Next is a review of Vertoeven LVI / Mysteries van de Droom by Mr. Vito Camarretta at Chain D.L.K 

Let's dig deeper in sonic world's underbelly that is often so 'under' that some of you could think weird things related to them (occultists, aliens, mad psychiatrists making experiments, ghosts or whatever omitted to get credited as producers...). Fans of the darkest side of drone-driven music and gloomy ambient will be maybe delighted by the listening of "Vertoeven LVI" on side A of this split tape release, filled by Dutch sound artist Bert van Beek aka Scheerling with four acousmatic drones (lasting five minutes each) - mostly driven by effected scorched guitars, but also featuring whisper-like sounds, whooshing noises that got often used by tape art and metallic hits -. The abrasive first track "Schemmer" sets the ground for the hypnotical "Guurn", where some of the above-listed aural entities have been immersed into a dilated reverberation, which makes them feel like coming from some parallel dimension. The third movement "De Danne" - my favourite one - is a combination of tricks of the first two ones, as both slightly scorched guitars and reverb-puffed bubbles got joined, and precedes the final "Tehoape", which sounds like a cathartic reprise of the initial "Schemmer". I read somewhere it got inspired by the translation of some poetry of Dennis Gaens, but it's a detail that doesn't help me in explaining nuances I didn't catch due to the fact I didn't find anything in English or other languages I understand, so that I can only say it's an entirely recommendable listening. Likewise absorbing the sound that Thaumaturgist spread over two 10-mins lasting tracks on "Mysteries Van De Droom": this guy used some briquettes and pellets of acid-house and Berlin techno to develop a seemingly lo-fi sound (more sedated and uplifted on this first part, slightly morbid and psychotic on the second one, landing on those fractured bleeps you can hear when some old Korg drum machine is close to tilting), that could vaguely surmise some industrial techno experiments of the late 80ies.  


"Vertroeven Lvi/Mysteries Van De Droom"
(Oggy Records)

Side A is Scheerling's 20 minute opus, entitled "Vertroeven Lvi." Scheerling has some deep soundscapes, and it stays there for the most part, with loud echoing clicks, beeps, and boops intervening throughout. It felt like floating in a pool drinking a beer that had accidentally swallowed some pool water; melancholy and lethargic, somewhat disappointing but in a very accepting way. It's dark and alright. 

Side B had the real meat of the album. Sporting the name of the second half of the title of this strangely paired split, the side starts with a repetative drip synth with static phasers in the background and builds perfectly; adding more and more synths, eventually becoming overdriven and blown. A step-sequenced drum track clicks in, giving it a little bit of a polyrhythmic world psych vibe. More synths come along, the drum track changes, and by this time I was fully immersed. The second song is called "182" and has a totally different vibe, like that of the soundtrack of a terrible sci-fi movie with eerie lounge electric piano.

A split out on Oggy Records, a psych and noise label out of Ghent. I'm excited to check out more of their output after flipping through the back catalog. Some very interesting stuff, and an overall interesting split.

-- Jon Carper

Side-line reviews did a review on the Thaumaturgist / Scheerling split:

Scheerling / Thaumaturgist – Vertoeven LVI/Mysteries Van De Droom (Cassette EP – Oggy Records)

Genre/Influences: Experimental, minimal-electronics. 

Background/Info: Oggy Records is a small underground label devoted to experimental electronic formats. This split-tape features Bert van Beek aka Scheerling who already released previous work on Oggy Records and Thaumaturgist (which you maybe discovered on earlier work released on Barreuh Records). Scheerling takes off with 4 tracks while the B-side reveals 2 cuts from Thaumaturgist. The release is digitally available as well. 

Content: Scheerling definitely is the most experimental project from the release. There’s a slow and meticulous progression revealing multiple sound manipulations and effects. The sound is raw and dark although resulting in serene passages. It sounds like a sonic puzzle, which now and then reaches a climax. 

Thaumaturgist is more into early electronic experiments reminding me of the vintage electro-industrial approach of SPK. This band clearly reminds me of good-old 80s experiments in electronic- and industrial music. There also is a noticeable progression in the song structure, which has been accomplished by an impressive arsenal of studio tricks and effects. 

