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Kammerflimmer Kollektief – Désarroi

Staubgold

Kammerflimmer Kollektief - DésarroiThis creaks and groans at you in satisfying amounts. The double bass player pushing against the instrument’s confines in fricative flurries, like somebody scrambling over the tuneful core whilst struggling with an Ikea self-build. Detailed acoustics eating at that see-sawing harmonium, a Klezmer colour sway agitated by electronic mites or a sudden rush of guitar. A vibe that dissolves, tourniquets some tasty twilights. Apertures that sink into a horizon of notching machinery, steadily expanding into some rich sleazy juju. A lovely concoction of oblique guitar, sliding cello and regular mid-tempo drums bounding into an uncertainty of creaky floorboards and twisting willow.

It’s brilliantly realised stuff, with “Free Form Freak-Out” clawing an altogether darker hue which reminds me of the unnerving ambients of Throbbing Gristle’s Third Mind, but with more scenic contrast. Harbouring some lovely chaotic colour, full

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Faust – Live at Klangbad Festival/Various Artists – Avant-Garde in the Meadows

Play Loud!

Faust - Live at Klangbad FestivalAlthough this DVD was released in late 2010, the footage — shot at the second annual festival held in Scheer, southern Germany — dates from 2005. Scheer is a small provincial town that since the late 90s has been the headquarters of Faust (or rather one of the two Faust factions, this being the one grouped around keyboardist Jochen Irmler and the Klangbad label). There are actually two films on the disc — a 70 minute record of Faust’s performance at the event, and a slightly longer film titled Avant-Garde in the Meadows which gives an overview of the festival’s three days.

The Faust performance features the aforementioned Jochen Irmler and one other figure from the group’s early ’70s origins, Arnulf Meifert, apparently absent from Faustian circles for many

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Kammerflimmer Kollektief – Hysteria

Label: Bubblecore (North America)/Payola (Europe/Afterhours (Japan) Format: CD

Hysteria - sleeve detailA high-pitched crackle like the malfunction angel coming to take your stereo away. Dulcet bass repetition and skittering percussion make a strange and uneasy juxtapose of quite lovely and what’s-that-noise? A warbling, wobbling sense of trying to move around in the world. Now a homey sort of gentle creaking, a tentative whistling, and then the sax and drums – another run through the deserted streets of the city in the afternoon. It’s a very interesting kind of fuck music – the kind which needs a happy medium (volume-wise) in order to operate properly. Well, if you’re using it as fuck music, that is.

And what is music used for? How insidious is music in the Modern Age – how intimately have we grasped it to our hearts and injected it into our lives

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