[eh?121]charles lareau
Box of Black
[eh?118]Jeff Surak
Eris I Dysnomia
[eh?117]Terrie Ex & Jaap Blonk
[eh?116]Erin Demastes
Thing Music
[eh?115]Kal Spelletich
The Blessing of the ZHENGKE ZGA37RG
[eh?113]Tech Riders
For Eternity
[eh?112]Abigail Smith
Indochina Soundscraps
The Realisation That Someone Has Been Stood Behind You Your Entire Life
[eh?110]Johannes Bergmark / Guido Hübner
nisip noaptea
[eh?109]Seeded Plain
Flying Falling
The Furies Inside Me OST
[eh?107]Jaap Blonk
Joyous Junctures
[eh?106]Sindre Bjerga
Hesitation Marks
[eh?105]Patrick Shiroishi / Arturo Ibarra
LA Blues
Atomnye Deti
[eh?103]Seeded Plain
Buffets Close Suddenly
[eh?102]Tania Chen & Jon Leidecker
Live In Japan
[eh?101]Cookie Tongue
Orphan Arms
monument 36
[eh?99]Bill Brovold
Misty Nights
[eh?97]L. Eugene Methe and Megan Siebe
Revisited, Revisited, Revisited
[eh?96]Felipe Araya
[eh?95]Eoin Callery
[eh?93]Bad Jazz
[eh?92]Ernesto Diaz-Infante
My Benign Swords
[eh?91]Larnie Fox
In The Cathedral of Airplanes
[eh?90]Tom Djll
[eh?89]Leonard * Day * Jerman
[eh?88]Das Torpedoes
Qu Nar
[eh?87]Ben Bennett & John Collins McCormick
[eh?86]Daniel Wyche
Our Severed Sleep
[eh?85]Seeded Plain
Spill Containment
[eh?84]Bad Jazz
Bad Dreams In The Night
[eh?83]Chefkirk & Andrew Quitter
Kaiju Manifestos
[eh?82]Venison Whirled
[eh?81]Gary Rouzer
Studies and Observations of Domestic Shrubbery
[eh?80]Unrepeatable Quartet
Edmonton 2012
[eh?79]Stefan Roigk
[eh?78]Lucky Bone
[eh?77]Jeffrey Alexander
No Sacred Snow, No Sacred Show
[eh?76]Bruno Duplant / Pedro Chambel / Fergus Kelly
(Winter Pale) Red Sun
[eh?74]Graves / Kreimer / Wilsey / Bachmann
The July Amalgam
[eh?73]Sky Thing
Virgin Journalist
[eh?72]Cactus Truck
Live in USA
[eh?71]Various Artists
Hammer, Anvil, Stirrup
[eh?70]Alice Hui-Sheng Chang, Park Seungjun and Jin Sangtae
Live at Dotolim
[eh?69]Edward Ricart & Tim Daisy
Yiu Ja Ley
[eh?68]Chagas And Schafer
Gesture To The Declining Sun
Plasma Clusters
[eh?66]Jeff Kaiser / Nicolas Deyoe
Chimney Liquor
[eh?65]Close Embrace of the Earth
At the Spirits Rejoice Festival
[eh?64]Jean-Marc Montera & Francesco Calandrino
Idi Di Marzo
[eh?63]Un Nu
[eh?62]Bailly / Millevoi / Moffett
Strange Falls
[eh?61]Jacob Felix Heule & Bryce Beverlin II
Space Sickness
Mud Layer Cake
[eh?58]Strongly Imploded
Twilight of Broken Machines
we must leave the warren
Moist Areas
[eh?55]Eloine & Sabrina Siegel
Nature's Recomposition 33
Any Port In A Storm
[eh?53]Eckhard Gerdes
!Evil Scuff Mud
[eh?52]Psychotic Quartet
[eh?51]Federico Barabino
Can You Listen To the Silence Between the Notes?
The Fruit Witch of Ancient Salamander
[eh?48]Ember Schrag
Jephthah's Daughter
[eh?47]Massimo Falascone / Bob Marsh
Non Troppo Lontano
[eh?46]Delplanque / Oldman
Chapelle de l'Oratoire
[eh?45]The Epicureans
A Riddle Within a Conundrum Within a Game
[eh?44]Croatan Ensemble
[eh?43]Man's Last Great Invention
[eh?42]Sad Sailor
Link to the Outside World
[eh?41]Ricardo Arias / Miguel Frasconi / Keiko Uenishi
[eh?40]Andreas Brandal
This Is Not For You
[eh?39]Gamma Goat
Beard of Sound, Beard of Sand
[eh?38]John Dikeman / Jon Barrios / Toshi Makihara
We Need You
[eh?37]David Moscovich
Ass Lunch
Four Plus One
I Manage To Get Out by a Secret Door
Dirty Realism
[eh?33]Jesse Krakow
World Without Nachos
Wave the Old Wave
[eh?30]Bryan Day
Four Televisions
Hear Here
Yama Labam A
[eh?27]Shelf Life
[eh?26]Papier Mache
[eh?25]Papier Mache

