“A Documentary of Women in Experimental music is a collection of noise and weird sounds from women across the world. From Sweden to England, from New York to Hungary– reflects just how widespread and varied experimental music and noise is. Come enter our world and get to know the ladies of noise.”
Anastasia Vronski starts this compilation with a work titled ‘A Doc of Women in Experimental Music’. In it you will be greeted with a warm alien voice that talks probably about this doc of women in experimental music. It functions as a nice introduction.
Then Anastasia Vronski expands her contribution to this compilation by providing a very interesting track named ‘Expander’. I don’t know what it is that I’m hearing in this track but it feels as if lots of croaky wood is being expanded, with additional crashes to turn it into a exciting session of stretchy woody sounds. Pretty darn interesting!
The psychedelic-friendly music by toth kina hegyfalu has also made it into this compilation with ‘Gouge’. Gouge is very strange, like a hollow space with gigantic alienating teeth being brushed by a foreign version of a flexible singing saw.
Than a true force in the field of experimental music and noise ‘elizabeth veldon’ pops up to deliver an intriguing worldly statement in ‘My piece for this collection is called’. It is done by a voice that takes no breath back to tell you what this artist statement is about & in the end it’s clear that elizabeth veldon wants to bring back the music and art back to women from which it originally originated.
Then it’s a time for a live performance of The Helmet Song by Blancah. This touches upon the fantasy of strange bizarre and surreal realities. Music can be heard of different kinds, a guitar jamming in the night, strange synth material putting on a weird atmosphere that even contains Blancah performing the actual song with her voice. It is such an original kind of music that my ears are not sure where to pay attention; but listening to all at the same time is something you won’t easily forget. Blancah pushes out her words through the mysterious dark magical music combo of something never-heard-before. It’s punk, it’s goth, it’s avant garde, it’s a experimental master piece! I don’t know about you but I’m going to search for more music if Blancah in the near future because this is sounding like it demands more ears!
elizabeth veldon returns with ‘music if for women, it belongs to women’ which is a well-balanced realm of a woman choir that is seemingly processed to create an angelic calmness for each and every one who tunes in. It’s quite the moment to feel enlightened about. To completely please my own personal ears ‘elizabeth veldon’ drops one last track on this compilation. It is called ‘lost to the classical tradition as it is lost’ and sounds perfect. It is like a calm vaporization of sound, close to that lovable sound of lobit. It soothes the ears until complete relaxedness kicks in.
Weird Shit by mascara is really nice and personal. We can hear a voice talking positively about how her story to noise making came about and of course that alone is intriguing enough to tune in, but it’s nicer to know that this story slowly but surely gets fins tickle hijacked with nice energetic fun noise! As if mascara put power to the words by doing the excellent noise deeds! Fun!
Also lots of fun but in a completely different way is ‘something fast’ by
Christina Amelia Diamond. This tune swings in an electronic punk way with noises, strangeness and lots of wild energy. It’s very original, shitting on boring punk rock by introducing a completely new level of middle finger sound exploring! And how crazy it all sounds, it is surprisingly danceable & rock-able at the same time! Such a cheer up, this tune! Awesome!
iky iky (also known around here as Ars Sonar delivers a private talk with her work in talk. She talks about her experimental music, which is very interesting as after when it’s finished she will actually play one of her tracks for you. ‘What About Future (No Future)’ it is called, a shimmering dark world in audio form in which the air seems dead, last breaths are descending over the tormented landscapes and ghostly spirits roll around the soundscape to fill it up with lovely lives and artifacts.
Then it’s time for Bird Paradigm’s found poem which is raw and poisonous. A noisy world of bumblebees and magic spells zoom around in here, creating a dangerously tough environment that suddenly gets silenced.
Carolyn Fok also delivers with a grotesque piece named ‘Music For Breast Pumps’. Just as the title suggests we could imagine a scene for music for breast pumps; carefully introducing singing babies with music that evolves through different stages until a full and frontal amount of beauty that comes across as the music of relieving proportions.
mascara returns with a rhythmic experimental work titled ‘i lifted this with my hands’ which features a nice amount of plastic fantastic sounds, strange snippets all working together to create a dreamy version of noise, rhythm, melodic hints and ambience.
It’s such a togetherness of things that it’s easy to lose yourself in and wonder what it all is that we are hearing. Stuff to think about!
Then it’s los babies with a quick and short sounding raincloud. It’s warm, strangely provocative, as if a jazz band has been captured through radio and then chopped up in a delirious glitch machine.
‘Cherry!’ By Mikrofon Vilag is adventurous good fun too! Experimental music meet up with spicy words flowing put like the coolest thing you have ever heard. Cherry is what her momma called her, cause her cheeks get red’ has never been delivered in your face like this! Mikrofon Vilag keeps the finger up and delivers another track ‘Russian Boy’ which gets her delivering her words about a an Russian boy named Sergei feels tough, honest, spontaneous, slick, tight and adventurous! A powerful sound!
To make the story even more excellent and worth it, Christina Amelia tells us in a track named ‘why I make noise’ why she makes noise.
The words of her story come together with carefully crafted noises. For some reason I had strangely thought the last (and her last on this compilation) track named ‘Where have you been all my life?’ Would be a harsh wall of noise… But my guess was totally wrong! Christina Amelia goes in rhythm and beat mode, together with electronic bleeps, piano, and watery bubbles she shoots the end in with a spontaneous flow of energetic chamber space jazz! A great ending for a little celebration!