Hans Fjellestad

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| Hollywood Reporter | Moving Pictures Magazine | San Diego Union-Tribune | New York Times | Guardian UK | Synthesis | Blood Dawn (auf Deutsch, scroll down for English) | Verdens Gang (Norwegian) |

RADIO / TV
| The Weekly Comet | KUSF 90.3FM w/ DJ Bryan Chandler | SFEMF 2008 Panel | Outsight Radio | American Public Media: Border Patrol | KPBS 89.5FM "These Days" | NPR "Day to Day" |


reviews

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


srs "Fjellestad is probably best known as the maker of the 2004 documentary Moog, based on the life and work of the (now sadly deceased) pioneering synth manufacturer, but he's also a proficient and prolific musician, and a master of analogue synthesis. Snails R Sexy manages somehow to merge the famously warm and tactile nature of the Moog (he also uses theremin) with more current-sounding elements of sonic abstraction and edgy noise. It's rare to find someone working with this kind of equipment who clearly has no truck with kitschy fetishism; Fjellestad aims for freshness rather than reverence or reference, and compositions like 'Fist' and 'Crush Goddess' show that he's no purveyor of Ambient space noodlery either. There's some of the manic energy of Keiji Haino's recent electronic work here, but at times it gives way to moments of surprising spontaneous delicacy that recall the synth improvisations of Thomas Lehn." - Keith Moliné, The Wire

"Snails may be sexy for this Los Angeles electronic composer, but so too are old skool analogue gear, theremins and vacuum tube processors. After all, this is the man responsible for 2004's acclaimed documentary on the late Bob Moog, so Fjellestad's affection for these vintage synths is a given. And indeed, this is a love letter to hard wired hardware. It's also Fjellestad's most singularly focused effort to date. Indeed, he's abandoned the laptop that was key to to more playful and less severe Kobe Live House from 2005, in favour of concentrating solely on analogue tonal modulations and sequencing. But while there are moments of beauty and fragility (like the staggered Cageian prepared piano arpeggios of 'Ex Vivo' and the interstellar Dorothy Derbyshire/Raymond Scott ride of 'French Door Bird'), abrasion and dissonance seems to be central focus. That comes in the form of the nightmarish, Suicide/early Cabaret Voltaire rhythms of 'Love Dart'; the contraction and expansion of severe oscillations, sustained tones and staccato bursts that marry the harsh Kraut rock experiments of Conrad Schnitzler with the all-out aggression of Japanese noise mongers on the buzzing, chirping 'Calle Calla', that sounds like the crying of a seagull who has become tangled with a hydro wire, and the power electronics storms of 'Que Es Mas Sexy'. In between is 'Fist', which begins as church organ funeral melodies, like a requiem from a Hammer movie, and then wavers and mutates into pitch shifted staccato, splintered sound waves. Snails is a bracing reminder that analogue technology is far from being outdated and is still very much an engaging method for experimentation. Don't consign it to the junkyard just yet." - Richard Moule, Signal to Noise

"Based on Hans Fjellestad's eye-goggling tongue-lashing cover shots, Eastern medicine practitioners might worry for his health, but the L.A.-based musician filmmaker is quite sturdy - if his sound is any indication. Following Fjellestad's Robert Moog documentary, that synthesizer became Fjellestad's preferred weapon and Snails R Sexy echoes the machine's experimental analog brawn. This is the soundtrack for the occasionally rain-soaked streets of L.A. after dark, when the city hums and grinds behind glittery scenes. Fjellestad makes noise for the stout-hearted - his snails cuddle up to Sun Ra's keyboard explosions, Merzbow's drones, and Buckethead's string histrionics. Gloss these shells with '70s-era Krautrock and buff with Japanoise and Norwegian death metal, and they are dead sexy." - Stacy Meyn, XLR8R

"Are snails sexy? Is Hans Fjellestad the 'Ozzy Osbourne' of experimental music? 'Yes' on the latter, 'maybe' on the first question. No doubt about it, Hans has grown to an internationally renowned figure of experimental music, experimental film and many other endeavors in those exciting fields in between these two so ambitious trades. His profile reflects the total dedication to art in general and he is one of those rare masters, whose enormous powerful work will maybe be recognized only generations later. But, I'm quite sure, he could care less. Since his life seems to me to be art, as well as art is his life. Well, are snails sexy? Let me get to the point on this CD, that came out a few months ago. Responsible for this publication is once again the famous 'Accretions' label, whose head Marcos Fernandes also signs as executive producer for this work. Marcos and Hans do have an extensive history, since they created some impressive musical work together, recording and being on stage together many a time. This coherent relation translates directly to 'snails r sexy'. Hans masters all aspects of experimental music. An accomplished pianist he also is an electronic music wizard. That does not only reflect superbly on this CD, but also in a movie called 'Moog', a reflection in pictures of the famous instrument, the moog synthesizer and its inventor. As an expert on this field, Hans Fjellestad has translated his knowledge and experience into 'snails r sexy', where he shows a wide variety of possibilities, that run up and down your spine when you listen to them and which really show you the endless ways music can follow. Often those are not the well traveled highways, but rather the dirt roads who lead into lands still undiscovered and uninhabited. And these places are the ones, where human life is put to the test: Can I or can't I survive in a place isolated from civilization? Can I or can't I find a way to my deepest, purest point of sensation, not by any means forged by those similar and repeated and a thousand and more times consumed sounds the civilized world showers us with? Please understand: this is what experimental music does for us, and this is, what Hans Fjellestad achieves on this very work of art: Music, that leads straight into the soul of human beings, without taking any detours. But let's go back from the general to the particular: This CD is well structured as far as its experimental nature is concerned, which means, it isn't structured at all. Don't get me wrong, after listening I sure had an idea what might have been meant, but that is only true for my personal impression. And that makes this work so very exciting: It leaves all kinds of ways open for interpretation and personal reflections. My view of this music culminated in the piece 'love dart'. What had been going on before I would categorize as some kind of introduction, introduction into the world of love, meeting each other, slowly crawling to a point of togetherness, and then finally hit it off in 'love dart'. A steady heartbeat carries that piece, its speed translating into various degrees of excitement. Maybe that's only true for snails, but I am not so sure about it after reflecting on this work. It sure could be true for the relationships of human beings and all other love dependant beings as well. But before I reveal too much about my own fantasies I will say only this: As much as I can fantasize about this work, as much can you. So be open and let these sounds wash you away from the shores of reality. Dare the dive into these waters and find out, whether snails are sexy or not. And find out, whether Hans Fjellestad is the 'Ozzy Osbourne' of experimental music. I sure think he is, and my recommendation is to buy this CD and drift away to places unknown. Great music!!!" - Fred M. Wheeler, tokafi

"The way a musician moves is part of the musician's voice. Watching footage of performances by Thelonious Monk, with his fascinating angularity, or Jerry Hunt's frenetic shamanistic mania, it's clear that a choreography emerges from the physical imagination of sounds through the body. You can both hear and see it, especially in seasoned improvisers. Fjellestad has a way of moving around his analog instruments that establishes an intense physical relationship with them. He performs, poking and prodding with articulated jabs. An integrity emerges between his physical movements and the complexity and sensuality of the sometimes delicate, sometimes aggressive sonic results. I imagine his movement as I listen to a track titled 'calle calla' from his recent CD Snails R Sexy. A rich Moog drone shifts sporadically; a sound with its own eerie and voicelike behavior. Invading the lush drone environment is a series of more threatening sonic entities that Fjellestad describes as critters that 'creep in and out of th emix, flitting around.' Fjellestad's analog electronics generate unpredictabilities. He has described tapping into these as conjuring, a term also used by Jerry Hunt. The word suggests a network of physical interactions that take place between the flow of sound and in the performer's actions. Each elicits responses from the other that constantly dodge, unify, and splinter. They tease each other, making vibrant music. As one of the most interesting and active musicians in the LA improvisation scene, Fjellestad also curates and tours extensively. I also recommend his films Frontier Life (2002) and Moog (2004)." - Sean Griffin, Bomb Magazine

"The fourth solo recording by musician and film-maker Fjellestad on this label, Snails R Sexy contains freeform creativity expressed through a multitude of clashing waveforms and contrasting patterns, facilitated by the author's use of Moog synths, theremin and vacuum-tube processors. Anarchic eruptions and regular oscillations mix quite easily, while the various points of resonance of the different timbres find a way to get noticed and, in most cases, leave an indelible impression on our acoustic memory. Half-psychedelia, half-laboratory concoctions then, but never sounding like dilettantist noodling: everything is finely crafted, organized and mixed. This is humorous and temperamental music, at the same time efficient and, in some circumstance, revealing. We detect a noteworthy 'crazed homogeneity', which brings to an association with the pioneering work of the first 'mad scientist' who experimented with synthesizers and computers many decades ago, as barnstorming successions and meditative hallucinations keep us tight enough, preventing us from getting distracted and bored despite the almost 70 minutes of music. An album that will please lovers of analog sounds, but also noise terrorism (check the final track 'Que es mas sexy', then you tell me)." - Massimo Ricci, Touching Extremes

"You weren't thinking of playing this album quiet, were you? 'Cause if nothing's vibrating off your shelves, don't even bother. It's a physical thing. What the press release says and the CD package oughta is that filmmaker/musician Fjellestad generated most of the sounds on Snails R Sexy using analog Moog synthesizers, theremin and vacuum-tube processors. Unlike digital, analog has a way of getting really, really big as it gets louder before it starts hurting your ears. And Fjellestad says he tested his processes live, figuring out what made audiences squirm before he entered the studio for his fourth solo Accretions project. The result: It works. 'Calle Calla' attacks with tortured twitters and gigantic ratcheting sounds, peaking with a truly disturbing shriek like the death cry of a 10-foot squirrel dismembered on a rack. On 'Love Dart,' intense sawtooth vibrations give way to deep, muffled, oppressive reggae riddims – kind of an overloaded Maytag under attack by squealing 1950s spaceships. Most impressive are the pressured magma drones of 'Fist,' which opens with a severely harmed church organ before introducing enormous rubber balls squeezed by titanic hands; this shit will literally take your easy chair for a roller-coaster ride. Hard to believe that noises this punishing can be reproduced in digital form at all. A chest massage is included with every play of this CD, and it's also useful if you want to scare away burglars or trick-or-treaters. Some of the sounds are so harmful that they had me straining my ears. Oh no. Did I blow my speakers... again?" - Greg Burk, MetalJazz.com

"You know that moment when you're on an airplane taxiing out of an airport and it pauses at the beginning of the runway for just a few seconds before taking off, when all the turning and rolling noises stop and all that's left is the corporeal, mechanical, strangely periodic humming of the jet engines? This album is that precise moment blown up and musicified on a magnificently large scale. Slowly swirling synthesized doppler shifts (some krafty work) combine with the pulsing, throbbing, testes-tingling vibrations. Later on, occassional control tower communication glitches and humanoid sine wave complaints invade your headphones. Even later on, things get spacier, as if your fuselage is now orbiting a synthy Saturn and the glitchy complaints coming from Houston are all the more frantic and abrasive. Can't figure out yet how the dreamy toy-piano track 'Ex Vivo' fits into this analogy..." - Cujo, KFJC-FM

"Hans Fjellestad is not simply another run-of-the-mill multi-instrumentalist. He is also an accomplished filmmaker, having received much cinematic acclaim, especially for his 2004 project entitled Moog, about the pioneer of electronic music. So it is no surprise that he also displays a great aptitude for the making of 'artificial' music. Fjellestad has an extensive discography both as a solo artist, as well as a collaborator with many legendary players on the international experimental music scene. His music, while not exactly designed to appeal to the masses, is not without its touches of whimsy. And his healthy sense of humor is readily apparent in the title of this, his newest recording. Music for libidinous mollusks never sounded so good!" - Veronique Chevalier, Blue Railroad

"LA based filmmaker (best known for his film Moog) and musician, Hans Fjellestad has made a career out of the most free forms of cinematic types of music making. His latest opus Snails R Sexy is a 70 minute mish-mash of both the cinematic and the glitched-out noise. Barrelling down the highway with no brakes, the guy provides the listeners with enough interesting twists and turns to keep all the factions happy. Produced with a variety of analog synths, theremin and vacuum tube processors, much of the piece sound like slabs of noise thrown randomly at the listener. But this isn't some sort of a random, purely improvised album. It sounds as if there was much pre-planning that went into the recording. On the 14 minute 'Que es Mas Sexy', Fjellestad spews out a ton of squeaky feedback, synth sounds and processing into the stew and makes it all sound like a dirge fest. His sinister vocals underneath this sludge make the piece sound only more hellish. 'Fist' at times appropriates the sounds of early 80's video game clicks and pops, while adding tube processors that are more like turntables than anything else. A surprising number is 'Ex Vivo', where the musicians take a step back and gets all cinematic on us. With synth sounds appropriating a toy piano and a shady, hollow sound, the piece would fit well in an indie horror flick. Overall, quite a successful album showing the extremities of noise in a sombre, cinematic environment. Hell, don't be scared by this guy just because his head is wrapped around the harsh environments. If the sounds get too abrasive, just turn down the volume by a notch. - Tom Sekowski, Gaz-Eta