+ + + : This split tape reveals pure underground projects, but still fascinating experiments in sounds. I have a preference for the more accessible Thaumaturgist, but both projects are worthy of examination. This is an original release with a great sonic approach and revealing the renewed interest for cassette releases. 

- - - : I have never been a huge addict of split-releases and I would have preferred to get separate work from both artists. The main difficulty for both bands will be for sure to get some attention as I really believe they deserve it. 

Conclusion: Vintage music released on a lost (cassette) format; it will please the biggest underground freaks, but it also is an interesting discovery for experimental heads. 

Best songs: “Schemmer” + “Mysteries Van De Droom #1”.

Rate: (7).


July 2016 sees a New Logo & Sticker design by my friend, the artist Vincent Dams! Check out his works at his website <---------------------------------- 


Gonzo (circus) Label Report (Gonzo #134) by Christophe Vanallemeersch.


YEAH I KNOW IT SUCKS 27/06/2016 review by Kai Nobuko artists: Scheerling / Thaumaturgist title: Vertoeven LVI / Mysteries van de Droom format: cassette / digital keywords: electronic experimental drone experimental electronic oggy records oggy017 scheerling thaumaturgist Ghent label: OGGY RECORDS Never thought the day would come to hear a split between a certain Scheerling and Thaumaturgist, but as the day is today, you might as well join me. The work by Scheerling named ‘Vertoeven LVI’ is nothing dirty for your ears, but instead comes as a synthetic soothing track that might find joy into becoming distorted. This might break the smooth effect of the ambience as it functions perhaps more as a ear opener than a music-based tranquilizer. After this the music becomes a bit more subtle; an audio play for the ears! Strange mysterious warmth meet with recorded sounds that on their own seem to be manipulated to join the special effect parade. How it makes me feel? Like having a fever while working alone in a kitchen dropping large iron kitchen spatulas on the dodgy looking floor. I don’t know; it makes me feel like the fever had kicked in hard and I might have started to trip from loneliness. The music then sets into another section. This time it feels all subtle and pleasant; Warm synth material that calmly nibbles along the stream. Soft bonus sounds that scratch sweetly or bubble up a bit in a very polite way give this part of the work a bit more depth. It’s pretty minimal, yet not too empty either; it’s a balance that balances things out as the music plays almost a folkish abstract expression through electronica. If you have no idea what that means; join the line as not everything has to make sense over here or in the actual music. I must say that this is my personal part of the Scheerling contribution; nice and soft, yet bubbles along in a movement that is warm and pretty. In fact the more I hear; the prettier the work evolves, creating a climax that is sensible in surreal serenity. Melodic synth pads waving through each other like its a love song between two intelligent dolphins that refrain from making noises… Then it’s time to say goodbye to Scheerling as then it’s ‘Thaumaturgist’s Mysteries van de Droom to do its thing. It starts pretty different in approach as the previous artist; going for rhythm in a playful session that somehow in my mind sketched a scene of water spiders waterskiing while the clappering music supports the spider water sports in a sportive awkward fashion. With electric music material that is groovy, funky and at the same time pretty, it is difficult to decide if it’s to give it a go at the dance floor or just sit back and enjoy the intelligent progression of well knitted funkiness in electronic form. I guess it’s possible to do both; although I must say that wobbling with the toes and absorbing the mellow melodies through the rhythmic session is also a recommended activity. It’s really nice how the material seems to evolve, change and gets surprisingly more and freakier. Perhaps even freer! The more the music plays the more you got that urge to move, but before going into the crazy zone it’s good to tell you about the next part; even groovier! A bit in which a rolling drum loop with sweet laser like backdrop is simply making it very uneasy to stand still and act cool; this is the rhythmic material that will bring people together, dancing uncontrollably on these nice rolling rollers and spread love along the way; Something that easily can be traced back into the pretty melodic times that fly around it; like a mysterious muse playing the right things at the right time. https://viezecocktails.bandcamp.com/album/vertoeven-lvi-mysteries-van-de-droom -------------------------------------------------------------------------------------------------- 