Johannes Bergmark / Guido Hübner - nisip noaptea

Side A:
-pt. 1
-pt. 2
-pt. 3
-pt. 4

Side B:
-pt. 5
-pt. 6
-pt. 7


(The Wire) Collaboration between a Swede (Bergmark) and a German (Hübner) who are dually focused on creating experimental music and inventing the instruments on which it’s played. As is often the case with such things, the sounds here are a sequence of miniature events, which can be rather mysterious as to how they were done. At times one gets the idea they’re amplifying these sounds from a box of wingless bees they’ve been training to use small hammers, horns and keyboards, but that’s a passing fancy. Still, the music suggests many odd narratives as it unfolds, and each time I play it, I find myself entertaining a new one. Neat! - Byron Coley

(Xactionmusic) Nisip Noaptea is an intense, psychosomatic display of auditory nightmares. These dark, somnolent sounds expand the possible interactions between organic frequencies of otherwise creaking and industrial clatter to the anxiety and mystery that builds and captivates the brain. New developments in art and technology allow exploratory artists to reach into the human condition and transform its spirit from their intriguing artistic expressions – Johannes Bergmark & Guido Hübner are no exclusion to these types of wonderful sound designs. Released on November 23, 2019 through a new and emerging label Public Eyesore, Nisip Noaptea contains 7 tracks, listed as ‘Parts.’ Nothing here sounds too brutal or over-bearing, rather a chronicle of mind-bending mechanical noise that amplifies the psyche into palpable layers of a shadowed world. Part 4 was very interesting; growing through a dank, autonomic atmosphere; allowing everything to flow organically as the sounds conveyed an aura of mystery and terror in an enlightening way. Every track shows a remarkable amount of time incorporating these elements of thick noise and mechanical shrieking, reaching almost the absolute peak of Johannes Bergmark & Guido Hübner‘s creative efforts, exhuming the monolith of industrial-noise that’s branded Nisip Noaptea. Every song will intrigue you as it travels through ever shifting soundscapes of pain and destruction; not just embracing the challenges of what should be expanded in music but also saying, ‘Fuck you’ to the average listener – which more artists should, in my unreasonable opinion. - Sutter Greaves

(Vital Weekly) From Coims I reviewed a release before (Vital Weekly 1184), and, frankly, I am none the wiser in the meantime. Is it a group? One person? Instruments? The only thing mentioned on the website from Eh? Records (a subdivision of Public Eyesore) is that Coims is from Bristol. As before I think this is a group and that percussion and guitars are the main instruments, but there might also be some kind of wind instrument in play here. Their approach is a lo-fi approach to the outer limits of rock music, in exactly that corner where it meets improvisation, noise, drone rock and whatever another exotic novelty one can think of in the world of very, and I mean, very alternative rock music. Maybe there is also some sort of manipulation going on, post-recording that is, of wonky and crude manipulation of the tapes used to lay it all down. This happened more on the second side than on the first and throughout that side, I began to doubt if it all just the aforementioned instruments. Maybe there is something else in play here, something more electronic and going back to the first side, here too that might be the case, especially in 'Londos Versus Londos'. The side-long 'Over The Weather And Under The Hill' (B-side) at one point leaps into a steady rhythm and sounds wonderfully psychedelic and hypnotic. This is a lovely little lo-fi thing. - Frans De Waard