"É preciso algum atrevimento para editar um disco como o que Hans Fjellestad, músico e cineasta californiano, acaba de lançar na editora de Marcos Fernandes, Accretions Records, com sede em San Diego, Califórnia. Snails R Sexy é um disco a solo (o quarto de uma série) totalmente preenchido com as investigações que o improvisador tem andado a fazer com sintetizadores analógicos Moog, paixão que o persegue desde tenra idade, e que o levou a realizar, em 2004, um filme (Moog) sobre o inventor daquela máquina, Bob Moog, que viria a falecer em 2005. Ao Moog acrescentou Fjellestad apenas uma pitada de theremin e um processador de efeitos com tubos de vácuo. Através do processo de adição sucessiva de camadas de som produzido a partir da energia eléctrica, ondas sonoras trabalhadas com filtros até obter determinados timbres, Hans Fjellestad consegue estruturar composições e apresentá-las de modo atraente, mesmo quando se esgueira por caminhos afins do noise digital da actualidade, como sejam os da escola de Los Angeles, ou os que chegam de outros grandes centros difusores, como Tóquio, sem prejudicar uma certa candura e ingenuidade que entram no processo, temperando-o. Porque não se trata apenas de tarefas de base tecnológica, realizadas por um experimentalista metido entre as quatro paredes dum laboratório. Em Snails R Sexy, Fjellestad, através de sequências luxuriantes de vibrações sonoras, sobretudo nas baixas frequências, consegue sugerir uma ampla gama de emoções e de estados de espírito. A invenção de Bob Moog, a cuja memória o disco é dedicado, não deixa possibilidades acústicas por mãos alheias, e Fjellestad usa-a como ferramenta para esculpir sons e criar as nove instalações do disco, com um tempo de duração que vai dos 3 aos 14 minutos. Pessoalmente, agradam-me muito os resultados e a espantosa acessibilidade do disco, com potencial para interessar públicos diversos, como os da electrónica, electroacústica, jazz e rock." - Eduardo Chagas, Jazz e Arradores

"Hans Fjellestad sieht aus wie Ozzy Osbourne, seine Musik klingt wie kaputtes Stellwerk. Zu hören sind elektronische Klänge, die wie Stromspannungen klingen, die in der tonalen Höhe variieren und damit einen, ja, doch, Klang erzeugen. Im beiliegenden Presseblatt steht was von 1970er Krautrock Experimenten, von Sun Ra, japanischer Soundschräge und gar Heavy Metal Krassheit. Wenn man gewollt ist, sich dem elektronischen Chaos zu öffnen und die wilden, abgedrehten und völlig struktur- und harmoniefreien Klangkaskaden anzuhören, wird man mit Sicherheit einige Parallelen finden. Jedoch ist, praktisch gesagt, die Lebensdauer des Musik hörenden Menschen ebenso begrenzt wie alles andere, und es gibt genügend radikale und dabei interessante, hinreißende Musik, so dass nicht jede Idee, die wie in diesem Fall keinen Sinn für Humor, Spannung oder Extravaganz hat, eines inspirierten Musikers aufgenommen werden muss. Hans Fjellestad hat an vielen interessanten Projekten teilgenommen und beeindruckende Klänge erzeugt, dieses neue Werk ist nur für Leute konzipiert, die gern Datenautobahnen, Kurzwellenklängen oder fließendem Starkstrom zuhören. Dabei viel Vergnügen!" - Volkmar Mantei, Ragazzi

"Si presenta subito con la faccia da pazzo in copertina: un misto tra Richard James (era Come To Daddy) e Gene Simmons, con tanto di linguaccia. Immagine che sembra fare a pugni con il curriculum di Hans Fjellestad, fatto di rigorosi studi di composizione, improvvisazione e piano classico, collaborazioni ad ampio raggio (da Lé Quan Ninh a Miya Masaoka, passando per i leggendari Muhal Richard Abrams e Peter Kowald), lezioni tenute in alcune delle Univeristà più progressiste, organizzazioni di festivals, tutta una serie di progetti audio-video, presentati in luoghi prestigiosissimi quali il London Musician Collective e la Queen Elizabeth Hall, per finire con la sua attività di filmaker. Riguardo quest'ultima, sembra essere abbastanza noto e lodato il documentario Moog, ovviamente dedicato all'inventore dell'omonimo sintetizzatore (un altro dovrebbe essere in arrivo con il titolo di Synth God). Un bel po' di roba, e mi sono molto limitato nelle citazioni, non c'è che dire. Sempre al sintetizzatore analogico, ma anche al Theremin, è dedicato questo cd, che sviscera in maniera parossistica le possibilità dello strumento. Un vero e proprio rimestarne tra le interiora, alla ricerca di suoni nascosti in qualche pertugio. Suoni belli e brutti in equal misura, perché Fjellestad sembra poco propenso a darsi una qualche disciplina, e mette da parte buone maniere e buon senso. Il che tradotto significa che non mancano cose interessanti, ma che c'è anche tanto cazzeggio in libera uscita, che spesso sembra privilegiare il sensazionalismo alla forma. A tratti una sorta di carnevale del bizzarro, nel quale sfilano rimandi deformi alla cosmologia krauta, ipotesi schizzate di free jazz, mostruosità progressive, noise splatter, industrialismi ed elettronica onnivora. S'inizia con il ribollire di 'Pull Breath', il synth che squarcia l'aria con fare impietoso, e a seguire una tempesta di suoni urticanti e strambi, autentiche mine acustiche vaganti, che scricchiolano ed esplodono dove capita. Fa quasi male, provoca un senso di vertigine e nausea, oltre a massaggiare la prostata, l'allungarsi e riavvolgersi di quel serpente di suono che caratterizza 'Crush Goddess'. Ma è con 'Calle Calla' che vengono alla luce i risvolti più deleteri di questo disco: una serie di strilli, sibili, escoriazioni, francamente mal digeribili, che non sembrano avere altro scopo se non quello di stupire con quanto di più disturbante sia possibile concepire. Stranamente si ci imbatte in attimi più pacanti in 'Ex Vivo', note pianistiche che si spezzano nel tratteggiare una melodia sfumata ed intrisa di un sottile senso dello spleen. Interessante 'Love Dart', prima un fiorire di power electronics, e poi un pulsare misterioso e subacqueo che toglie realmente il respiro, a scandire momenti inquietanti e psicotici. Nel corso di questo brano ho la sensazione che qualche assurda declamazione da parte di Genesis P. Orridge, o come cavolo si chiama adesso, non ci starebbe affatto male. Rumore, follia, istrionismo, suoni da b-movie di fantascienza, qualche banalità, nel resto del disco." - Alfio Castorina, Kathodik

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


stone "Live documents tend to work well with noise; they nurture the spontaneity, the improvisation, the need to force out some fresh abomination from the means of production, that marks out the best of the scene. They foreground the fact that noise is a ludic flinging of sound at the wall, and also, ultimately, a species of performance art. Stone captures Donkey performing at the East Village venue of the same name in late 2006. Hans Fjellestad's analogue synth and Damon Holzborn's short-circuited electronics corkscrew in and out of each other, with a playful agility. The competitive abrasiveness which characterises much noise is sidelined for a series of dialogues in which neither Fjellestad nor Holzborn are afraid to fall completely silent for a while. But most of the time the two are zigzagging into wild tangents, modulating tone and texture, attack and decay with a restless impatience." - Sam Davies, The Wire

"Donkey is a duo formed by Hans Fjellestad and Damon Holzborn, who started playing together in 1991 as a guitar/piano improvising unit then, as years went by, shifted their focus on the abstractions born from the use of analog machinery, processors and homemade hardware and software. After a five-year hiatus following the two Accretions CDs Show and Big Sur, Donkey decided that the moment had come for another try, thus they secluded themselves in a Mexican ranch and came up with the basic materials for a freeform structure that was performed live at The Stone in Manhattan, in 2006. Fjellestad, a classically trained pianist, has traded synthetic amenities with a lot of like-minded artists, and Holzborn is currently pursuing his doctoral degree in composition; this is immediately evident when one listens to the five tracks (fused into a 50-minute aggregate) of Stone which, although maintaining the mightiness of a scintillating anarchy, is one of the most coherent improvisational efforts involving 'irregular' synthesis and low-budget electronics. The music is abrasive, unpredictable, luminescent, alluringly repetitive, never insolent, always fascinating, a perfect cross of evocation and momentum which lets the listeners thoroughly enjoy every single moment of its life. We're reminded of the pioneering experiments of Tod Dockstader, but also get thrown in a time capsule populated with freaky creatures whose skin bubbles and fumes. What starts like a fuzz-tone guitar becomes a syrupy magma, and there's no trace of a 'melody' if we look with a lantern. Harmonically gratifying buzzes stand up in the mix every once in a while, but should your dentist try something similar when you're lying on his chair, expect big trouble. Great stuff, with no exceptions." - Massimo Ricci, Touching Extremes

"Twisted improvised electronic ambience: LA's Hans Fjellestad and NYC's Damon Holzborn jammed this avant-garde glitchathon out on a Mexican ranch, then recorded it live at a club in Manhattan's East Village. How Bohemian? It is to-the-bone abstract artcore sound manipulation, full of crackles, screeches and pops, in five tracks but designed to be listened to as a whole. A specialist taste, but very impressive." - Joe Muggs, Mixmag

"Even contemporary artists often establish a clear border between sound art - which is essentially made up of noise and (occasionally) harmonic semblances - on the one hand and conventional music on the other - a territory marked by harmonic progressions, themes, motives, their development and scoreable compositions. Stone proves that Donkey, made up of respected solo artists Hans Fjellestad and Damon Holzborn, either do not recognise the validity of this division - or have decided to ignore its consequences, meeting at the border post for eccentric improvisations in a league of their own. Even if you're listening to experimental releases on a daily basis, this CD does not make for easy consumption. The document of a live session in New York last Winter, it is both a test of the performers' telepathic abilities, as well as a statement of their conscious or unconscious proximity to other artistic genres they dabble in - film with regards to Fjellestad and dance for Holzborn. The associations are never all that obvious despite the high metaphorical value of the sounds and even though one could right away imagine this as a great soundtrack for contemporary ballet. Instead, another discipline is much closer: Field recordings. Instead of capturing a street scene, a rural paradise, people talking, dogs barking or bees buzzing, however, it points the microphone at the future. On many occasions, the record creates the illusion of a imaginary musique concrete, of a UFO caught on tape, of flying saucers hovering up above and strange little creatures trying to immitate the Babel thing with their galactic voices. The world usually labelled 'music' only rears its head for a couple of seconds, when Fjellestad sends deep Moog waves into the canyon of bleeps and cuts or when an unidentifiable tune is fed through at least a thousand effect pedals. And yet, it is never completely absent. Donkey use the most wayward aural objects, but they use them in quite traditional ways. Their cosmos is full of melodies, positive and optimistic ones even, if you listen carefully. Fjellestad and Holzborn are playing their samplers, sequencers, stomp boxes, minidisc recorders and tape machines like regular instrumentalists would their violin, piano or accordion, creating meticulous avantgarde sound battles in the process. You do not drive your car to this music, You do not sing or swing to this music. You do not wash the dishes to it, nor do we advise to play it while giving water to your flowers. If there is any functional application we could think of related to it at all, then it might be flossing your teeth until your gums bleed. Other than that, you sit down, fold your hands and listen. Attentively. Actively. Ambitiously. In the meditative mind, the two worlds of 'sound' and 'music' converge, leaving just an open space where the border used to be. It's a great moment, full of expectations and adrenalin. Don't let it pass you by." - Tobias Fischer, tokafi

"Donkey - STONE: Ha! Ha! From the sweet and lilting tones of the jazz ladies to the somewhat disturbing and odd sounds created by 'noise structurists' Hans Fjellestad and Damon Holzborn is quite some leap. Ah, but I don't mind - not a bit, since many of my own creations are founded on the same kinds of madness... the difference, of course, is that these guys are much better at this art than I am. Would I recommend this to Bertha Baptist? Doubtful, as she'd have nothing positive to say. Would I recommend this to the (now defunct) Olympia Experimental Music Society? In a heartbeat, as I know Arrington would know how to digest this accumulation of layers. Their structures are more subtle than most... no onrush of walls of noise assaulting your senses... they have in mind to infiltrate your conscious, then gradually WHACK IT! It's been a while since I've listened to noise sculpture this good, & I give it a HIGHLY RECOMMENDED for any and all who like to explore new realms of sound experience." - Rotcod Zzaj, Improvijazzation Nation