www.merchantsofair.com 21-06-2016 Scheerling / Thaumaturgist Vertoeven LVI / Mysteries van de Droom c40 splitcassette Belgium - The Netherlands, if they'd have a mutual facebook relationship status, it would probably be 'complicated'. We make fun of one another, but there's also a lot of love, certainly in the world of music. Both our countries have an amazing underground scene with brilliant artists and bands. They also seem to like to work together and perform in each other's country. Or, as is the case here, release a split tape. We'll start with Scheerling, an electronic drone act from Nijmegen (NL). His piece 'Vertoeven LVI' is a strange journey in four parts, guiding the listener through a universe of electronic drones, ambient soundscapes and distorted field recordings. The result reminds me of the works of those early electronic noise pioneers who created a spacy sound with their mysterious machines. Spacy but earthbound, eerie but warm. The kind of stuff that always represents an elaborate journey They also come with four poems by Dutch writer Lisa Weeda. Thaumaturgist, from Ghent (BE), is unable to stop experimenting with house and techno sounds, which results in an abstract and quite bizarre approach to electronic dance music. His contribution to this split consists of two (although they appear as one) pieces of electronic music, distorted ambient you can dance to if you will. Sounds, noises and melodies appear and disappear, sometimes minimal, sometimes overwhelming but always intriguing. The second piece has an industrial feel to it, mixed with some jazzy sounds. So yeah, quite a diverse piece of work. In all, this is an excellent split, showing two artists who aren't afraid of experimenting. One brings some nice drones, the other plays with beats, breaks and noises. That being said, perhaps it's time for another experiment: getting both acts on stage together in a joint performance. I'm sure it will be an immersive trip, loaded with musical surprises. I'd like to see that... ​Serge -----------------------------------------------------------------------------------------------------------




FRANK.WHEELER. — LONGHORSEMAN (CDR by Frankly Different Records) SCHEERLING/THAUMATURGIST — VERTOEVEN LVI/MYSTERIES VAN DE DROOM (cassette by Oggy Records) These two are lumped in for a reason. Both of the musicians who are behind Scheerling and Frank.Wheeler. (dots intended) work together as Naagauk, of whom I reviewed a great debut cassette three weeks ago. Their solo projects show they are also interested in doing something else all together. Behind Frank.Wheeler. is Wouter Jansen, who is also a member of Me & Mr. Jansen, a singer- song writer project, but which is apparently more commercial. As Frank.Wheeler. Jansen plays ambient music, which is heavily inspired by the world of soundtracks; especially 'Revolutionairy Road' score by Thomas Newman was a big inspiration. Guitar and piano are at the basis of Frank.Wheeler.'s music but all of these are extensively treated using analogue and digital treatments. While the music certainly sounds cinematic, the eight pieces also stand very well by themselves. It sounds like it's from the world of ambient glitch, and with that comes the warmth of that kind of music. Everything is quite spacious, with a sufficient amount of reverb added to the music, and warm yet glacial (or should that be 'glacial yet warm'?) drones pass like clouds on a sunny day. Think also Stars Of The Lid mixed with a bit of early Stephan Mathieu and some rhythm thrown for the equation, but only sparse. I can easily see this kind of music be part of an art-house movie. There is one complaint to make and that is: why does Frank.Wheeler. keep all these pieces at such a short length. The longest is five minutes, but two of the eight are under two minutes, so the whole release is just twenty-five minutes. I certainly believe some of these pieces could have lasted a bit longer than their current length, and I wouldn't have minded some more of these pieces. On the other hand, a point of praise: this is a limited edition of thirty copies and they all come in a beautiful carton sleeve with two mini postcards. That looks highly professional. On cassette we find the other half of Naagauk, Bert van Beek's project Scheerling on a split cassette with Thaumaturgist, of whom we also reviewed work before (Vital Weekly 1026), just as we did with Scheerling (Vital Weekly 959). Again Scheerling is inspired by the poetry of Dennis Gaens, as translated by Van Beek's mother in the dialect of Enter, a part of the East of The Netherlands. This time around there is no mentioning of any instruments, but I could easily believe all of this uses a guitar and many effect pedals. The information mentions also 'folk instruments and field recordings' but all of this is effectively transformed into four pieces of dark and mysterious drone music. Perhaps not of the kind you haven't heard before, but it is all very well made, with lots of emphasis on the guitar sound, or so it seems to me. Nothing seems to be on hold for an endless amount of time, but every so often, Scheerling changes colour and texture of his music, and makes all of this less static and livelier. The music of Thaumaturgist is quite something else by contrast, but that's something we already from the previous release. By using old drum machines and small synthesizers, he creates here two long compositions of loops, rhythms and sounds and in part one of 'Mysteries Van De Droom' this is worked in quite some krautrock like proportion, which turns out to be a damn refined piece. Long, spacious, but also rocking and psychedelic. An excellent piece. That can't be said of the second part of the piece, which derails quickly and meanders about in chaos and hectic and unfortunately didn't hold my attention for very long. That makes two/ third of this tape great, which is not a bad score, I'd say. All three bands play in Arnhem on June 17th at the presentation of the Frank.Wheeler. release. (FdW) ------------------------------------------------------------------------------------------------ www.vitalweekly.net
vitalweekly 971

