Chefkirk / Iversen - Split, out on XV Parówek
Chefkirk is a really busy man! If you follow the updates of CD-R record labels' catalogues, you
may soon happen upon one of his works. Personally, I got acquainted with his music on the occasion
of reviewing some releases on Simple Logic, and I know I am in for another outing from him soon
too! Well, Chefkirk's side of the split is much alike to the said disc. He's a skilful hand to
craft out a bunch of solid, short noise works. Their lenghth varies from a couple of dozen
seconds to a few minutes, and there's no room for static sound reverberations. Chefkirk's
itches to twist and break music result in a series of surreal collages in which some extremes
meet each other, and anything can happen! Something between Nurse With Wound, Big City Orchestra,
and Brume. 30-minute-long set certainly isn't anything outstanding, but it isn't boring either.
Iversen's work fits the scheme pretty well. The Norwegian project connected to Origami's orbit
plays with sounds in an unhurried manner on the border of noise and ambient territory. A kind of
noise easy listening, whose sound bands, undulating at most times, won't pierce anybody's ears. I
wouldn't say I found something memorable on Iversen's side alas.
(Krzysztof Sadza, Eld Rich Palmer)
There are 12 tracks here, all blasted out with a fearsome commitment.
There can't be more energy and ferocity contained and channelled in
such a noise/experimental fashion, without losing something. It all
shows, that this collaboration is angry, belligerent and uncompromising.
A benchmark in extreme music.
Quando si parla di elettronica minimale, di rumorismi, di noise estremo.. la nostra mente pensa sempre subito ai giapponesi.. bhč, questa volta tocca a 1 polacco e a un norvegese "giocare coi rumori"..
..la prima parte dello split č affidata al polacco Chefkirk, conosciuto anche come Roger Smith, nelle sue 11 tracce si destreggia tra inquietanti divagazioni ambient, semplici, brevi e intensi attimi di noise digitale e abbondanti rumorismi basati su piccole frequenze, a volte toccando lidi harsh-industrial/noize.. un bel lavoretto, ma che non concede molto all'ascoltatore, spesso ci si perde e si rischia di annoiare.. e non tutti i brani sono all'altezza, un lavoro buono per metą..
..nella seconda parte dello split troviamo invece Iversen, il "capoccia" della TibProd. e mente di progetti come Koff Koff, Kredi Dubi e Origami Klassika.. la sua parte di disco č affidata a un solo brano lungo 21 minuti, brano che seppur lungo sembra seguire coordinate migliori, minimalismo, echi di drones, manipolazioni di frequenze e loop distorti..
..in conclusione, uno split che farą contenti solo i maniaci della manipolazione digitale dei suoni, frequenze e agli eterni creatori di rumori digitali.. gli altri appassionati potrebbero trovarlo un pņ stancante e debole..
Chefkirk begins with a whopping 11 tracks of experimental noise to what I view as the most literal degree: Covering all the bases from ambient tones to harsher textures, minimalist loops and drones, a thick recording that's neither lo-fi nor the least bit polished, etc. Several of the tracks are a minute-and-a-half or less, with only a few creeping past four minutes. "PCB?s, Dioxin, Mercury, Lead, and Arsenic", for example, is but a minute of bass heavy ambient rumblings, followed by the longer "8106" that mixes such dark ambient textures with crispier high-end glitches and some piercing fits of quick distortion and jittery noises. "Chloramphenicol" is a little rawer and uses faint harsh distortion that slowly rises beneath low-end drones and an almost rhythmic loop, bringing in an excellently utilized vocal sample as well. "Pavbhaji", the longest piece, is more of a straight harsh noise piece, though definitely a bit more dense and minimal than is often the case - it's not exactly trying to rip your face off. Most of these pieces however are a well handled blend of various styles and structures. On the other hand, Iversen (Norway) takes but one composition ("Caligula Symphony D") running 21+ minutes, built up around carefully shuffling low-end drones scraping back and forth across undercurrents of very murky, dismal noises. It creates a rather sinister accent for the piece and lays the groundwork for the entire track. Just past the midway point things pick up and get slightly busier with some odd keyboard tones, but then calm back down to one of the more minimal passages, thus continuing along that general route until things come to a close. The CD-R comes in a handmade pink paper sleeve with an abstract photo glued to the front. Inside is a xeroxed insert with some art, tracklists, and recording information for each project. I'm not that big on the package aside from the image on the cover, which is a lot more interesting than anything else, but it looks inexpensive and does basically work. Very nice work from both projects. As a whole this release is a tad bit rough around the edges, but these projects are a great complement for one another. There are obvious differences between the two, but at the same time were this labeled a solo release from either of the two projects I don't think it would raise any doubts. Not bad at all.