"Donkey sono Hans Fjellestad e Damon Holzborn, questa è la loro terza uscita dopo Show e Big Sur. Qualcuno li ricorderà presenti nella strepitosa compilation/manifesto/collettivo (chiamato Trummerflora) Rubble; oppure nell'ostico ma invitante Haco Hans Jacob Marcos. Stone è live registrato nell'East Village di Manhattan (lo Stone Club appunto). Stone, è incontro/sragionamento elettronico/acustico di notevole impatto fisico. Hans maltratta synth analogici, Holzborn ne ritratta i segnali emessi tramite i propri software autoprodotti. Risultato: un'escursione pubblica impervia; rischiosa ed affascinante. Suggestioni sciamaniche, harsh, dark ambient sfatta, glitch claudicante. Spigoli e svolte stranianti, lividi viola ed occhi pesti. Iperattivi per natura, curiosi e coraggiosi, composizione, esecuzione, dottorati di ricerca, costruzione ed esplorazione nuovi strumenti; tutta farina quotidiana del proprio sacco. Il loro Stone è lavoro che dell'impatto fisico usa la capacità penetrativa per forzar il guscio dell'ascoltatore ed indurlo in fasi riflessive (invero non proprio rilassate/rilassanti). E questo è un bene. Ricerca accurata su materiali primordiali e incandescenti che rimanda a certa sperimentazione ispida, storicizzata e non (la Oliveros degli Electronic Works o Alien Bog/Beautiful Soop? Le aggressioni al calor bianco di entità come Illusion of Safety?); il tutto riprocessato attraverso la lente d'ingrandimento di certa impro più dissennata. Manipolano e maltrattano materia sfuggente che può tramutarsi in rovina vera e propria se mal gestita. Coesione, impatto, stimolazioni profuse a piene mani. Questo è. Non per tutti, un oscura immersione dalle parti di un incubo estivo sudato. Difficile e preziosa ricerca; maneggiare con attenzione prima dell'acquisto." - Marco Carcasi, Kathodik

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


klh "Los Angeles based musician and film maker Hans Fjellestad may have earned more column inches recently for his film work (his 2004 documentary on the synth pioneer Robert Moog has been widely praised) than his composition of late, but let's not allow the volume of an off-Hollywood career drown out the quieter tones of a growing and consistently interesting musical opus. Kobe Live House, is, as its title suggests, a live album, recorded in one unedited take over two sets at the Big Apple jazz club in Kobe, Japan. Equipped with a grand piano, laptop, synth and some custom software, Fjellestad - a pianist who studied composition and improvisation - brings a spontaneity to the album's seven untitled pieces that is as risky as it is laudable. If there's a simple way to approach a summation of Kobe Live House, it's under the tag of digital concrète. It sounds often as if Fjellestad is doing, in digital terms, what the early electronic composers did in analogue. Sounds are stretched, spliced and assembled with a rationale that's born of an improvising spirit. Yet the main interest of this album isn't to be found in some kind of retroactive return to analogue ideas, but the way that the compositions and their constituent parts are arranged. There's a pleasing amount of electroacoustic input here: the first track has, in its gurgling water sounds and whipped up winds, the organic feel of a melancholy that evokes Brian Eno's 'Dover Beach'. Elsewhere, Fjellestad pulls listeners into the (t)here and now - there are bits of audience sound in the mix, but the album is most successful towards the end of its second set in which (presumable) found sounds come into their own. The sound of some guy in a street singing to himself, 'Here comes the sun, na-na-na-na', is reminiscent of the use of the tramp's looped singing on Gavin Bryars's Jesus' Blood Never Failed Me Yet. For Fjellestad, however, there's a less lachrymose conclusion. 'I confess, I'm gonna get me a beer,' the guy continues and there's a little tune thumped out by Fjellestad on blunt keys in celebration." - Louise Gray, The Wire

"Fjellestad's startling experimental on Kobe Live House - recorded at a jazz club in Japan - is sharp and refreshing. The musical style ranges from fairly accessible piano lines to staggering, dagger assaults of synthwork. The blend of organic and electronic and mildly experimental and wildly avant-garde makes for a bracing listen. The compositions range from dark, acidy piano jazz lines to violent expressions of fear and adrenaline, the clashing of musical elements in moments of force that would be nothing short of alarming to those not initiated into the wonderful, weird world of experimental music. Some jazz purists might balk at calling this jazz, but they would be wrong. It's not just jazz, mind you, but it's just as forward thinking and expressive compared to its surroundings as early jazz and its world was in its day. Fresh and truly the bearer of a jazz heart - avant acid jazz perhaps, but jazz nonetheless - Kobe Live House is strongly urged as a listen for fans of intelligent music." (Four and a half stars) - Kristofer Upjohn, Raves

"Four factors have dominated the development of experimental music over the last decades: The increased portability of sound devices, the combination of electronic and 'acoustic' instruments, the handshake with visual arts and the closing of the gap between 'serious' and 'popular' culture. Applied to practice, Kobe Live House should therefore be the archetypical album in the experimental department. After all, all four factors are in full bloom on this release. Hans Fjellestad, who spends just as much time directing pictures as he does composing, simply packed his bags and took his laptop, flew over to Japan and played two sets of impeccably intense and irresistible electronics on one night. A master of multi-tasking, he added live performances of a piano in real time to the plethora of processed noise particles emmited by his synth and powerbook. The result is a wonderfully fresh piece of music, divided into seven segments, which flow seemlessly in and ouf of each other, but are well capable of holding their own when listened to separately. It is to be suspected that Fjellestad used video projections as a backdrop to the impro-composition, but these tracks have a strong visual component already: Sounds from the street, people talking, a monologue from a movie and heavy breathing are pierced by quantum-leaping keyboard sprints, precarious rumblings, light drones, a childlike cover of the Beatles' 'Here comes the Sun' and hints at rhythm. Sceneries change as fast as lightning, with dissonances dissolving into mellow harmony and almost timelessly drifting passages being torn apart by heavy aural artillery. Indeed, many professors will have problems following these arrangements, yet all the same, Kobe Live House, with its moments of utter romance, its breathtaking climaxes and wild stylistic collisions (there's a totally freaked-out dance between the piano and a basketball team, culminating in an anarchic free jazz session), this is as entertaining as a blockbuster: To some, the album will seem like a lot of loose ends. You may indeed feel befuddled by the sheer spectacle of sensoric sensations, but never call this a random affair - each single element is carefull placed and adds to the greater picture. However exemplary this record may be in terms of experimental history - above all, it's an inspiring piece of music." - Tobias Fischer, tokafi

"Recorded live at the Big Apple in Kobe, Japan, in October 2003, Kobe Live House sums up Hans Fjellestad's work to date and sets the stage for his next adventures. Throughout this delicately flowing album, the keyboardist switches back and forth between piano, synthesizer and computer. Most avant-garde artists will either choose to perform an acoustic free improvisation concert or an electronic set at the computer. Fjellestad does both, remixing some of his previous recordings (and undoubtedly, new compositions) at the computer while improvising noisy romps on the synthesizer and delicate piano pieces. What strikes most about this recording is that he makes it all hold together. The structure of the performance rarely feels improvised, even though specific sections of it are. It feels as if Fjellestad wrote a meta-composition to frame his earlier pieces. Most impressive are the inclusion of 'Slow Motion Perp Walk' and 'Free Throw Prophet,' both heard in their original form on Red Sauce Baby, and here integrated to a wider, ever-shifting whole. The first set (39 minutes) unfolds smoothly and includes a delightful electronics-enhanced piano episode. The second set (27 minutes) is somewhat less convincing: Fjellestad turns to noisier content and transitions from section to section (or instrument to instrument) feel rougher and more tentative. Still, Kobe Live House is an impressive statement. It shows that composers of chamber and electroacoustic music can borrow the tricks of the experimental electronica crowd to reshape their music for a smaller live context." - François Couture, All-Music Guide

"Fjellestad gives a virtual master class in Powerbook, piano and synth manipulation... The session encapsulates the ethos of 'man and machine' perfectly." (Four stars) - DJ Magazine

"Anyone familiar with previous Fjellestad albums like Red Sauce Baby and 33 will know that he is wildly comfortable in the role of mad scientist improviser. Kobe Live House brings us further into Fjellestad's unique world and witnesses him attacking everything from the grand piano to the Nord Lead 3 synth and custom-made software instruments. KLH is a snapshot of a truly daring and sonically dangerous artiste." - International DJ Magazine

"In the fall of 2003, Los Angeles-based composer/improviser/keyboardist Hans Fjellestad (who also directed the 2004 documentary Moog) embarked on a solo tour of Japan. Fjellestad brought along a PowerBook and a Nord Lead 3 synth to augment the grand piano supplied by the individual clubs. This document of his stop in Kobe has been wisely released unedited, thereby allowing for the show's natural evolution to unfold. Controlled and considered modulations appear to be the modus operandi behind these seven untitled tracks. The mutations come in a couple of forms, depending on what instrument Fjellestad is exploring at that moment, whether internal/external piano investigations, dizzyingly dynamic analog/digital sound designs, or reconfigured old pieces stored on his laptop. Yet even at their most intemperate, these songs have an unhurried feel to them, seeming to be as much individual studies for PowerBook, piano, and synth as they are electro-acoustic collages. That said, there is nothing staid or settled about them, as the dramatic opening of Mego-like slipstream of watery and vapour trails, techno bass tones, voices, video game strikes, stunted squiggles, and syndrum rolls announce. A catalogue of warped, disorienting FXs gradually give away to his explorations outside and inside the piano: contemplative phrases and modal ruminations counter pointed by gentle interior wire stroking and plucking. Eventually, it becomes apparent that the steady background hum accompanying the piano is the product of the real-time processing of these internal sounds and is only a precursor to the more elaborate manipulations of the piano towards the end of the show. For these, he stretches, chops, and pitch-shifts the dampened and unhampered keys and wires into dizzying warp-speed frequencies and out-of-tune balafon and gong-like sounds. When he isn't re-combining its sounds, Fjellestad is equally compelling on the keyboard, his muscular arpeggio, clusters, and pianissimo more Marilyn Crispell and Matthew Shipp than Cecil Taylor. Although the first set (tracks 1-4) is sprinkled with field recordings, they form the fulcrum of his second set. These mainly come from the 'Slow Motion Perp Walk' and the 'Free Throw Prophet' compositions from his 2000 Red Sauce Baby disc. 'Slow Motion,' full of bustling street life, is a congregation of sounds recorded at various locations in Tijuana and San Diego, while 'Free Throw Prophet' was recorded at a Mormon Church situated near a basketball court. The essence of this latter track is the interplay not only between the Fjellestad on church organ and a quintet on woodwinds, bagpipes and percussion, but also between the high-energy improvisations and the hussle and flow of a basketball in full flight: the groaning athletes, squeaking floor, and relentless bouncing of the ball. Fjellestad pulls all these disparate strands together with such bravura and structural coherence that one forgets that this is an on-the-fly live performance." - Richard Moule, Grooves

"Norwegian Hans Fjellestad is on a roll: Moog, his documentary about the synthesizer inventor, won plaudits around the globe, the 37-year-old has signed with a big-time Hollywood agent and is set to direct the film version of Lords of Chaos, the acclaimed book about Norwegian death metal. He also makes abstruse experimental music, and Kobe Live House, a performance on laptop and keyboards recorded in Japan in 2003, provides a glimpse into his bizarre sonic world. Found sound and electronic chatter pile in portentous crescendos one moment, eccentric piano work surmounts the sounds of people playing basketball the next. Adding fractured melody and obscure structure to dissonant, dislocated fragments of sound, the response is at first intellectual, but on a more subliminal level, Fjellestad seems to have uncovered a new way of hearing the world." - Angus Batey, Mojo