Quite some time ago I reviewed 'Frank Zappa' by Danielle Liebeskind (see Vital Weekly 662), a first solo release by a singer/songwriter which I felt was nice, but perhaps a bit too much outside the world of Vital Weekly (which someone recently called a sausage fest: 'it's all boys music!'), but then a little later on, Danielle Liebeskind turned out to be a band, including herself on guitar and vocals, Martin Luiten (of The Dear Listeners, Julie Mittens and Pick-up) on guitar and Donne of Donne & Desiree on drums and bells, recording an album in a single day (see Vital Weekly 877). On this new cassette we have both. On side A there is Liebeskind solo performing as The Godmachine the piece 'Dead Words', or perhaps 'The Godmachine' and 'Dead Words' are two titles. Hard to tell. On this new recording she recites poetry and uses a loop delay, which she works a bit too obvious. She has a nice voice, reminding me of Patti Smith or those female vocalists from Crass - a bit anyway - but I am not too blown away by the electronics; a bit too freaky for my part. Maybe this is all part of some improvisational schematic, which I don't get entirely. The other side is definitely improvised, by the trio, plus on electronics Sietse van Erve (Orphax) and Gijs van der Heijden on grand piano, bass and electronics, and together they provide quite an orchestral chaos to the words of Liebeskind. Words that partly in English and partly in Dutch. Even when I am not blown away by the words themselves or the Dutch language to that end, I liked this side a lot. This release comes with a great cover: a sort of 3-D with glasses to watch these - it's all an illusion. (FdW)



Joshua Macala

Cassette Review: syntax pony "syntax pony" (Oggy Records)

This cassette begins with quiet piano bits that flow into a noisy crowd audio sample and the whispers take us into a rainy static.   While minimally ambient there also exist some dark piano notes which come out strongly, as if with a vengeance.    That sense of it raining maintains, even through some more spoken word pieces (though not as crowded) and the eventual pianos of doom.

An out of tune sounding trumpet begins Side B.   After a brief spoken word there is the sound of scraping static, perhaps like mice.   An audio clip of a rioutous uproar takes us into some sort of drumming or tapping so as to keep the beat.   It reminds me of the audio only on a news brief that might come on during a television show only without all of the fancy warning signals.

After what I perceive to be a saxophone on some sort of "Flight of the Bumblebee" type of mission, syntax pony ends with wild growth like jungle noises with the beating of a wooden block.   In that way it shows the true colors of this color: while it is not always as wild as in its last moments, it is never really tame.