(Yeah I Know It Sucks)Are you ready for another piece of audio art that will nestle itself in your heart through your ears? It helps if you like pleasant sounds, but it would be odd if you wouldn’t. Even the biggest punk with the worst music taste in the world would probably be in need for something nice to compensate or simply regenerate? In any case, this sound show of seven parts will totally deliver pleasantness. If you want to mark my words for it, you are in luck as here I chew out the entire release… enjoy: Part one is like listening to cat claws scratching wood pulp, it’s very intimate and cozy sounding yet it will keep you on the edge as you might expect a nail scratching a chalkboard, which (I can assure you) is a happening that won’t happen within this release. With this knowledgable spoiler in your pocket, I advice you to just tune in, relax and lay down low as if you just swallowed a right amount of tranquillisers. Enough to let go of your fears to expect something nasty, but not enough to make you pass out into unconscious. You don’t want the last part to happen as actually the sound experiments as presented within these parts are pretty worthwhile to experience when being in a state of awareness. It will make you wonder what it all is that you will hear , but know that all will be coming from the right side of the experimental audio spectrum. Just listen to part 2 and experience the kind hearted spirit of other kind of lively played abstract noises , you can hear them rattle and purr like friendly things that beep gently in the ears, delivering a full on experience that will bring you a certain warmth that feels very much alive in all its pleasurableness. Sounds that come perhaps across as unclassifiable, but are breathing a certain pace in time that are easily there to be linked with your own sedated heartbeat. Is it still beating? Or are we in abstract experimental sound performance heaven? It doesn’t sound anything like a satisfied cat sleeping on your lap, or a cozy fire; but the end result in all it’s pleasant liveliness is something similar in experience. Part 3 might continue on this road of kind hearted noises, as you can hear them doing percussive things, steering away from the normal norms and avoiding melodies as if it’s the coronavirus. It’s hard to tell what these sounds might actually be, I expect springs, forks, perhaps plastic hair combs, but than again this kind of music might be entirely made by newly invented instruments that could make you guess wildly in the air but never get the answer right. So instead I advice you to even let the need for clarification go, let the mind embrace these abstract happenings and just go along with the relaxed feeling that the unknown will feed it. It’s a bit like doing some kind of mediation, trying to not focus on the sound creations behind these sounds, but on the feelings that they generate as they are served towards you within these parts. I hope that you are hungry for this kind of experiment as part four is quite the lengthy experience. It’s perfectly recalling satisfying images of finger tips typing on a old fashioned keyboard, of snoring away without having to hear the actual snores, of breathing patterns that are utterly relaxed that they hopefully align with your own in and outtake of air. Slowly the sounds are doing strange but pleasant things with your marbles, turning them lovingly into a melting pot of anything that a audio orientated person would find likeable. Like the satisfying bubbles of a coffee maker, or some light rain on a window, a breathing pattern of a lovely loved one that lays in bed like a sleeping beauty. A train driving by slowly in the distance with its break doing tonal things on the railway tracks below it. A growling snore by a beast that you’d love so much that you find it more adorable than terrifying! It’s a real mix and match of everything satisfying, a little river of sound, a melting pot of a variety of pig yard noises, of digging sand in the most pleasant ways you could imagine. A collage of niceness that anyone in need for likeable noises and no melodies will find their respectable Valhalla in. Part 5, not a small one itself, does bring a lot of cute joyous joy along. It made me think of cute sounding hamsters, peeping rabbit pets that really have bounded with you as their human friend, thankfully squeaking out sounds of appreciation when you give them carrots and hay, perhaps even provide them with a little bit of fresh water, a squeaky wheel to run around in and exercise. It’s better than listening to the sounds of a pet goldfish and a much more enjoyable image to view within the imagination. What are these critters of sound doing? Are they nibbling away on a microphone? Doing a little Neil sharpening on the bottom of their scratchy thingy? Are they going through the plastic maze that we so lovingly build for them with the help of a over excited salesperson at the local pet shop? Might it dig a way out of here, to smell and taste the freedom for the first time? It’s a great phenomena to hear and see without seeing, but the more you are tuned in the more real it becomes; the cage begins to rattle, the animal friends are escaping in front of our very own wide open eyes… might we be asleep and making this session up, had we been too tranquillised to lose track of reality? I don’t know about you but I don’t think we do have pets stored in cages over here – but the sounds are so visual that you ought to believe that we have had them… truly hypnotic! We seem to be in need for a come down, luckily part 6 is taking it easy and a bit more quietly too, still alive but sobering up while making slave for the final part of this release. One that comes across as listening to strange animals. Birds, abstract parrots and zippers opening and closing – more typing finger tips trying to report on it all, the pleasant squeaky sound of a marker pen scribbling notes on a plastic surface. It’s the last bit of satisfying noises and delighted sounds that will wave our ears goodbye, clearly hoping upon our many returns! And why not? It’s only bringing the loveliest sounds out over here & experiencing them is greatly satisfying! You should go and give it a try, you won’t be disappointed or disjointed! - Kai Nobuko