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


hhjm "In a time very far from now, four musicians will meet in a studio in Tijuana, Mexico and start playing. The first will be Marcos Fernandes, owner of the accretions label (which will, three years after the session, release the album) and one of San Diego's most avid future jazz performers. The second will be Hans Fjellestad, famed director and a laptop artist on a neverending tour. Japanese 'Vocalist/lyricist-composer/multi-instrumentalist/sound-artist' Haco will be third in line, a multi-talent who will sport a homepage in plain text format, containing enlightning articles on issues such as 'Happy Proof of Intelligent Life beyond the Pop Mainstream'. And then there will be Jakob Riis, hailing from the 'rotten state of Denmark' and performing in more ensembles than we could possibly name here. Together, they will embark on a sonic journey beyond compare. In a time very far from now, four musicians will record five pieces of almost exactly equal length and then arrange them in ascending order. The first will sound like a dialogue between various percussive instruments and a broken sequencer in close proximity of a humming generator. The second will commence more energetically, with wild drum rolls and squeaking noises, before entering a canyon of delay and echo, full of twinkling bells and morse-coded vibraphon messages. On the third one, a recently hatched bird will sing a ten minute long song from the remains of his egg shell. Scenes from a future Science Fiction movie, shot in complete black and stuffed with sensory supplements, will dominate the fourth track. The fifth piece will be a love song, as romantically bouncing notes dance a strange waltz to a passionately detuned miniature saxophone. The sounds deriving from the Synths and laptops will alternately resemble a burning, a frizzling, a bubbling, a rubbing, a smacking and a scouring. Haco's toys and voice will add a naive charm, as if the music were being played by a group of dolls inside a Fisher Price village. And Marcos' Fernandes' Drums and Percussions will asign a clear status to each of the elements, engaging in atmospheric sleepwalking, rhythmic patterns or a build up of tension. The players will have all the freedom in the world, yet each of their works will have a recognisable structure and a character of its own, as if everything had been minutely planned in advance. The album will be fifty minutes long, it will not contain a single melody in the usual sense of the word or a chord progression in the Western mindset and it will not be boring for one second. The music will sound like nothing you have heard before. Maybe you will, at first, believe this to be a random collection of sounds. If you have listened to some of the other accretions releases, you will recognise the Jazz aspect of things, the effort to capture something unspeakable (or not even yet existent) in sound. You may actually find it breathtakingly exciting and awe-inspiring, without really being able to say why. But in a time very far from now, your children's children's children's children will play this record in whatever format the future will come up with and think to themselves: 'This is the coolest thing we've ever heard!'" - Tobias Fischer, tokafi

"Two California residents plus one Danish and one Japanese musician recorded at a session in Tijuana, mexico in 2003. Marcos fernandes plays drums and percussion, Hans Fjellestad synthesizer, Jakob Riis Powerbook, Haco electronics, toys and voice. The outcome is a set of five agitated yet tightly bound improvisations that disclose real affinity among these disparate players. The capacity of Fernandes to mix his kit convincingly with electronic instruments while heightening the music's momentum, most notably on 'Glow', is a key element in its success. Not that any group involving Fjellestad is likely to become becalmed, driven as he is by wild enthusiasm for the analog synth's lurking squeals, chimes and burbles. Haco and Riis add viscosity and texturing, and it all hangs together in motion." - Julian Cowley, The Wire

"This CD reads like a 'how to' on making electronics and acoustic drums/voice/toys live together, and the key seems to be about making music as opposed to playing instruments. Jazz-inflected drums swirl around laptop/synth washes and pulses (i.e. 'crawl') and there are enormous and satisfying stretches of space where Haco may squeak like a small bird imitating a rusty hinge (i.e. 'speak'). The sounds themselves are varied when the analogue synths have their own dance with the laptops and the differences get beautifully mixed. While I suspect an improvised session ending in some smart editing a ways down the line from the event, this CD displays an intense level of musicianship and compositional sensibility. The thing that really makes it sing is the friendliness of the whole thing. As intense and stretching as it gets, it never loses its connection to me as a listener and there are plenty of times where light and humour lift the moment." - Nilan Perera, Exclaim!

"As peppy as an old-fashioned coffee percolator and as adventurous as the Mars Rover. The sort of whacked-out expedition I've been looking for for some time." - Jon Worley, Aiding & Abetting

"Computers might not need an audible language to talk to one another, but I imagine that if they did, it would sound an awful lot like this. The disc's track titles follow a recognizable path-awake, crawl, speak, glow, last-but listeners looking for concrete aural markers to guide them through might feel a bit lost in the code. Still, the language analogy could be an apt one. Half the quartet speaks Japanese and the other half Danish, and they were all having this particular conversation in Tijuana (just south of the border from Hans and Marcos's adopted home of southern California). The core syllables at work here are built out of percussion, synthesizer, electronics, toys, voice, and PowerBook. The participants are polite in their interactions, careful not to trample over one another or cut anybody off mid-thought. And like sitting at a street café in Paris without a word of French in your vocabulary, you can absorb the arc of the conversation without any hint as to what anyone is talking about." - Molly Sheridan, NewMusicBox

"Although perhaps the improvisations captured on this disc may be more Dolf Mulder's thing, I must admit I quite enjoyed it and that's partly because aside with all the chaotic drumming of Marcos Fernandes, the thing is largely electronic. Hans Fjellestad plays synthesizer, Haco (best known for he work with After Dinner) plays toys, electronics and voice and Jakob Riis plays powerbook. All four musicians operate in the fields of improvised music. This disc was recorded already three years ago, in one day, in a studio. Later on Fjellestad and Fernandes did the mixing, bringing out what they had in mind: mixing electronics and acoustic instruments. I must say they succeeded well in their task. Of course there are the usual elements of chaos that linger around these kind of musics in some of these pieces, but this quartet are at their best when they play a more contemplative tune. When looked as such, this CD works towards its way through various approaches, but in the final track (aptly called 'Last'), everything seems to be coming together: in this the longest piece there are elements of minimalism, of melancholy, but also small outbursts of chaos and mayhem. It's here when they are at their best. Each player has a distinct sound, his or her own voice, and none of the voices prevail, but there is instead plenty of room for communication. A very good meeting of electricity and analogue vibrations." - Frans de Waard, Vital Weekly

"This music was improvised in a studio of Tijuana, Mexico in 2003. Four musicians/sound artists with pretty dissimilar backgrounds were reunited in an improbable place to set up a series of exchanges whose main result is a curious intersection of affected balances and discarded identities. At the beginning, Fernandes' drums seem to prevail in the mix; but soon enough, synthetic eruptions and stuttered affirmations by Fjellestad and Riis begin to mould an ambiguous bed of thorns for Haco's electronics, toys and (in 'Speak') quiet introverted utterances. Instantly, the whole gets instinctively connected to a bizarre underworld of biotic agglomerates with a collective lunatic personality, in which percussive fragments and an inexhaustible simultaneousness of electronic idiosyncrasies join, acquiring a soft polymorphic consciousness. An utterly impalpable sense of extraterrestrial counterpoint does the rest, giving our perceptive channels the right amount of time to get used to this strange concoction." - Massimo Ricci, Touching Extremes

Deste já estava à espera há algum tempo. Através das movimentações à volta do Trummerflora Collective, a que pertence o percussionista Marcos Fernandes, foi-me possível antecipar o encontro, mesmo tendo em conta que tal poderia nunca passar de um hipotético desejo, considerando a distância física que medeia entre os membros deste colectivo de improvisadores. Que agrupa, além do percussionista nipo-americano, repartido entre Yokohama e San Diego, o também californiano Hans Fjellestad, do duo Donkey, em sintetizadores, o japonês Haco, em voz e electrónica, e o dinamarquês Jakob Riis, em laptop. Em 'Haco Hans Jakob Marcos', gravado em Tijuana, México, a receita é combinar eficazmente sons electrónicos e orgânicos de modo inventivo, estabelecer pontes entre dois mundos, realidades culturais que tanto têm de próximo como de distante, assimilar a reverberação de sons antigos que ecoam juntamente com o último grito da fonte digital. A arte está no saber dosear os ingredientes, improvisações vocais e instrumentais; saber usar o tempo e o espaço como base de trabalho e com eles confeccionar um produto musical capaz de comunicar uma extraordinária vitalidade. Num mercado em que proliferam edições de música electroacústica improvisada, esta edição é um caso bem sucedido de intercâmbio estético sem constrangimentos de ordem formal, eivado de um certo pragmatismo sonoro e assinalável empenhamento artístico. Tudo concorre para estimular a imaginação do ouvinte. Excelente entretenimento, este 'Haco Hans Jakob Marcos', a mais recente edição da norte-americana Accretions." - Eduardo Chagas, Jazz e Arradores

"Quattro musicisti che provengono da luoghi geograficamente distanti (Giappone, Danimarca e California) si sono incontrati in uno studio nella città di Tijuana in Messico per improvvisare insieme, batteria e strumenti elettronici a cercare una via comune. Nei cinque lunghi brani si trovano passaggi strutturati intorno alla batteria, la cui presenza risulta ben evidenziata dalla registrazione che ridà fedelmente lo spazio in cui gli strumenti hanno interagito, così che ogni brano non si disperde per le infinite vie della creatività. Una musica che sarebbe piaciuta ai futuristi di certo. Alcune invenzioni sono da antologia del genere e attratti da tanta perizia descrittiva ci si abbandona alla esplorazione sonore del quartetto che per tutta la durata del disco appare ben concentrato sul da farsi. Riescono a trattenersi dal buttare facili ingredienti nel calderone, cosa che avrebbe rovinato il risultato finale, ed a mantenere un perfetto equilibrio di sapori. Un disco limpido e solenne, intenso e leggero, forte, che fa dell'elettronica una materia che ha la facoltà di comunicare, questa volta con la batteria di Marcos Fernades, in un linguaggio che appare evoluto, adattatosi, secondo le teorie di Darwin, all'ambiente circostante." - Vittorio Lo Conte, All About Jazz, Italy

"Das illustre Quartett hat diese Aufnahmen bereits im Mai 2003 gemacht, in Tijuana, Mexiko. Marco Fernandes spielt Schlagzeug und Perkussion, Hans Fjellestad Synthesizer, Haco ist an Electronics und Spielzeug aktiv und bringt Töne mit ihrer Stimme ein, Jakob Riis bedient den Laptop. Die 4 Musiker beackern das weite Feld der improvisativen freien Musik. Es gibt keine stilistischen Vorgaben, keine Grenzen, es sei denn, die der eigenen Inspiration. Kein Ton der 5 ausgedehnten Tracks der CD ist 'gewöhnlich', kein Instrument gibt 'herkömmliche' Töne wieder. Die Spielweise, die Intimität der Einspielung, die Intensität der Sounds und der Musiksprache - nichts ist 'normal'. Die vier Avantgardisten haben ihre eigene Art, Instrumente zu bedienen, Töne und Stimmungen zu finden, forcieren und verebben zu lassen, um neuem, aus soeben empfundenen und gespielten Improvisationen entstandenem Klang Ausdruck zu verleihen. Äußerst interessant ist dabei nicht nur der letzliche Mix der Aufnahmen und das Arrangement der Instrumente, sondern auch, welches Instrument gerade im Vordergrund arbeitet, während andere im Off hantieren oder unterstreichende Sounds einbringen. Dabei ist kein Musiker stets mehr im Vordergrund; wie die Stimmungen und schwellenden Sounds wechseln, so arbeiten sich auch verschiedene Instrumente mit ihrem typischen Ausdruck vor. Hin und wieder kann es passieren, dass das Quartett gemeinsam an der (a)tonalen Front steht und ein komplexes Gewirr hektischer Töne erzeugt. Das sind die emotionalen Höhepunkte, die als Krönung des introvertierten Spiels erreicht werden, wenn die Spannung der intensiven Soundtracks in freien Höhen explodiert. Alle 4 Musiker zeigen ein großes Gespür für vitale, intime und eindrückliche Klänge, zudem gehen sie sensibel aufeinander ein und loten Klangweiten aus, die in der Form noch nicht zu hören waren. Und doch gibt es gewisse Parallelen. In den Tracks 'crawl', 'speak' und 'glow' erinnert das Quartett an die ersten drei LP-Seiten von 'Ummagumma', dem exzellenten Psychedelic-Avantgarde-Werk Pink Floyds. Da sind gar einige konkrete Parallelen auszumachen, wenn 'Ummagumma' an sich auch deutlich konventioneller ist. Die Stimmung und das Flair sind verwandt wie einige technische Licks. Die 5 Tracks sind jedoch allen populären Stilen gleich fern. Weder wird hier Jazz oder Rock gespielt, noch Elektronik. Zwar leben die Töne aus diesem Pool, sind in ihrer Menge aber etwas ganz Neues, eben freie improvisative Musik. Am faszinierendsten in allen Stücken ist die 'Leere', aus der sich die Instrumente Töne ziehen. Es scheint, als rausche der Hintergrund. In der weiteren Entwicklung entpuppt sich das als Klang des Laptops, der dem Fehlen jegliches Tones in den Millisekunden zwischen den Tönen das Rauschen entgegensetzt und die Stille greifbar macht. Sich dem Werk zu nähern, braucht man keine großen Hürden zu nehmen. Laut und dramatisch wird das Quartett selten, zumeist wird ein sphärisch-stilles Flair entworfen, das eine ganz eigene Harmonik hat, die ansprechend und auf ihre Art unterhaltsam ist. Wie bei allen Werken von Accretions gilt: nur wer wagt gewinnt. Aber das gilt, wie jeder weiß, hier wie überall." - Volkmar Mantei, Ragazzi