Joshua Macala 

Cassette Review: Steven Vinkenoog "Nocturnes" (Oggy Records)

In a world of ambient drone Steven Vinkenoog must be king.   With only ever slight variations, "Nocturnes" offers up tone after tone which can often sound like chimes in some mystical castle.     Sometimes they can overlap but for the majority of the cassette they each have their own individual place and purpose.

At times this becomes rather minimal and in that sense it brings out silence.   On more than one occasion my first time through I thought that this had ended when in fact it was not yet done so be sure to watch out for that.   (Or, you know, the listening version of watching out)

There also exist some creaks and other noises in here, just random sounds that could be as simple as a door opening and closing or perhaps some other more elaborate moving of furniture.   By the end you can also feel these whirrs as if the Stone Temple Pilots song "Vaseline" is about to begin.
This should serve as quite possibly the best example of ambient drone in the sense that these tones can seem so simple (and easily duplicated) yet mean so much more than just what it appears on the surface.


vitalweekly 959
Three new releases on the local Oggy Records. The first one is another addition to 'De Groene Driehoek', a series of discs with improvised music by a rotating cast of musicians. Here it's The Drowned Magicians, a quartet of Billy Navrovski, GP Montgommery, Cresconio Delarosa and Augustin Languaro, mixed by one Nuno Gomez. They recorded their jam session - as this is what these discs are about - on October 19, 2013 and unlike previous releases in this series, which were all a bit more techno/noise/ambient music oriented this new one seems to be more about rock music; there is plenty of guitar strumming here, as well as some bass and a bit of vocal, but also lots of drumming. In 'Significance Of Leave' this is all quite spacious - in the sense that it takes up some space on the release, and a wild jam it is. 'Cold Name' is much shorter and seems to be more coherent, more alike a real song; also spaciously played but just with more air in between the notes. I am sure a lovely evening for all involved, but I am not sure about the necessity for a release.
Behind Scheerling is local musician Bert van Beek, who has five pieces here, all of which have been inspired by poetry of Dennis Gaens, translated by Van Beek's mother in the dialect of Enter, a part of the East of The Netherlands - I kid you not. You can read these poems, enclosed in a small booklet, while listening to the music, or try to recite them while playing this. The music is quite interesting. It's my introduction to Scheerling as such and I must say I quite enjoyed these five drone like ambient pieces. There is credit for bass and drums, but I must admit I didn't hear these. Maybe they are all too heavily processed in here? It's hard to say what it is that Scheerling does here. It might be some sort of field recordings being processed, electro-magnetic currents or slowed down harmonium sounds. Or anything else that is suitable of a solid melt down in either the analogue or digital domain. It's all dark and moody and with those dialect poems you might expect something like Pjipstilling (Machinefabriek and Kleefstra brothers), except Scheerling remains all instrumental. Quite moody, but maybe because of the early dark times of the season, I thought this was quite a fine release. Perhaps nothing new as such under the grey autumn ambient sky, but a most welcome new name.
The final new release is by Oscar Wyers, also known as Foam Sword, and the proprietor of Oggy Records, as well as being involved with lots of other releases on his label. 'Yourney Into Your Maze' is his second release as Foam Sword, following 'The Librarian' (see Vital Weekly 890) and it sees his continuation in exploring the world of techno music via his own crude ways. This is not music to dance too, not necessarily perhaps, or not always maybe. In the two opening pieces it's not easy, but sure there is fine groove in the title piece and 'The Stairs'. Foam Sword uses quite a bit of synthesizer sounds and drum machines, which seem analogue, but might not be. It moves all over the dance place, house like, ambient, IDM and minimalist and is a most entertaining release (again). The weather is not as great as the first time around, but there is something uplifting about this; it's feel good music - at least for me. Maybe it's because lately I have been listening to (older) dance music again, or maybe it's just something I occasionally need, but these crude transmission from the underground dance floor certainly made my made. Not leaping around in a Vitus dance, but certainly foot tapping along. (FdW)


