───────────────────────────────────────────────────────────────────────
│release notes.
Vivo Records is based in Zambrow, Poland, which is about 75 miles
as the crow flies from Warsaw, the nation's capital. With eight
albums released since 2000, the label sports three various-artist
collections featuring contributors from a variety of countries
including Japan and the US, Amir Baghiri's full-length Yalda, rich
with Middle Eastern instrumentation and field recordings, plus
several albums that feature English-language vocals, spoken and
sung. In short, geographic fetishists should not look to Vivo for a
boutique of Eastern Bloc regionality. Some of Vivo's one-world vibe
may be attributable to the global reach of English-language pop
culture, but it also reflects the label's active interest in
pushing boundaries, both musical and territorial.On the label's
first release, a self-titled full-length of 10 untitled tracks by
Quarter, the vocals are in English, mumbled or repeated
disjointedly like repressed thoughts. They surface amid live
instrumentation and mechanized percussion. If the repetition of
vocal fragments on the second track is cantorial in its
contemplativeness, the voice on the third is Satanic. Several of
the tracks, most rewardingly number six, perform a waterlogged
variation on minimal techno. Minimalism, in fact, is key, and the
CD booklet charts each track's relative length (between 3:25 and
9:44) along parallel lines, like a technical diagram. The Polish
act Different State has Quarter's taste for dub and goes further in
exploring it, as evidenced on Azure. The album opens with frenetic,
trebly drum 'n' bass rhythms, but these are quickly subsumed by
globular sounds, as if the Titanic had gone under with a
turntable-wielding DJ on deck. Different State has learned, likely
from dub legends Sly and Robbie, to hold the beat for as long as
possible before proceeding to the next measure, as they do on
"Tunnel". The track's vocal (which consists of the word "tunnel"
screamed like a taunt) suggests Bill Laswell's innate understanding
of what dub has in common with heavy metal. On "Plunge", the vocals
are in English, but English buried in a Polish accent.The voices on
5EX Engine, by the Polish quartet Aural Planet, are also in
English, snipped from the opening credits to the Outer Limits TV
show, among other third-party sources. Much of the record would be
welcome in drum 'n' bass clubs around the planet - with its steady
rhythm track, its phasers-on-stun samples and those soundbite
vocals, this is the most accessible of Vivo's catalog. Yalda, by
Amir Baghiri, is so thick with Middle Eastern percussion and field
recordings that you'll consider shaking your CD player to see if
sand pours out. On "Daygan", the expert percussive material is
complemented by a rising digital tide, synthesized ambience that
brings to mind the late Muslimgauze's self-conscious exoticisms
(Vivo is scheduled to co-release in 2003 a posthumous Muslimgauze
album). On "Ruhe Tariky", the ambience remains but the percussion
drops out, replaced by water drops and, in the distance, the modern
sounds of construction clang. The title track retains the water but
drifts even further into the realm of phonography, of sounds that
cohere with a documentary feel, rather than according to song
structure. With its mix of birdsong, enticingly quiet textures and
sublimated energy, Yalda is among the label's strongest albums to
date.Yalda's closest competition comes from Whispers from Behind
the Window, by Poland's Nemezis. The record is certainly Vivo's
most threatening. "Wow" sounds like water torture as heard from
three cells down the block; of course, the cell may very well be
your own, and you've simply been over-sedated. "Good Uncle and the
Urchiny Kids" employs a bare burst of pneumatics for its content: a
fizz of percussion for a beat, a blast of a kettle for a riff. As
it proceeds it gathers steam, accruing an underlying rhythm and a
genuine pop sensibility, something with which this album of
industrial stillness appears to be at best remotely concerned. Vivo
has released three various-artists collections: two, both titled
Reworked, are remix sets and one collects individual pieces. For a
collection of variations on dark themes by Manchester, England's
Black Faction (aka Andrew Diey, another musician with a taste for
Muslimgauze), the label received contributions by such notables as
Rapoon (formerly of Zoviet France), Keith Fullerton Whitman (aka
Hrvatski) and Sutekh, as well as cuts by Diey himself. Diey offers
considerable raw material to remixers because his tracks often go
in unexpected directions rather than repeating a set batch of
elements. His music is also dense, which is why it's all the more
fascinating that John Hudak, on Reworked's opening track, chose to
emphasize tiny whisps. Sutekh, on "Oakland Concrete", prods a
sturdy beat in various directions before stepping back for a
rootless assortment of individual sounds. Zenial, the other subject
Reworked, is a young Polish musician. Here indeed is an unusual
situation, in that the collective remixers (including Vidna Obmana,
KK Null, Andrew Duke and Zbigniew Karkowski) are generally better
known than the remixee. So, one is less certain how much of the
granularity on "Ib7" should be credited to Zenial and how much to
Duke; or whether the comic brevity of "Sunset" (at 24 seconds) is a
Karkowski prank or a Zenial attribute; or if the noise on "Echoes
from Lamberton" was there before Null arrived on the scene.
"Nowele" apparently means "short stories" in Polish, and Nowe:le
collects brief, primarily instrumental pieces by a mix of Polish
and US acts, along with one from Japan, no doubt commissioned by
the UN to mediate. The pieces don't have much in common except that
they are all carefully crafted, proof that Vivo's proprietor
listens broadly, both at home (check out the poppy burble of Maciek
Szymczuk's opening track) and abroad (note the cut-up r&b vocals of
Shapethrower and the hyper-delicate fissures of Yume, both from the
US).
MARC WEIDENBAUM
Wonderful melding of progressive d'n'b rhythms, sweeping
electronics, proto-industrial clanking, Metal Box-like dub,
pounding rock and possibly something one could only imagine having
emanated from this duo's Polish homeland. The fact that their
studio is named 'New Illbient' provides something of a clue to
what's in store, ultimately, but Different State certainly carry
it well and are inventive enough to evade such obvious trappings.
From:
http://www.adverse-effect.com/mailorder.html
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