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


moog "Robert Moog, the inventor of the modern synthesizer, is an extremely articulate theorist and sound engineer. But he is also an unabashed mystic about the connections among people, machines and the cosmos. In the very first scene of 'Moog,' Hans Fjellestad's compelling documentary portrait, Mr. Moog states in a perfectly reasonable voice, 'I can feel what's going on inside of a piece of electronic equipment.' He describes the process of invention as opening his mind to let the ideas come through from above. Strenuous, organized thinking, he says, has little do with it. Later in the film, which opens today in Manhattan at the Cinema Village and in Seattle, he ventures further into the speculative realm by suggesting that all matter is just energy and that therefore all material things can respond to vibrations of energy. The next step, which he doesn't take, would be to insist that humans and machines really do communicate and affect each other's behavior, although he stops just short of making that blanket assertion. You don't have to go along with Mr. Moog's philosophical flights to find him a provocative, thoughtful and deeply sympathetic figure, although professional musicians who have been put out of business by his invention might disagree. At his home in Asheville, N.C., he practices organic gardening, raises pet chickens and exudes an ebullient well-being. Whatever your feelings about the synthesizer (and mine are decidedly mixed), the film offers a fascinating historical look at the technological side of the 60's revolution in pop music. Before sweeping to popularity on the wings of the album 'Switched-On Bach,' the synthesizer was used primarily to create esoteric electronic music and as a cheap substitute for acoustic instruments in commercials. Even now, Mr. Moog wonders whether producing it as a keyboard instrument was a good idea, since the keyboard format encourages musicians to use it as a melodic instrument rather than an exploratory sound machine. Without Moog synthesizers, the term spacey might never have been coined to define music synonymous with science fiction. The keyboardist Rick Wakeman extols the mini-Moog as the greatest modern musical innovation because it finally allowed the keyboard to compete in volume with the electric guitar. Mr. Wakeman and Keith Emerson are presented as primary art-rock pioneers to embrace the synthesizer. But what about Stevie Wonder, of whom no mention is made? Mr. Wonder has generally eschewed technical fireworks for a more organic use of the instrument. At the very least, 'Moog' should persuade you that the history of music over the last century is as much a story of technology and sound as a family tree of stylistic influences. It's a very useful reminder." - Stephen Holden, New York Times

"A fascinating history of both man and instrument." - Charles Shaar Murray, Observer (UK)

"Brilliantly inspiring on many levels." - Andrew Perry, Daily Telegraph (UK)

"An intriguing film." - Peter Bradshaw, The Guardian (UK)

"A big thinker in every sense, Moog expounds on a wide variety of subjects related to music, creativity and an almost spiritual interaction with his innovation, making him a complex and amiable subject. Fjellestad exhibits a playful adoration for the man and the otherworldly sounds of his machine in an intriguing rendering of one of music technology's seminal figures." - Kevin Crust, Los Angeles Times

"The continuing relevancy of this instrument (and man) to music-making is perhaps the strongest message of the film, and Mr. Moog does express his preference for live rather than studio-produced music. For all the effects his age and struggles have had, Mr. Moog's own vitality shines through, and his legacy, his synthesizers and Theremins, are still present, living through music being performed today, still cool!" - James Harley, Computer Music Journal

"Moog examines the inventor up close and in person, aiming the camera at the man himself — as well as his instruments and the people who play them — instead of attempting to provide a complete history of the Moog phenomenon. It's an interesting choice, and it works out very well, for the main reason that Robert Moog is an interesting, thoughtful, and idiosyncratic guy. (Among other things, he has some of the coolest hair on the planet.) Director Hans Fjellestad, who previously made Frontier Life, a 2002 film about the electronic music scene in Tijuana, Mexico, obviously built up enough trust with the subject that he felt entirely comfortable speaking freely. As Moog puts it pretty early on, his work has always been "something between discovering and witnessing," and it's truly a privilege to be able to discover and witness the man who helped spark the electronic music revolution. It places the whole process in a very human perspective, which is exactly what modern music needs." - Nils Jacobson, All About Jazz

"If you're expecting disembodied narration, long pans across historical photos, and a chronology of the Moog Modular's early development, you won't find them in Moog, the recent documentary just released on DVD. Instead, Bob Moog himself is the star, set firmly in the modern musical world he helped create. Whether wandering Tokyo's video game arcades or appearing in the titles in cartoon form, the soft-spoken inventor talks eloquently about circuits and music alike. This present-day portrait of electronic music's philosopher king is what ultimately makes Moog so compelling: Everywhere the inventor goes, he's surrounded by music and by musicians. Wendy Carlos is sadly missing (she refused an interview), but with performances from Sun Ra to Stereolab and lots of new DVD extras, Hans Fjellestad's documentary rightfully goes beyond the historical, focusing on the cultural phenomenon Moog has become." - Peter Kirn, Keyboard Magazine

"A man who genuinely revolutionized late-20th Century music gets his due with Moog, writer-director Hans Fjellestad's absorbing documentary about Robert Moog, inventor of the synthesizer that bears his name. In his seventies when this 2004 film was made, Moog began working with electronic music in the late 1940s, when he designed and built theremins (the source of the wavy sci-fi sound heard on the Beach Boys' 'Good Vibrations'). But it was the development of the Moog synthesizer, an analog instrument with electronic components, that put him on the map. Unsurprisingly, it was initially dismissed as a soulless novelty, a notion not helped by its use in silly commercial jingles; Moog himself was regarded as nothing less than a dangerous anarchist out to destroy music as we know it. That all changed when he added a keyboard to his machine and musicians of all stripes gradually began using it for more serious ends. Moog credits Walter (now Wendy) Carlos' Switched-On Bach as the first important milestone, and the list of major artists who have used it since then includes the Beatles (on Abbey Road), Stevie Wonder, Keith Emerson of Emerson, Lake & Palmer, and Rick Wakeman of Yes. The latter two perform briefly in the film, as do many others (P-Funk's Bernie Worrell, Sun Ra, Charlie Clouser of Nine Inch Nails), but Moog is the star here. Indeed, it's hard not to believe this genial, self-effacing man when he talks of the 'spiritual connection' between his invention and the people who play it." - Sam Graham, Amazon.com

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


moogost "The soundtrack for Hans Fjellestad's new documentary, MOOG, is a remarkable celebration of the electronic instrument that revolutionized 20th Century music." - Randall D. Larson, Cinescape

"This album not only sparkles with moog, but it has a lovely electro-funk feel to it. Moog is a tribute album that pays a glowing testament to and genuine affection for the machines and its creator." - Barcodezine

"Although the soundtrack to the documentary about Bob Moog and the widely influential synthesizers he invented favors newish electronica over classic synth tracks by Yes and Gary Numan (both supplied on a second bonus disc), recent recordings by Moog-lovin' acts including Stereolab and Tortoise prove plenty of bleeps and bloops are still waiting to be created on these versatile vintage keyboards." - Barry Walters, Rolling Stone

"The soundtrack features several of the most interesting performers and groups in contemporary electronic and rock music. Included are diverse contributions which highlight the versatility of the Moog synthesizer. Overall, the soundtrack is an excellent introduction to the Moog synthesizer in contemporary music." - Sherman Wick, Cosmik Debris

"Widely dismissed as a passing novelty in its formative years, New York inventor Robert Moog's electronic synthesizer eventually evolved into the most revolutionary instrument of the past century. While the sonic burblings of the original Moog are too often associated with 60's/70's kitsch, musician/documentarian Hans Fjellestad ably frames his film/soundtrack around a more contemporary mix of styles that better showcase the instrument's enduring, nearly boundless potential. Fjellestad's own 'Abominatron' intersperses samples of Moog himself discussing the instrument, while Stereolab and Meat Beat Manifesto offer the synth a compelling spotlight within their own band contexts and Bernie Worrell and Bootsy Collins give it some overdue funk/r&b props on 'When Bernie Speaks.'" - Jerry McCulley, Amazon.com

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


33 "This third solo album by Hans Fjellestad takes us elsewhere, away from his writing for ensembles (featured on Red Sauce Baby) and into a more intimate sound world centered on the piano. The fixture of bourgeois boudoirs is approached as a cultural icon, a mean to channel emotions, a source of noise, and a tool of inspiration. And the pianist doesn't stick to this sole instrument, he also uses an old analog synthesizer, computer, sampler and field recordings to create strange studio constructions that often stray far away from conventional piano music. Then again, you would't expect anything less from Fjellestad. 'Hash Knife,' 'Pica' and 'Mink Eyed' are piano-only pieces (if you take out the occasional vocal interjection). In them, the pianist shows his odd integration of the free jazz (Cecil Taylor, Borah Bergman) and contemporary (Fredric Rzewski, John Tilbury) idioms. 'Hash Knife' contrasts manic key runs with sparse string-plucking and wood-hitting, while 'Mink Eyed' is lightly dissonant romanticism. But the best moments are found in the hybrid pieces where the piano's discourse intermingles with electronics and studio wizardry. 'Smoke Shank' pairs a piano improvisation punctuated by over-accentuated grunts from the pianist with episodes of digitized reconfiguration. In 'Phone Damage,' he puts the e-bow to the piano strings, although this is only one detail in an eventful piece that unfolds like cinema for the ear. The computer construction 'Cabrito,' with its beautiful soft-spoken finale, provides the undisputed highlight." - François Couture, All-Music Guide

"Can electronic music avoid its old tricks? Can it not sound bleak? Can it still be truly weird, not standard-issue weird? Yes to all those questions. And the strange thing here is that this recording has an acoustic piano base, or at least acoustic piano DNA. What's inside: twelve tone pianistics that won't behave, structured chaos, frenzy you can follow. This is free music that came in out of the cold, strange and unforgiving. The taped material and the live blend and give you something neither could begin to if they were on their own. Track after track upended my expectations. Fjellestad's organic and inorganic materials are woven into bright, scary textures. Contradictions are all there in living colors that reach out and arrest you." - Richard Grooms, The Improvisor

"San Diego-based pianist / composer Hans Fjellestad is a sound collector. His music picks up and discards a lot of things on the way to where it's going. Keyboards, strings, field recordings, ambiances, shards of styles, analog noise – all get fed into the curiousity-shop of his mind. Out comes 33, a wide-ranging collection of pieces which start in one place and often veer off into unexpected, alien lands: sort of the aural equivalent of Joseph Cornell's wonderland boxes, those unsettling little dioramas of bourgeois unease and Dada humor. Often this effect is due to Fjellestad's juxtaposition of pristine piano with noises and processing of various raw varieties. Fjellestad takes plenty of chances cobbling together his little worlds. 'El Cavernario', with echo, flange, reverb and computer, begins with messed-up piano mirror-samples; a drone kicks in, building, via noise-blocks, to an echo-y rhythm-jam; then, some distorted Mexican radio filters in and it turns programmatic – a rude depiction of a cross-border night flight. The opener, 'San to San', throws out a stack of cool sounds all at once, then a door opens and we're in a club in Japan, with talk and laughter and skittery, distant piano runs. An ominous drone lifts up and flies us back over the Pacific. 'Cabrito' is the ne plus ultra of 'Klangfarbenmelodie', a way-cool pulse track of sampled piano preparings; toward the end it downshifts into a sad, Tim Burton-ish lullaby. 'Smoke Shank' is marred by an undegested forkful of free-jazz noodling wedged in between more thoughtful plinkings and creepy, wind-sucking vocalisms. The noisier he gets, the better. The piano-only passages aren't so memorable; there, the lack of focus is plain. Otherwheres, there's heaps of fascinating sonic jetsam in Fjellestad's little resonance-boxes, rewarding listening over and over again." - Tom Djll, Signal to Noise

"Hans Fjellestad's multidisciplinary approach to his work — he's concurrently musician, filmmaker, artist, and, word has it, boxer — reflects through the scattered directions of his musical exploration. He's worked with the Trummerflora Collective, in the Donkey duo, released albums of soundtrack work, contributed to a collection of Christmas music, and with 33 he returns to the piano, an instrument he's drawn on since childhood. If there's a thread that runs through 33, it's one of tenacity and exploration. One can picture Fjellestad approaching the instrument from all angles, mangling and mauling the strings, preparing the piano in myriad forms with unrecognizable and malformed implements, feeding the results through arcane systems and bolstered electronics. A good portion of the album trades in an austerity that offers up to the listener a connection with modern composition — the frantic hammerings and note-scrawls of certain pieces reflects Conlon Nancarrow's work fo impossible mechanised pianos, where other explorations hint at serialism. When Fjellestad introduces electronics he often smears the source sounds into great waves of slippery tonalities or burping interjections. 33's drive is toward continual exploration, and there's an impressive level of risk-taking going on here. For that, Fjellestad is to be applauded. But there's a sense that Fjellestad's work doesn't quite shift into a truly transcendent gear. All of the pieces collected here on 33 are discretely listenable blocks of manipulated and stretched sound stuffs, but the album sits a little too closely toward being an explanation of a series of events and experiments, as opposed to a genuinely listenable whole. 33 is fascinating and full of energy, but sometimes it feels like it wants to be admired more than loved." - Jonathan Dale, Grooves