vitalweekly 955

STEVEN VINKENOOG - NOCTURNES (cassette by Oggy Records)
The music from Steven Vinkenoog from Arnhem, The Netherlands, always appeals to me. He's the guitarist of Donné & Desiree, and that wild free rock duo is miles away from his solo work. He then has guitar strings moved with ventilators; ebows and such like, and create some wonderful, quiet overtone music. On this cassette he has six pieces 'for semi-acoustic guitar with ebow, humming, whistling and three cassette recorders for live recording and playback' and the listener is urged to get two copies of this (on cassette, as a download, you choose) and actively mix these six pieces together in some way. Each side was recorded in one take. I am biased, you know that already, but I think this is a great release. Very delicate and quiet music, with overtones working excellently; I am not sure how to work the titles, 'Solo', 'Trio', 'Sextet' and 'Duo', 'Quintet' and 'Septet', which I gathered to be some sort of doubling of the sounds, but which I may not hear in the music itself. It's not something I worry about: the music itself is excellent as it is. This is peaceful, quiet music, intended and best enjoyed for a nocturnal playing. Excellent release, nice Xeroxed booklet. (FdW)


vitalweekly 928

(((MODOFI))) - DE GROENE DRIEHOEK 15.01.14 (CDR by Oggy Records)
SYNTAX PONY (cassette by Oggy Records)
Under the banner of De Groene Driehoek, Oggy Records organises jam sessions, which are later edited for a release. Here its a session with one person, it seems, being (((MoDoFi))), who did the honors on January 15 2014 and which in a compressed form of a twenty-one minute CDR comes to us. There is no list of instruments but it's clear that this particular jam session takes place with the equipment of an electronic musician: rhythm machine, synth, effects, microphone, kaoss pad and such like and it's never really sequenced like a proper dance record. There is a large amount of delay going round here, on the microphone mainly, which reminded me - sometimes - of an old record I have by Nyrabakiga, and maybe also some early Cabaret Voltaire. The whole mood here is rather that of something that is loosely orchestrated and a bit chaotic, certainly the first six minutes which may serve as an intro - maybe not. Once it gets into a rhythm and sequences it's more organised, but it never becomes a true dance record. Obviously. I think at twenty-one minutes this is long enough. It keeps you interested and doesn't distract too much with endless doodling. Nice!
Syntax Pony is label-boss Oscar Wyers on samples, tape manipulation, field recordings and effects and local angst pop meister Peter Johan Nijland, best known as one half of Distel on piano, double bass synthesizer, guitar, percussion and voice, plus guests on saxophone and percussion on the third piece. A short tape, maybe 15 minutes, but bringing together the poet that Wyers also is - actually his main line of business is writing - with the atmospherically tunes of Nijland, but both seem to be out of their comfort zone. Wyers in his own music has a strong love techno inspired tunes and Nijland's Distel is all about synthesizers, rhythms and vocals. Here's all about sound collage, using a variety of sound sources which not always seem to fit together, but which make up a most curious and dense patterns of sound. Voices are manipulated (speed up and down through analogue means) and all these intertwining sounds from instruments and field recordings. It seemed, at times, that a lot of this was put together in a rather random way, like a blind mix of various tracks, which I thought was very nice. Great cover also, by Marina Tadic. (FdW)


vitalweekly nr 898

GROENE DRIEHOEK - 02.06.13 (CDR by Oggy Records)
Maybe I got it wrong in Vital Weekly 890 when I did a review of a release by Ralf Gerritse and Oscar Wyers called 'Groene Driehoek', but now I have another release and I am thinking Groene Driehoek might be the name of an ongoing band/project/concern. Here we have more musicians, besides Wijers and Gerritse, such as Len Berns, Herman van Delft, Lin Gerritse and Wietze de Leeuw. I assume they are all from the beautiful city of Nijmegen, like Wyers is. They came together on June 2nd 2013 to record these three pieces of improvised music. Again it's hard to tell what they are using here, but my best guess would be again the combination of laptops and electronics, lo- or hi-fi, but also some acoustic objects of an obscure kind, picked up with contact microphones and normal microphones, sound effects and such like. A whole bunch of material indeed, and lots of players, but curious enough it all sounds pretty coherent, perhaps more coherent than one would expect from such a bigger line-up. There is quite a bit of careful playing around here, and everybody seems to be into listening and interacting. The whole thing is less chaotic than previous (duo) release of Groene Driehoek and here we have some nice, exciting electro-acoustic improvisations. Much of which, I gather, is created in the editing and mixing process afterwards, thanks to the core members of Gerritse and Wyers. That's the way to do it. (FdW)