(Sound Projector) The cassette Nisip Noaptea (EH? AURAL REPOSITORY 110) was made by Johannes Bergmark and Guido Hubner, the latter famed as founding member of Das Synthetische Mischgewebe (or DSM), that Berlin combo that began their unfathomable work in the 1980s. I continue to find myself baffled by Guido’s work, but as I understand it he works mostly with common household objects and uses them to create noises, maybe sometimes amplified; most of what I hear from him is very non-musical, but I expect the relevant process is the act of doing it, investigating these objects for their audio properties. Much the same applies to Nisip Noaptea. I like reading the concise description on the cover, where the details are deliberately kept rather vague; “these bits and pieces share a common stage”, we are told, indicating that what may appear to be a random conglomeration of items on a table are in fact related in ways we don’t yet understand. Further, the gestures used by the two creators have a visual aspect which could be quite aesthetically pleasing, if we could see it, but the audio document is all we have. The creators liken the objects to actors, and the pieces here are supposed to be understood as performance art. I like the idea that inanimate objects might come to life in this way, although my delight in this is based on children’s books like Alice Through the Looking Glass, where pieces on the chessboard come to life. This may all sound unpromising, and indeed a lot of the sounds are rather neutral, presenting many obstacles to our aesthetic appreciation, but the players do get quite steamy in their actions at times, particularly on the long tracks. Part 4, for instance, is 18:07 in duration and contains some memorable scrapey and stretchy audio emissions. Fans of industrial noise may want to spool on to Part 5, which conveys the impression of a tiny factory running on steam with its miniature motors grinding away, and a steely hammering which is unlikely to be mistaken for a cymbal solo, so non-musical is its caste. There’s even a surrealist dimension to the work, if we can find it; the title, translated from Romanian, means “Nocturnal Sand”, which is intended as a reference to the automatic writing practices employed by such as André Breton and Philippe Soupault (although Hans Arp may have done it too). The cover art also presents a hurdle to the viewer, with its vague and nigh-unreadable image printed in black, green and blue. - Ed Pinsent

(Bad Alchemy) Nisip Noaptea (eh?110, C-60 in Schwarz), rumänisch für 'nächtlicher Sand', entspringt der Phantasie von GUIDO HÜBNER von Das Synthetische Mischgewebe und JOHANNES BERGMARK, einem Skeptiker und Neosurrealisten, der, Jg. 1963, in Stockholm schon dem Fylkingen vorstand. Er macht elektroakustische und Text-Sound-Stücke oder improvisiert, mittlerweile mit etwas, das er 'Platform' nennt, einem Tisch voller tönender Gimmicks. Pure Psychic Automatism ist mit das Entscheidende, an dem er sein Lebenswerk aufhängt. Mit seinem Sammelsurium von verstärktem Krimskrams kitzelt er den Teufel in tausend Details, und Hübner folgt ihm in die molekularen und granularen Strukturen knisternder und knarrender Schichten. In klirrenden und bebenden Winkeln mischen sich, kaum unter­scheidbar, perkussive mit elektronischen, kontaktmikrophonierte mit geloopten Spuren. Drahtige Reibung kreuzt sich mit holziger, blechernes Touchieren mit dem Zirpen von Saiten, mit körnigem Rieseln, kurvendem Surren. Wenn man sich zur Hörschwelle runter­bückt oder in der Nacht große Ohren macht, tun sich entropische Abgründe auf, in der unaufhörlich die winzigen satanischen Mühlen der Auflösung stampfen und hämmern. - Rigo Dittmann

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