[eh?108]APR
The Furies Inside Me OST
[eh?107]Jaap Blonk
Joyous Junctures
[eh?106]Sindre Bjerga
Hesitation Marks
[eh?105]Patrick Shiroishi / Arturo Ibarra
LA Blues
[eh?104]Wolkokrots
Atomnye Deti
[eh?103]Seeded Plain
Buffets Close Suddenly
[eh?102]Tania Chen & Jon Leidecker
Live In Japan
[eh?101]Cookie Tongue
Orphan Arms
[eh?99]Bill Brovold
Superstar
[eh?98]LSJ
Misty Nights
[eh?97]L. Eugene Methe and Megan Siebe
Revisited, Revisited, Revisited
[eh?96]Felipe Araya
Punata
[eh?95]Eoin Callery
Oakum
[eh?94]noisepoetnobody
Fissure
[eh?93]Bad Jazz
Daymare
[eh?92]Ernesto Diaz-Infante
My Benign Swords
[eh?91]Larnie Fox
In The Cathedral of Airplanes
[eh?90]Tom Djll
Cassette19
[eh?89]Leonard * Day * Jerman
Isinglass
[eh?88]Das Torpedoes
Qu Nar
[eh?87]Ben Bennett & John Collins McCormick
Pluperfect
[eh?86]Daniel Wyche
Our Severed Sleep
[eh?85]Seeded Plain
Spill Containment
[eh?84]Bad Jazz
Bad Dreams In The Night
[eh?83]Chefkirk & Andrew Quitter
Kaiju Manifestos
[eh?82]Venison Whirled
Tetragrammatones
[eh?81]Gary Rouzer
Studies and Observations of Domestic Shrubbery
[eh?80]Unrepeatable Quartet
Edmonton 2012
[eh?79]Stefan Roigk
Unpredictable
[eh?78]Lucky Bone
Borderline
[eh?77]Jeffrey Alexander
No Sacred Snow, No Sacred Show
[eh?76]Bruno Duplant / Pedro Chambel / Fergus Kelly
(Winter Pale) Red Sun
[eh?75]Horaflora
Live
[eh?74]Graves / Kreimer / Wilsey / Bachmann
The July Amalgam
[eh?73]Sky Thing
Virgin Journalist
[eh?72]Cactus Truck
Live in USA
[eh?71]Various Artists
Hammer, Anvil, Stirrup
[eh?70]Alice Hui-Sheng Chang, Park Seungjun and Jin Sangtae
Live at Dotolim
[eh?69]Edward Ricart & Tim Daisy
Yiu Ja Ley
[eh?68]Chagas And Schafer
Gesture To The Declining Sun
[eh?67]Superlith
Plasma Clusters
[eh?66]Jeff Kaiser / Nicolas Deyoe
Chimney Liquor
[eh?65]Close Embrace of the Earth
At the Spirits Rejoice Festival
[eh?64]Jean-Marc Montera & Francesco Calandrino
Idi Di Marzo
[eh?63]Un Nu
Recoupements
[eh?62]Bailly / Millevoi / Moffett
Strange Falls
[eh?61]Jacob Felix Heule & Bryce Beverlin II
Intersects
[eh?60]Foust!
Space Sickness
[eh?59]Dislocation
Mud Layer Cake
[eh?58]Strongly Imploded
Twilight of Broken Machines
[eh?57]CHEFKIRK
we must leave the warren
[eh?56]Hag
Moist Areas
[eh?55]Eloine & Sabrina Siegel
Nature's Recomposition 33
[eh?54]KBD(uo)
Any Port In A Storm
[eh?53]Eckhard Gerdes
!Evil Scuff Mud
[eh?52]Psychotic Quartet
Sphaleron
[eh?51]Federico Barabino
Can You Listen To the Silence Between the Notes?
[eh?50]Soaf
Dynammo
[eh?49]Yana
The Fruit Witch of Ancient Salamander
[eh?48]Ember Schrag
Jephthah's Daughter
[eh?47]Massimo Falascone / Bob Marsh
Non Troppo Lontano
[eh?46]Delplanque / Oldman
Chapelle de l'Oratoire
[eh?45]The Epicureans
A Riddle Within a Conundrum Within a Game
[eh?44]Croatan Ensemble
Without
[eh?43]Man's Last Great Invention
None.
[eh?42]Sad Sailor
Link to the Outside World
[eh?41]Ricardo Arias / Miguel Frasconi / Keiko Uenishi
Object
[eh?40]Andreas Brandal
This Is Not For You
[eh?39]Gamma Goat
Beard of Sound, Beard of Sand
[eh?38]John Dikeman / Jon Barrios / Toshi Makihara
We Need You
[eh?37]David Moscovich
Ass Lunch
[eh?36]KBD
Four Plus One
[eh?35]Brekekekexkoaxkoax
I Manage To Get Out by a Secret Door
[eh?34]Diamondhead
Dirty Realism
[eh?33]Jesse Krakow
World Without Nachos
[eh?31]DBH
Wave the Old Wave
[eh?30]Bryan Day
Four Televisions
[eh?29]Giraffe
Hear Here
[eh?28]Nagaoag
Yama Labam A
[eh?27]Shelf Life
Rheuma
[eh?26]Papier Mache
2
[eh?25]Papier Mache
1