vitalweekly nr 890


Label boss Oscar Wyers is foremost a writer, who writes stories and publishes his own magazine Kutgitaar, but occasionally dabbles in electronic music. I have no idea what Groene Driehoek stands for (other than that it means 'green triangle'); maybe it's the name of a place where they recorded on April 21st their twenty-two minute electronic improvisation. They are in a rather free mode, jamming about without much idea or sense for structure. I assume this is a deliberate choice. Rather than using strict laptops I think this is all a question of hooking up a bunch of lo-fi electronics and let them play, switch, cut and change, occasionally interfering with the sound. Not really noisy, never ambient, hard dance-like, but all pretty much chaotic and wild. Twenty-two minutes seemed enough for me.
As Foam Sword, Wyers plays solo electronic music and here he returns to his laptop to create some music which is ultimately much more coherent than the jam session. Here Wyers plays around with ableton live to create his own fine blend of techno inspired music, but while rhythmic, it's also with a bunch of rough edges, making it occasionally more a crude form of techno, or the easy (?) encounter with the world of industrial music. Nicely minimal, these seven pieces are actually quite good, with a touch of house in 'Return Of The Pageturner'. Wyers is easily on par with many of the local musicians dabbling in this kind of music (usually finding their home with the Lomechanic label). I was enjoying the weather outside, reading a book and thinking of the Tour de France (to watch later on) and had this on repeat. A bit too early for a beer, but life is good.
Maybe the most interesting release, for a wider audience, is the ten track compilation 'Music For Imaginary Videogames', featuring mostly local - read: Nijmegen! - musicians, such as Peter Johan Nijland, Prototoys, Grootstal Ontwaakt and one half of Wieman. I was part of a facebook discussion for this, and read what the various imaginary games were about. One example: a frog wants to cross a road in the dark, the enemy is a group of helpful scouts. Mission: kill those scouts. There are games with dungeons, blood sucking animals and confusion over pong vs poing. Music wise it ranges from a 'song', to say it rather bluntly, like Rijnder Kamerbeek does, or Ototo Timu, to messed up sound pieces of digital distortion, like you are transported through many levels in a game, like Groostal Ontwaakt, Lopende Paddo and Wieman. I have no idea how the world of computer gaming works, having played maybe less than 5 and usually with the sound disconnected, but this compilation works quite well. Just as release of ten fine pieces of techno-ish music or as the product of indeed some form of computer gaming. Even if you dislike computer games - and there are lots of reasons why you should - an excellent compilation. Check out the website for free downloads, but pay if you care! (FdW)


Kutgitaar Special voor Oggy Records

juli 1, 2013
Afgelopen zaterdag presenteerde Oggy Records het album Music For Imaginary Videogames in de Derde Wal. Daar was een expositie van werk gebaseerd op hetzelfde thema, en het album. Oscar en ik hadden schrijvers gevraagd om op hun beurt op die expositie te reageren. De teksten hadden we gebundeld in een speciale mini-editie van de Kutgitaar.
De mini-edtite van de Kutgitaar wordt – zolang de voorraad strekt – geleverd bij het album.




www.takeacharcoal.com small interview by Sarah Bijlsma published on 17 april 2013