Running time - 51:04, Tracks: 12
[Notable tracks: 8106, Chloramphenicol, 10151, Caligula Symphony D]
More Chefkirk, aka Roger Smith, launched onto the world. Here on a split
with Iversen, who also seems to be as active as ever. Chefkirk offers
twelve tracks of his sample based noise, which sometimes works out quite
nice, such as in '(R+M)/2 METHOD', but occassionally leaps into a clone
of Merzbow, without surpassing the master himself. But here Chefkirk
keeps his tracks short and that is altogether not a bad thing. The more
quiet and or more rhythm ones make the release worthwhile.
Iversen's 'Caligula Symphony D' is a twenty-one minute work that like
the Chefkirk piece works on a variety of levels, such as quietness,
noise and rhythm, but here packed as one track, which makes it harder to
digest and in his built up and structure of the piece, the odd note is
struck, which made me think that Iversen is jamming around with some
sounds, rather than working along a pre-conceived plan. Which is a pity
because there is some potentional in this music.
Frans de Waard/Vital Weekly
(XV Parówek; CDR; 12 tracks; 50 minutes 11 seconds)
(File under : Very interesting dense subtle noise split)
Life sometimes can do very elaborates reunions. I do not really know who is at the origin of this split but reuniting these projects made a very cool release. Chefkirk from North Carolina open this split with a very beautifully crafted noise. Chefkirk plays a kind of noise made with some very subtle mind-boggling loops over-textured with very dense noise manipulation over. In a way it sounds like old school noise of the 80's. The way tracks are made by Chefkirk is very interesting. Each of the eleven tracks of Chefkirk's own are have a very beautiful sense of the succession. Chefkirk impressed me even more than the first releases I've heard from them. If you like noise minimal but with a very beautiful arrangement, look at Chefkirk and this release is also interesting since Iversen are not that far from the sound of Chefkirk. But instead of doing a multi track composition, Iversen did a 20 minutes track. Consider this a good thing but the transition between the two artists is so soft that some times I didn't even noticed the change of artist. This is a very killer split sincerely. This left only few time my stereo. I guess I played it 10 times the first week I got it. The presentation is very DIY, concisting of a folded normal pink paper sheet with a "full" colour square image on the front that looks like, well I don't have a fucking clue what it looks like. and inside there's a ¾ page inly with infos on each project and the label. Personally I don't have a prolem with that kind of layout, but there's a lot of people who won't pay attention to this just because of it. So this is two young project to check out because they sure can give really awesome shitte soon as they already produced awesome shitte. Congratulation guys for this and thank you for entertaining me like this.
Split tra due artisti polacchi. Il primo copre quasi tutte le tracce, il secondo copre con una traccia la durata del primo.
Chefkirk usa dei suoni tipo Merzbow o anche qualcosa di Otomo Yoshihide. Il rumorismo che ne viene fuori e` controllato da loop che si ripetono e si susseguono. Filtri, FM spinta, spazializzazione, tutte queste tecniche vengono usate in maniera compatta. Il suono viene definito molto bene. Certo, non potete uscirci con la donna, ma se vi piacciono gli esperimenti (o se magari piacciono anche a lei!) penso sia utile rintracciare questo lavoro. In qualche punto c'e` anche qualche eco di Fennesz. Sono presenti anche modifiche di suoni reali, che confluiscono sempre in fasce di rumore bianco o rosa.
Nella seconda parte dello split, Iversen costruisce layers di suono e li mixa facendoli sparire e comparire. Usa loop e qualche suono sporco, qualcosa che puņ essere definito tonale, ma sempre offuscato da rumori. Diversamente dal 'lato A' ci sono pił loops e il tutto sembra pił omogeneo. La struttura si regge su una progressione che muta colore, attraverso il suono e il rumore. Qui le interruzioni con rumori improvvisi sono meno presenti e in qualche modo giustificano la scelta del termine sinfonia. Seppure in maniera ironica. O dada?
(4 of 5 stars)
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