"Fjellestad alternates and blurs the lines between the conventional and the avant-garde, on one track playing the solo concert pianist, yet on the next the experimental sound manipulator. But I found the sparser and more considered piano and electronic studies on 33 to be captivating, and I enjoyed being flung between Fjellestad in the concert hall and Fjellestad the sound artist. And notably, Fjellestad the filmaker comes through at all times as his music has a distinct image inducing and narrative feel." - Jerry Kranitz, Aural Innovations

"This is an exciting album - it takes the concept of a solo piano album and runs rings around it." - Jeremy Keens, Ampersand Etcetera (Australia)

"Complex music sometimes sounds so simple. Like watching a professional at work, Fjellestad effortlessly blends musical sources into what superficially seems to be solo piano work. On repeated listens, the detail comes out. It's very slow, like your eyes focusing on the endless stars while you grow accustomed to the dark. It's a feeling I rarely enjoy, the apprehension that something larger than your understanding is just out of reach. For me, this has been one of the most rewarding albums I have ever listened to; especially in terms of never really coming to definite grips about its nature, its source, the feelings it elicits. More than simply being able to find new notes each time, Fjellestad has found a way to create a 'slippery music' that makes a mockery of the deductive process. Highly recommended." - DaveX, WDBX 91.1FM

"This album not only stands as an intriguingly dark foray into both rhythm and deconstruction, but also as a gauntlet, thrown in the face of those who smugly think tape manipulation and electronics make for a sufficiently outre statement. We should all be embarrassed at how little progress we have made. One track here (namely 'Kylling') pushes the field of rhythmic surprise further than AUTECHRE's entire back catalogue, and not a drum, acoustic or otherwise, in sight. Okay, so you could claim they are fields apart, but the almost throw-away approach to this one piece should be rubbed in the face of us all until our skin ruptures and our eyes water. But don't get the impression this is the one gem flung into an album outerwise devoid of merit - no! This is a journey from beginning to end, dragging the listener, bound by the feet, through an often caustic landscape inspired by DALI - not the easy humour of some Surrealism, but the skin-chilling weirdness of his more extreme visions. If eclectic in influence, then much of this is encoded and altered, assimilated into the dark whole - moments here and there of New Age and World music wear chameleonic disguises, blending into the core seamlessly, adding new dimensions at every turn... all absorbed into an ever intriguing and tantalising trip through the make-belief world of an uncompromising mind." - Antony Burnham, Metamorphic Journeyman

"Musician and filmmaker Hans Fjellestad takes to the piano and an array of manipulation techniques provided by old and new technologies and creates a totally new record of nature sounds, including making piano sound like rolling rocks and clouds, and bows and loose pocket change into sonic shocks of static electricity. Think of tuning into what might first appear to be a mellow traditional piano-oriented modern classical piece and droning movie soundtrack scores and having those radio waves collide with that of a broadcast from a space telescope that tries to decipher alien signals. Things change so quickly within the 13 compositions (all of which don't seem to be flow together — which is in fact an ironic yet key element to the album) that it comes across as a condensed audio documentary book version that encapsulates all there is needed to be learned about the myths of middle earth and the deep universe. Fans of Stars of the Lid, Eno and Robert Fripp soundscapes should take notice — this is advanced listening at its best." - Roman Sokal, Exclaim!

"33 promotes Fjellestad as an innovative musician whose creativity emerges through his internal perspective as well as from the annexation of external factors. He hears music in all things around him, and his combination of these diverse accoutrements translates into a challenging musical experience. His improvisations throughout the recording provide an insight into his mindset, portraying a musician whose concepts run in the very deep and cavernous pools of his mind." - Frank Rubolino, All About Jazz

"'33' ist ein lärmig-lautes Ambient-Werk, tief empfundene Musik, die in ihrer teils harschen Natur sanft, zart, zerbrechlich wirkt. Hans Fjellestad ist ein Meister des Arrangements, der mit offenen Sinnen ungeahnte, entspannende Musik schafft. Bleibt mir, diese urkomischen, erregt-melancholischen Stücke zu empfehlen. Die erfahrbaren, nachvollziehbaren Songs sind eine fast schon naiv-berauschende Welt, der mit Lust gelauscht werden kann." - Volkmar Mantei, Ragazzi

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


dual res "The untimely passing of the German free improv bassist Peter Kowald in September 2002 has left many musicians in mourning, including a number of young improvisers from the US Bay Area. In 2000, Kowald had toured the United States and spent a few days on the West Coast, performing and recording with local musicians. Pianist Dana Reason had organized a studio session with Kowald and Trummerflora Collective members Hans Fjellestad (piano, synthesizer) and Jason Robinson (saxophone, electronics). They committed to tape a handful of short quartets and a number of duets and trios in various combinations. Following the death of the bassist, the remaining three went back into the studio to record a few more trios as a living tribute to the man and the influence he had on them. Dual Resonance shuffles tracks from both sessions. Each permutation of players gives way to different nuances, but the modus operandi remains European-school free improvisation throughout. Fjellestad is the wild card, his analog burps and squirts startling and jousting the other improvisers out of their comfort zones. But he remains rather discreet, even turning to the piano when Reason sits one out, as in 'Lunar Cycle.' 'Discursive Matter,' Reason's duet with Kowald provides a shining moment of beauty, while Robinson's two rounds with the bassist 'Dark Matter' and 'Tomorrow's Question' explore dark acoustic drones. These musicians don't reinvent the free improv wheel, but they play with obvious honesty and devotion. If some pieces remain unengaging (the closing 'Dual-energy X-ray,' for instance, where electronics and acoustic instruments remain tucked in their corners), as a whole Dual Resonance provides a fine listen." - François Couture, All-Music Guide

"Peter Kowald crisscrossed the United States for three months in 2000, playing at a multiplicity of venues in major cities with established area artists. His pilgrimage took him to Southern California, where he joined forces in a series of duet, trio, and quartet configurations with pianist Hans Fjellestad, pianist Dana Reason, and saxophonist Jason Robinson. Eleven of the selections on Dual Resonance document these interactive encounters. Kowald died on September 21, 2002. On New Year's Day 2003, in honor of Kowald's memory, Fjellestad, Reason, and Robinson met again to record additional tracks. These memorial pieces are interspersed among the songs with Kowald in a fitting tribute to the bassist who had an uncanny knack for making friends wherever he went. The three 'Dual Resonance' songs feature all four artists. The music expands on the aggressive piano sequences by Reason, abrupt tenor retorts from Robinson, and synthesized infusions by Fjellestad. Elsewhere, Kowald brings his unique style of bass playing to fore in the smaller settings. Long, linear arco strokes by Kowald initiate the sharing of improvised ideas, such as on his exquisite duets with Reason. She builds a tower with progressively stronger sound blocks as Kowald jabs, punches, and thrusts bass ideas at her. The combined output has significant appeal. The dual piano tunes with Kowald are particularly alluring. Reason and Fjellestad cast differing projectiles to encircle Kowald within a sea of resonating notes, which he is able to tame with his pensive, melancholy lines. Fjellestad duels with the trio on synthesizer as well, where his sparks converge with acoustic bass and piano in a compelling jointure of compassionate playing. Kowald had perfected a form of throat singing, which he would typically use to complement his playing on tour, but on these sessions with electronics and synthesizer supplements providing similar color, he eschews the process. With few exceptions, the individual entries are short exercises, yet each reaches full development and maturity in the short time allotted. The memorial pieces are poignant. The music is fully open and free, but a sense of mournfulness prevails on each of them. Robinson makes his tenor cry out, and the pain of Kowald's loss is felt through his and the others' heartrending responses. The music on this recording, however, stands on its own despite the emotions conjured by the premature death of the great bassist. It is a presentation of free expression by creative artists interacting with the idea of the moment. While the passing of Kowald places a different spin on the sessions, the music itself breathes in testament to the artistry of these four players." - Frank Rubolino, All About Jazz

"An absolutely enticing improvisational blend that will have enlightened listeners ecstatic! Synths (Hans & Dana), electronics (Jason), piano (Dana & Hans), tenor sax (Jason) & contrabass (Peter, who, unfortunately, has passed on to bigger/better adventures since this was recorded). Those inclined towards 'regular' music (you know, structure & simplicity) will not enjoy this experience - but those who are attracted to the invisible explorations of the joy of the moment will not be able to stop listening to this. These folks are ultra-sensitive to each other, & definitely 'move with the flow'. The interplay between the contrabass & the piano on track 3, 'Viscous Matter', is superb... high energy, movement that (somehow) seems frenetic, & it just KICKZ! The compositions are all quite short, which will make for a much easier listen for the uninitiated. Totally new landscapes are explored, & I found many exciting moments here; my favorite cut was the aforementioned 'Viscous Matter', probably because of the keyboard(s), but this is the kind of album that you will find yourself "discovering" (perhaps 're-discovering' is a better word) each time you listen to it. For those listeners who want to experience musical discovery, this gets a MOST HIGHLY RECOMMENDED!" - Rotcod Zzaj, Improvijazzation Nation

"This is yet another fine set from members of the vibrant southern California free-improv community. The performances are varied, with the marriage of compatible contrasts being what I found most exciting. Fjellestad is really doing inspiring things with electronics in the free-improv world and the more I hear from him the more intrigued I become with his work. Recommended to everyone into adventurous improvisational music, and fans of experimental electronics will find lots of interesting surprises here." - Jerry Kranitz, Aural Innovations

"On Dual Resonance, Fjellestad is joined by bassist Peter Kowald, saxist Jason Robinson and pianist Dana Reason. Only three full-quartet improvisations are offered; the rest are mostly trios scattered among a few duos. Perhaps the title refers to the added pianist presence of Dana Reason, who's done good work with The Space Between Trio. It's not too hard to tell the two keyboardists from each other; Fjellestad's resonance is heavier and often takes to the inside of the piano (he uses some electronics, too), while Reason shows off her trained touch. On 'Glass Agitprop' with Kowald, she sounds not a little like Cecil Taylor, with the declamatory octaves alternating with incisive clusters. Fjellestad uses his synthesizer stuff sparingly but to good effect, especially on 'String Theory,' where he unleashes a bagful of crispy synth critters, scurrying among piano and sax. Robinson has a big, strong sound, but can click, pop and wheez with the best reduccionistas. He augments his sax with electronics, sparingly. I think it's Fjellestad sneaking in under the suck-sounding sax with electronic phasing clouds on 'Dual Energy X-ray' - a fantastic moment, chillingly beautiful with Reason's delicate, lacy piano work on top. Kowald leads the musicians to places more extreme and fine-tuned than they go without him. Or perhaps the musicians are just on better behavior in the presence of the late master. Either way, it makes this disc an up-and-down ride, a funhouse of surprises." - Tom Djll, Signal To Noise

"FJELLESTAD, KOWALD, REASON & ROBINSON take the tools of their Jazz roots (piano, contrabass & tenor sax) and add some synthesizer and electronics to make a music which crosses over from almost foundationless Jazz to a sound approaching early Industrial Noise. Strings are scraped and the electronics score and bubble, yet it's the out-of-place abstraction of the 'trad' instruments which really tip the Ice Spiders down your back in a dark, cold and unfamiliar place. If you're looking for something relaxing and serene, look elsewhere. This is the world viewed as a broken heliotrope seen through a telescopic kaleidoscope of beer bottle shards, phlegm and discarded cigarette cellophane wrappers; where ever twist tips 'normality' naked into the dread arena of some psycho's wildest dream, and the more you try to focus, the more defined the warped flaws seem to be." - Antony Burnham, Metamorphic Journeyman

"A wide-ranging series of improvisations which only occasionally bring together all four players. The ever-changing line-up keeps the ideas fresh, and the experimentation is mind-blowing at times. Most intriguing." - Aiding & Abetting

"A dynamic and interesting work. [Dual Resonance] is both a fitting tribute to Peter Kowald and his playing, and has a view to the future which is itself a reflection of his influence." - Jeremy Keens, Ampersand Etcetera (Australia)

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


fl "This compelling, impressionistic documentary by director Hans Fjellestad focuses on three subjects that, as a whole, paint an arresting picture of modern day Tijuana. Frontier Life is a celebration of humanity and creative expression, an unforgettable glimpse into another world." - David Cooper, Salina Journal

"Extraordinary!" - The Latin Film Network

"Fantastic! Very smartly put together, and the subject is fascinating." - Steve Gallagher, Filmmaker Magazine