Oggy Records

Het nieuwe label Oggy Records heeft zijn eerste album uit: 3×12, bestaande uit 3 experimentele soundscapes van elk 12 minuten. Een interview met oprichter Oscar Wyers over het ontstaan van zijn label, eigenwijsheid en zijn voorliefde voor ‘undergound doe-het-zelven’.
Oggy Records ontstond toen ik naar Argentinië verhuisde afgelopen herfst. Ik had een interessant netwerk om me heen gebouwd hier in Nederland en was op zoek naar een manier om ook vanaf die afstand er iets mee te doen’. Oscar Wyers is musicproducer, geluids- en performancekunstenaar en schrijver. Nu weer wonend in Nijmegen, Argentinië voelde toch niet hetzelfde als thuis.
‘Ik liep als producer tegen een paar dingen aan. Zo is er het feit dat ik zo eigenwijs ben in het maken van mijn muziek dat ik me niet zo snel bij een bestaand recordlabel aan kan sluiten. Ik maak geen muziek die binnen een bepaald genre valt en ook niet waar je altijd op kan dansen. Dit is iets waar ik geen concessies in wil doen. Oggy Records is niet een label dat cd’s uitbrengt in een bepaalde muziekstijl. Artiesten worden gevraagd iets te maken binnen een bepaald concept. Juist zo ontstaan er echt unieke dingen en worden artiesten geprikkeld om buiten de gebaande paden te denken. Het enige criterium is dat het elektronische muziek moet zijn, gewoon omdat ik dit het meest interessant vind.’
Het tweede album gaat ‘Music For Imaginairy Videogames’ heten, waar verschillende artiesten muziek maken voor een niet-bestaand videospelletje. Wieman (Frans de Waard en Roel Meelkop), Prototoys, Rijnder Kamerbeek en Foam Sword zijn enkele namen. Afgezien van de bijzondere concepten valt ook de vormgeving van de albums op. Zo is het hoesje van 3×12 gemaakt van stukken karton en een zwart-wit plaatje, met lijm op het plastic geplakt.
‘Er zijn veel bands en muziekproducers die zo professioneel mogelijk over proberen te komen, zelfs al zijn ze net begonnen. Ik hou niet van dat gelikte, ik ben meer van het ‘underground doe-het-zelven’. Dit past ook beter bij het doel van het label, iets maken dat niet al door anderen is gedaan. Als ik dit album ergens zou zien liggen zou ik nieuwsgieriger worden dan bij het zoveelste strakke albumhoesje. Ik wil hier geen bakken met geld mee verdienen, ik wil gewoon mensen prikkelen om iets moois te maken.
Het album 3×12 is hier gratis te downloaden.
In september zijn de projecten van Oggy Records live te bewonderen. Hou voor de exacte datum de website in de gaten!


vitalweekly nr 877

3X12 (CDR by Oggy Records) From the local people who brought you the literary fanzine 'Kutgitaar' (edition of sixty copies I believe) comes a new enterprise, Oggy Records. Mostly on bandcamp, but also available on CDR, in what can be called lo-fi packaging but it's a simplicity I like. Here label owner, musician and writer Oscar Wyers invited three local musicians to produce a bit of sound which he could use for his spoken word things. If I understood the whole project correctly. There is in two pieces no spoken word, but each of the bands play a piece for twelve minutes, hence the title. It is as diverse as is possible. It opens up with the as yet relatively unknown De Geconcentreerde Consumentenbond whose title , 'Huidhoudelijke Compositie' seems to indicate that they are the grandsons of Pink Floyd and their failed attempt at recording an album of household appliances. Here, in this attempt, this band succeeds rather well, bending violin like sounds in the dishwasher, with an effective use of echo, in a slow but dramatic build up. Donne Et Desiree are obviously the well-known duo of improvisation, responsible for Nijmegen Noise City, but whose '123numerology' sounds surprisingly mellow, with stretched out playing of the cymbals and the guitar nicely wailing in feedback around it. It continues where we left of their previous CDR release - see Vital Weekly 869. Syntax Pony I never heard of but it seems to be some sort of off-shoot of Distel. Here we have a voice indeed, Wyers no doubt, set to a soundtrack which is an odd mixture of ghostly soundtrack effects, field recordings and sparse instrumentation. I am clueless what this text is about, as it's more mumbled than spoken, but it adds to the nocturnal atmosphere created by the music. Three diverse bits of music on this compilation, and for once I won't complain about compilations, as this one has sufficient longer pieces to get the full picture across. (FdW)