Sindre Bjerga - Hesitation Marks
C45 (Stavanger, Norway)



Side A

Side B




Reviews:
(Vital Weekly) On a strictly personal level I can see some relationship between Jaap Blonk and Sindre Bjerga. I saw both of them play concerts on numerous occasions; in recent years hardly from Blonk and lot more from Bjerga. They are both tireless performers. In the case of Bjerga that leads to a lot of releases, taping every concert and finding labels to release (a selection at least) these. Blonk, on the other hand, is someone whose music has a broader range, from solo improvisations with the voice to heavily computer treated studies. His releases might not always (or rather: rarely) be derived from concerts. Still speaking on a personal level, I think both gentlemen deal with a form of sound poetry. In the case of Blonk clearly when he is using his mouth to generate sound, in Bjerga's case a bit more covered up. He uses various means, in which pre-recorded tapes with spoken word (perhaps found sound; maybe not) are played on an old Walkman and Dictaphones, something feeding the sound down a metal pipe to alter the sound. On his 'Hesitation Marks' cassette, he has a live recording from The Hague and Berlin, both within the space of one month in 2017. Both pieces are quite different. The one from The Hague is all about garbling up voice tape, along with contact microphone abuse on rough surfaces, sometimes leaping towards a bit of feedback, which he keeps well under control. In Berlin, the circumstances might have been a bit different as Bjerga stumbled upon feedback, metallic percussion in a non-rhythmical manner and it all sounds mildly more aggressive than what heard on the other side. It culminates in a dirty drone excursion that lasts some eight minutes and it takes his voice poetry to the most abstract level. Sindre Bjerga does what he does best and he does a great job at that. Jaap Blonk is a bit older than Bjerga and has been going since the late 80s with a wide range of musical interests, all of which involve his mouth, producing sounds and words (or vice versa). Sometimes harking back to the early days of Dada, improvising with other musicians, going all computer; anything goes, it seems for him, and this tape is a wild ride along many of these interests. Even when there are no other players listed here, it sounds at times like there are instruments at work here, but everything and that is really everything, went into the computer here and along the lines, various bits and bobs of software are transformed. Maybe live, on the spot? That was at least the impression I got from this cassette. Blonk uses words, voices, gestures of/by the mouth, singing, humming, moaning, sighing or whatever else, and then feeds it into the computer where it slides up, pitches down, stretches, compresses, bend and shaped with granular synthesis. All of these tracks are quite short and to the point, and somehow one fades into the next, even when they all have individual titles. Along with all this voice stuff, there is also the sound of the piano, percussion or strings. I have no idea how these fit into the picture; where do they come from? Are people playing these instruments along with Blonk (but why no mentioning of them on the cover?) or maybe these are midi-controlled instruments that Blonk has full control over as he plays them along with using his voice and controlling the software to process that voice material? Hard to say yet it does make up some fascinating listening. It is very poetic but with these occasional musical instruments also crazy, slightly messed up form of improvised music, that also goes out to the world of electro-acoustic music. It's a one-hour wild ride and it is great to see a new sign of life for mister Blonk; happy as always we this happens! - Frans De Waard

(Chattanooga Pulse) Listening to the new cassette Hesitation Marks from the Norwegian artist Sindre Bjerga, this writer imagines some kind of exploratory team from another planet, sifting through the remnants of human civilization on Earth. Some technologically advanced detecting device hums and buzzes as it’s used to scan the rubble, where a damaged Walkman cassette player is found, which miraculously still works, but the playback is severely garbled, so that the spoken message on the tape is rendered incomprehensible. Hesitation Marks documents two live, improvised sets recorded in the Netherlands and Germany in 2017, and Bjerga, a prolific electro-acoustic musician and creator of the Gold Soundz label, doesn’t use conventional instruments, opting to primarily employ a microphone and a portable cassette player, which is manipulated by Bjerga’s fingers to distort the playback speed, warping the output sounds. To the listener, there seems to be no recipe for what makes certain parts more entrancing and intriguing than others. On one hand, the more dense and complex moments offer more to absorb and process, and at times, a firm tug out of a pit of more subtle, less stimulating passages is welcome. Possibly subconsciously, the listener wants cues to know that the musician is paying attention and constantly adjusting and reacting. Generally, a sense of mystery works in favor of this material, where the sound seems to exist in the ether beyond earthly materials or human actions; however, there are small joys that come with recognition—like a pop song being aurally deformed—that draw the listener back to reality. Low fidelity ambient noises, residing within a limited frequency range—whooshes and whirls, with grit and hiss—provide atmospherics while taped voices, like voicemail messages from ghosts, offer an eerie element, which can be both disturbing and slightly comical, particularly because they can’t be understood. - Ernie Paik


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