"Looking past the stereotypical city of vice, Fjellestad negotiates the chaos to reveal a heart in the infrastructure and subcultures of Tijuana." - Rich Lim, Tokion

"Tijuana's seamy underbelly is exposed clinically, unflinchingly, as if it were the Byzantine Empire ... prettily made and offers an original concept..." - Meg Van Huygen, Resonance Magazine

"There is more to life in Tijuana than just cheap pharmaceuticals, bars with no last call, and prostitutes. The documentary Frontier Life proves it. Truly, necessity is the mother of invention - and the queen of Tijuana." - Crystal Meers, Nylon

"Frontier Life, its content as well as its formal properties as a cutting-edge documentary film, represents the best artwork that is coming out of our region that we loosely define as Los Angeles to Baja California." - Rachel Teagle, Museum of Contemporary Art San Diego

"A vibrant, fascinating, funny, and often surreal experience of life in 21st-Century Tijuana." - Voz Alta

"Frontier Life exposes the musical genius of Mexico's most notorious border town." - Zach Dundas, Willamette Week

"Feeding off the innovative and electronic sounds of the Nortec Collective music movement, the stories of illegal drag racers and the insights of young artists and social anthropologists, Fjellestad has created a documentary that brings to light the urban and artistic realities of contemporary Tijuana... The film, in part, challenges Tijuana myths and stereotypes. But most important, it captures a moment in the history of this young Mexican city." - Hiram Soto, San Diego Union-Tribune

"Tijuana: It's not just for blowjobs and coke deals anymore. That seedy border city's tourist board may crave a better campaign, but they'd be hard pressed to best the vision of the city being forged by cultural pioneers the Nortec Collective. Drawing from TJ's outlaw iconography and Norteño music, these hyperarticulate musicians and artists have adapted their own symphony for a city. Hans Fjellestad's hypnotically shot doc roams the dusty streets with drag-racing clubs and flows through the aqueducts with a waterworks director. Yes, Tijuana is coursing with filth, the film's subjects say, and from this comes something wholly original. It's not a nice place to visit, but you'd be amazed to live there." - Michael Tortorello, Minneapolis City Pages

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


flbs "Frontier Life is a documentary by Hans Fjellestad who, besides trying to film the border town of Tijuana under a different light, is also an avant-garde composer and member of the Trummerflora Collective, an experimental circle based in San Diego. This soundtrack album is the result of a collaboration across the USA-Mexico border between Trummerflora artists and members of the Nortec Collective. The music is mostly in the electronica vein, minimal techno and experimental dub forming its core with contributions from artists like Panóptica, Clorofila and Latinsizer. The latter manages to integrate Mexican folk culture into its techno without it sounding kitsch or forced -- a rare feat. But the best music comes from those who push things further. Fjellestad's own 'Phone Damage' is a very fine layering of odd ambiances..." - François Couture, All-Music Guide

"This CD opens up a whole new field of exploration for lovers of electronic adventure." - Elisabeth Vincentelli, Time Out New York

"Soundtracks to documentary films hardly rank in the 'must seek' factor but this little affair from Mexico is a notable exception. With the likes of Panoptica, Marcos Fernandes and Point Loma on board 'Frontier Life' acts as a fitting introduction to the country's fruitful electronica scene." - Steve Mclay, DJ Magazine

"Ominous and sprawling, it's a fascinating collaboration between two left field groups separated by politics, culture and people with guns." - Troy Johnson, San Diego City Beat

"The soundtrack to Hans Fjellestad's documentary Frontier Life mirrors the film by diving past the surface image of Tijuana to find the hidden culture that has arisen on the frontier. Great Music that is more laptop than Latin." - Fitz Gitler, XLR8R

"...plenty of head-crackling minimal gear and percussive downtempo to confuse your ears. Nice work." - Jane Fitz-Gerald, Update Magazine

"There is all the adventure you might imagine when thinking about a 'border town'; but, there's something else, too - a real sense of 'strange', in a futuristic sense... lots of beats, electronic manipz & things different than you might expect. The music is pretty much unclassifiable, certainly doesn't fit into any pigeonholes. Less Latino flavoring than I expected, much more rhythm oriented. A well recorded album that gets a HIGHLY RECOMMENDED from us, especially if you want to hear something that speaks of strangers in strange lands." - Rotcod Zzaj, Improvijazzation Nation

"This is solid, rich, full-blooded music taking reference points from our increasingly complex multi-cultural multiverse... from the heart - the genuine article, rather than some jumped bandwagon facsimile." - Antony Burnham, Metamorphic Journeyman (UK)

"...an innovative and intriguing collection of tunes..." - Paul Sullivan, Dotmusic.com

"[Banda Sonora] pleasantly throws one off, in terms of what might be typically expected of a documentary about porous borders and dusty Mexican cities... This is seriously experimental territory and so curious in parts, it makes one want to watch the documentary. A good effect, undoubtedly and a sign of more delightful things to come from the Nortec collective." - Vinita Ramani, Exclaim! (Canada)

"'Phone Damage' von Hans Fjellestad vibriert monoton auf dunkler Ebene, ein geradezu avantgardistisches Stück. Rhythmus findet vordergündig nicht statt. Das ist ein exquisit gesetztes Tonfragment, das mal wie eine Tropfsteinhöhle und mal wie eine Schlosserwerkstatt klingt und doch absolute Ruhe ausstrahlt... Accretions ist ein Label, das sich ungewöhnlicher Klänge annimmt. Electro Avantgarde, Jazz und neue Töne, Alltagstöne mischt das Label auch auf dieser Veröffentlichung genial. Der Film wird durch die Musik berauscht, zur Stille gebracht. Hans Fjellestad, der den Dokumentarfilm gedreht hat und auch Musik dazu beiträgt, wird demnächst mit Film + Musik touren. Das ist eine Empfehlung wert." - Volkmar Mantei, Ragazzi

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


bs "If electronic music can be described as energetic, then this album certainly is, leaping between towers of abstraction, dragging note clusters over cruelly sharp rough terrain, they mess around in the margins of an ever-playful train of sonic events. Not one corridor of possible sound combinations is left unexplored. In the way that people believe that an infinite universe may house an infinite possible lifeforms, so DONKEY explore all avenues... this is another triumph for this duo." - Antony Burnham, Metamorphic Journeyman (UK)

"An expansive, never-ending battle of fantastic sounds with references ranging from Morton Subotnick and AMM to '80s harsh noise artists - sometimes, it's hard to believe so much substantial din is emanating from only two people." - Manny Theiner, Grooves

"Fjellestad and Holzborn create a dense, festering tropical sound texture... a compound sonic miasma of slushing water, skittering toots, crooning and mooing. It's a decidedly queasy and groaning soundworld, like a journey through a mud pool, at times reminiscent of the bubbling inventive density of Matmos and the psychotic drawl emerging from the bottom of a Frank Zappa cheeseburger." - Matt Ffytche, The Wire

"Donkey tinker and toil with guitar and synthesized electronics in the development of eccentric arrangements that experiment with the infinite edges of their medium. On the studio recorded 'Crick' we are voyeurs to contained chaos in tinny languages and blurry subtexts. In moments a U2 bomber's surveillance of the depths and then suddenly dwelling on quieter flights into spacious caverns. With the anthropomorphic equivalents to a certain synesthasia this is a wild ride into forbidden cracks and crevices - an exploration in the weight of high pitched, deformed tones. At over one hour this is a participatory listen that might just keep you up all night." - TJ Norris, Soundvision

"Fjellestad and Holzborn excel at combining sound and tonal exploration with continually evolving patterns to create a sound art bonanza that also happens to be a hell of a fun cosmic trip into the wildest and most turbulent regions of space. These guys cover a LOT of territory, leaving the field wild open for exploration and discovery, while remaining impressively cohesive and controlled. Sound art and space exploration fans who want something that reveals new treasures with subsequent listens will find Big Sur to be delightfully challenging." - Jerry Kranitz, Aural Innovations

"Forest-related field recordings provide a backdrop for some mad improvising. Noisy, occasionally brutal, the piece nevertheless leaves room to breathe. This is not a Merzbow-esque assault. There is pace, tension and most of all invention, but it sure feels overwhelming at times. If Xenakis had been an improviser, he may have sounded like Fjellestad. One imagines him torturing his knobs with red-hot iron tweezers." - François Couture, All-Music Guide

"Donkey exhibit a coherent sympathy too many modern players miss completely; you can hear them following each other all over the map." - Marc Tucker, e|i

"Wenn Merzbow der Avantgardist ist, sind Donkey die Melodiker. So einfach ist es zwar nicht. Aber die Richtung stimmt. Man muss sich nicht weit hinauslehnen, um diese 'Musik' zu lieben, in der heutigen ambientverliebten Welt ist 'Big Sur' längst nicht die avantgardistischste Variante musikalischer Möglichkeiten. Der Lärm auf dem Wege zur Stille." - Volkmar Mantei, Ragazzi

"Vous voilà embarquez dans une aventure extra-terrestre qui vous laissera des souvenirs impérissables... Fjellestad et Holzborn font de Big Sur un disque qu'on ne fait pas qu'écouter. On le réécoute, le ré-réécoute, et on découvre toujours avec le même étonnement des espaces sonores chaleureux et inattendus. En mêlant admirablement une musique complexe à un univers visuel et captivant, DONKEY réussit là ou peu nous émeuvent, nous attirant tout en douceur vers un rêve éveillé." - Quentin Dève, Soit dit en Passant

"'Crick' ist ein halbstündiger, rein elektronischer Soundscape, der die Henry-Miller-Landschaft Big Sur im Studio nachzeichnet, nicht etwa als ambiente Idylle, sondern als üppig wuchernden Noisedschungel. Musique concrète im Brobdingnag-Maßstab 1 : OH, MEIN GOTT, ES IST RIESIG!. Das Gras wächst mit Star-Wars-Volume. Die beiden anderen Landschaftsmalereien 'Wood' (23:14) und 'Fog' (8:17) entstanden live auf dem Big Sur Experimental Music Festival und sind von ähnlich eindrucksvollem Kaliber. Kein Wunder, dass dort drüben laufend der Wald brennt." - Rigo Dittman, Bad Alchemy

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


rsb "Red Sauce Baby doesn't allow you to settle. Refusing to behave itself, it screams, throws things and makes a mess. As Fjellestad says, 'Keeping a stranglehold on it, imposing control, makes for lifeless music.' Clearly a teasing 'Gadfly Principle' is at work, to cite the title of the prepared piano improvisation that follows the two quirky collages opening the disc. On those, piano filters through taped street sounds; bagpipes play 'Scotland The Brave' while a church organ broods, free jazz frenzy erupts from woodwinds and percussion, then subsides into a basketball game. Straighter instrumental combinations include two piano duets with Dana Reason, but elsewhere, electronics are drizzled across a text-sound composition in English and Danish, while stones click and an accordion, gourd pipe and trombone sound. It only hints at the flavour of Fjellestad's spicy concoction." - Julian Cowley, The Wire

"Composer/pianist Hans Fjellestad's entire raison d'etre is to let sounds roam as freely as they need to without any boundaries or controls. Subsequently, Red Sauce Baby is an exercise in unbridled sonic freedom that makes use of everything from electronics to live instruments like gourd pipe, sax and bagpipes. Taking jazz as its major reference point, the album possesses some dramatic surges as well as peaceful swells, culminating in what some may see as cacophonous noise and what others will admire as raw, almost shamanic energy that embodies the true essence of unrestricted music." - Paul Sullivan, XLR8R

"Hans Fjellestad is a mad scientist of sound who has long busted out of society's fences around creativity. Red Sauce Baby creates a freakshow of musical instrumentation that hints at music's future." - Troy Johnson, SLAMM

"Fjellestad reminds one of Ives or Partch as they too respected the sacred or mystical origins of music. This is very exciting music indeed... demonstrating the versatility and orginality of Fjellestad as an improvisational artist." - Curtis Glatter, San Diego New Music

"Like a lot of avant-garde composers, hints of delirium are bound to surface. Yet, this chaos is almost always organised, to a degree. Shifting from an organic/natural mode to the electro-acoustic, Hans Fjellestad's ethics of composition are more about the 'moment'; where an intense pressure of self-awareness is forced upon the musicians, in which improvisation is the only possible method of escape. The foundation of the compositions on this disc seems to reflect a controlled insanity. Layers of horns rise and fall, sounding like dying insects; babbling pianos converse between each other and scatter to collect what is left of their mind, like failed prodigies that have become nothing but drunks. In short, this album is the soundtrack to nihilism versus the beauty of nature." - Roman Sokal, Exclaim! (Canada)

"An absolute delight!" - Cris Baldwin, Acid Attack Music (UK)

"It's his best work to date... he's trying to break the sound barrier." - George Lewis

"Anything but run of the mill... Red Sauce Baby is an intriguing work of art." - Lisa McGee, Future Music (UK)

"Engrossing and enchanting by turns. An album which should stand the test of time and work its way into some different sets of ears." - Jeremy Keens, Ampersand Etcetera (Australia)

"Red Sauce Baby is a very mixed bag indeed, which is all for the better, making for an exciting hour of listening, with not a boring minute inserted anywhere! Great stuff!" - Ingvar Loco Nordin, Sonoloco (Sweden)

"'Red Sauce Baby' is one of those experimental bands that producers both love and fear. So chaotic and oddly structured that it wrecks havoc on the mind and ear yet also so ingenious that producers can make their career by mixing and making the sound come out just right. Instruments range across the board (with samples of what sounds like sneakers on a basketball floor taking the cake!) and so does the sound. The lovely bagpipes that open 'Free Throw Prophet' give way to the sneakers so well that it's almost a half thought. Truly great experimental music can tend to lack direction (or even lack the thought of not lacking direction) but Hans Fjellestad's 'Red Sauce Baby' leads the triumphant chaos chorus in line and helps us shutter off the societal ideas of what music is and should always be. MTV and most radio won't touch this with a 10-foot pole, but hell who would want them to? It would just spoil the fun in saying that you've heard the oddest thing in the world and you love it." - J-Sin, Smother E-zine

"Strong in both composition and content, a genuinely intriguing balance of collective improvisations, guided compositons and sound art. A soundtrack for your ears." - Gary Lopez, New Creative Music LA

"Hans' music makes Miles Davis look like a military band leader. Flowing across filmic docu-songs and filtering piano and voice through traffic noise and bagpipes, this is not for the faint-hearted..." - Worldpop (UK)

"Der Komponist und Videokünstler Hans Jørgen Fjellestad improvisiert mit Akustik und Elektroakustik und bringt mit seinen sich abwechselnd noisig und meditativ gebenden Visionen, in denen sämtliche Musikgeschichten und Stile dekonstruiert werden, die rote Soße in unseren Adern zum Kochen." - Sebastian Hofer, Contentment (Vienna)

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


nsp "What a strange, telepathic, and progressive semi-freejazz ensemble this is! Here's the question: After hearing really good spontaneous improv and listening to Sun Ra's 'Magic City,' how does one figure out what is and what is not extemporaneous? Well, it doesn't matter. When it sounds as good as these guys, who cares? Shifting from five to nine players, the ensemble is hardcore committed. You just can't play like this without being topped out... the sound is quintessentially live and almost dangerous: there are just too many flipped-out ideas flying around. Two discs of mind-altering truly progressive music.Sloppy, tight, tribal, spaced, schizophrenic, enlightened, alien...hell, just listen to those percussionists on the first track and you'll know all." - Marc Tucker, Progression

"These musicians make no attempts to hide their diverse backgrounds in rock, jazz and world music and things really cook... fine examples of the no-frills approach to free improvising that makes the American scene so refreshing. It's got the same fuck-you-this-is-what-we-like buzz as Ian Davis' Micro-East Collective (operating on the other side of the country). It's fresh and original..." - Signal To Noise

"The music on this 2-disc set is QUITE MAGNIFICENT SHIT. Cock an ear to the last cut on disc one, 'Frosty the Snowman/Silent Night.' George Lewis is on there, you might recognize him, but beyond that there's just so much shit going on you could LIVE IN IT. It would be a viable place to live! How many bands in the fucking WORLD, in conservative navy towns and elsewhere, do anything remotely similar to what Trummerflora does, a hundred? Eighty? Fifty? Seven, including Smegma? The number is SMALL. Trummerflora Collective! In our merry midst! Treasure 'em, people!" - Richard Meltzer, The Reader

"Hans Fjellestand's organ from his solo and Donkey CD's sounds great within this fuller band context. But this is 23 minutes of avant rock and jazz, and experimental sound explorations that don't let the listener snooze for a moment. Even the quieter subtle passages are busy and full of life and intensity. Dark droning guitars compete with birdsong flutes and chaotic percussion to create a primordial soup of pure sonic beauty. There's LOTS going on that only the most attentive listening with reveal. An excellent set of improvised music." - Jerry Kranitz , Aural Innovations

"Playing such unpredictably meshed music must be a totally absorbing experience... Hearing No Stars Please is like taking a walk and noticing things, with room for noticing other things when taking the same walk later. The musicians are not out to flaunt their technique, but to enjoy the plurality of options available when they get together to organise sound. It's not a showcase for virtuosity but a record of shared investigations." - Julian Cowley, The Wire

"...rumbling like brown infra-hoses beneath the floor, as synthesized rats gnaw at the cables before encountering a fabulous electrocution by crude amplifier-destined electricity from nuclear power plants thrown out across the prairies like doomsday ice-cream cones of infertility... in ever-changing nuances, as the sounds move like the shadow clouds over the plains, in constantly changing patterns; Trummerflora music!" - Ingvar Loco Nordin, Sonoloco (Sweden)

"No Stars Please es una coletanea de improvisaciones dando espacios infinitos a la creatividad del ser, no como un ser parametrado a ciertas tendencias sino más bien como un ser altamente creativo pluralista y natural que rompe esquemas y construye nuevas formas de expresion artística. el disco es una mezcla de sonidos y estilos variados desde aires de Jazz raspando el cielo decibélico con un ambient trance y golpendo con cortes de noise psicodélico." - Undernews Magazine (Peru)

"I say that right now it's amazing. It's nothing like I have ever seen, and I'm just happy that this sort of homegrown collective in what many people think as an out of the way, very conservative place, which would never have a scene of new and transgressive music, would suddenly develop one out of nowhere which I think eventually will be known around the world. I'm sure that is going to happen." - George Lewis, The Wire

"... if you like improvised music, free-jazz or noise art, and like your musical boundaries challenged, this is...for you." - Bart Mendoza, San Diego Union-Tribune

"When not committing additional subversive acts, the members of Trummerflora can be found at random locales around San Diego and points beyond aiding and abetting others with experimental music." - Dylan Roberts, DigitalCity.com

"...at the heart of everything done for Trummerflora is the notion of original sound composition and discovering music that has never been done before -- even if the players are forced to look a little strange doing it." -Angela Ashman, San Diego Union-Tribune

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


show "With Donkey you get something tasty, elusive... probably the result of some divine accident at the factory. With one foot in Improv Jazz, the other in wild Electronica and at least its heels dragging in the furthest point left of early European Kraut Rock, Donkey make a music which borders on chaotic madness but never actually becomes isolated with its own obsessions. It manages to grate on the nerves with its kitten-on-Speed explorative nature while never alienating. It's rare you find music which so satisfyingly crosses genres, but this should equally appeal to both the Modern Improv Jazz fraternity and those into Trad Noise Industrial. Wild yet controlled, crazy yet somehow in possession of a knowledge beyond the ken of yer average man in the street, this is much recommended." - Antony Burnham, Metamorphic Journeyman (UK)

"...a new sonic horizon, and booga to the 'Oh, electronic music! It's so Cold! So Unfeeling! Waah!' crowd, the excitement that the interchange of creativity and challenge these two are engaged in fairly leaps into your ear. What makes all this consistently fascinating listening is Fjellestad's complete refusal to reuse any of the same tricks; one moment his synth resembles a steel guitar note, luxuriously sprawling as the dusty plain it evokes, the next a set of chimes your three-year-old got drool all over, then an epileptic car alarm dropped in your soup pot." - Mike Zimbouski, Signal to Noise

"Whether its source is sampled voices, Fjellestad's synthesizer or Holzborn's acoustic guitar, the music assumes the quality of aural graffiti, jagged hints and smeared traces of illicit communication between members of some clandestine network, tags of the Trummerflora." - Julian Cowley, The Wire

"These guys demonstrate a sensitivity of expression that naturally is in intense demand among improvisers but not always present... Exciting! Turn the volume up!" - Ingvar Loco Nordin, Sonoloco (Sweden)

"[Donkey] veer from the heady extremes of pure adrenaline noise to the more cerebral and chin stroking intellectual excersise that is improvisation at its most inventive." - Cris Baldwin, Acid Attack Music (UK)

"The staccato and surging electronics evolve and develop in engaging and compelling ways with the perfect balance of unity and variety in color, sonority, rhythm and texture. While you won't find yourself humming any tunes, Donkey cranks out some mighty fine noise." - Dean Suzuki, Progression

"On this series of live recordings, these two members of San Diego's Trummerflora collective explore the netherworld of electroacoustic improvisation, noise art and free form jazz. Fjellestad and Holzborn manipulate their hard wired instruments with a bracing intensity, shifting between outright sheets of noise and more modulated orchestral patterns. This is music that is just as capable of growling as it is signaling the landing of a alien spaceship. This is not jazz in the conventional sense of the word, but more in the spirit of constructing adventurous sounds in the moment, regardless of genre and style." - All About Jazz

"What struck me after a few listens was how electronic space, noise, jazz, and avant-rock meet across these tracks at a crossroads that defies easy labels and genres. Whimsically freaky, but beautifully executed, the music demands the listener's attention, yet the reward is a strangely lulling experience." - Jerry Kranitz, Aural Innovations

"Show is more of a sonic collage then a linear listen. But that's not to say this isn't a masterpiece. The intensely industrial sound is a heavy improv audio feast... Show is quite possibly the best experimental album of the new millennium." - J-Sin, Smother E-zine

"Show incorporates quick and sturdy electronically-generated pulses with acoustic improvisations, rich musical soundscapes, and well-balanced forms." - Curtis Glatter, San Diego New Music

"...electronic exploration, chittering, wobbling, shimmering jitters and abstractions, but in a playful wandering through some interesting sonic spaces... varied and engaging pieces for those with a penchant for the experimental & improvisational, as you would expect from Accretions." - Jeremy Keens, Ampersand Etcetera (Australia)

"There are plenty of enlightening moments in these haunting and aggressive 'songs.'" - Troy Johnson, SLAMM

| snails r sexy | stone | snails r sexy | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


reindeer "...and the reindeer you rode in on is outer space transmission music for a tripped-out Xmas party where the drinks are served under dangling inverted Christmas trees made of broken flourescent light tubes throughout a house in the industrial district with black rooms and velvet floors... a masquerade gathering of self-pronounced freaks presided over by a wordless Santa shaman wearing electric cellophane ram's horns and mesh lederhosen. A party where you don't ask what's going on in the back room. You're either invited back, or you're not. It's very late at night. You donít know anyone here except your date, and she's talking to a guy wearing black lipstick about the last Kafka book she pretended to read. This is the music emanating (slightly too loudly) from a stereo in the candlelit living room where an oversized montage of photos featuring rusting yield signs, Dan Rather and various cuts of beef in decay dominate your line of sight. At turns strangely beautiful in an off-kilter way (Joy to the World, Dejlig er Jorden), groovy (Little Drummer Boy, Holiday Season), playfully campy (Up on the Loungetop), and downright spooky (Frosty the Snowman, Good King Wenscelas and the noisescape labeled Jingle/Bells) this CD aims firstly to disorient. Then disturb. Then, after all that, to entertain. Which it does... oddly enough. I'm not really sure how to classify this CD. It's not quite an ambient experience given the frequent outbursts of noise and camp. It's not quite a dance CD, given the up and down tempos and wildly varying beats. It's certainly not traditional Christmas music by any stretch of the imagination. It's not quite anything, really. But it's definitely experimental. And interesting." - J.G., Urban Tulsa Weekly

"The BEST Christmas album ever!" - Jesus

"You guys are just whacked... Just when I was thinking that the Christmas season was all dull along comes '...and the reindeer you rode in on.' We love it!" - Elaine Erb, KGNU-FM

"This ensemble fares best when it casts caution to the wind, as on a percussion-only version of 'Jingle Bells' that evokes the Christmas classic in name only, and on an envelope-pushing 'Frosty the Snowman'..." - George Varga, San Diego Union-Tribune

"Scramble the mess of the holidays and listen to the masters of Accretions!" - Brett Underwood, The No Show KDHX-FM

| snails r sexy | stone | kobe live house | haco hans jakob marcos | moog | moog ost | 33 | dual resonance | frontier life | frontier life banda sonora | big sur | red sauce baby | no stars please | show | ...and the reindeer | trummerflora 2 |


tf2"...experimental music that defies convention. If you dig out-there stuff and you're willing to take chances with your listening, this rates a (4)." - Carbon 14

"Working with a range of electronic equipment, Hans and Damon create a constantly changing soundscape in 'LOT 12' as they improvise - it is much too hard to describe the wandering synths, tones, cracking clicks, warbling electro, percussive elements, organ and various bleeps that comprise the piece, and just say it is a fascinating landscape to wander through with them..." - Jeremy Keens, Ampersand Etcetera (Australia)


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