Boomkat Product Review:
The sixth and penultimate edition in Sub Rosa's ongoing assembly of crucial noise and electronic music looks at the period 1957-2010. So far the series has been duly noted for its excavation and reappraisal of lesser known works by important artists and vol. 6 is no different, presenting 26 exclusive and original compositions including the work of Tzvi Avni, Joseph Nechvatal, and Kohei Gomi/Pain Jerk among better known titans of the avant garde such as Stephen O'Malley, Dick Raaymakers, John Weise and Z'ev. We enter disc one to the thrilling electroacoustic composition 'Mi Vida' by Prix Ars Electronica award winner, Israel Martinez, exploring the visceral narrative of a car ride which ends in a crash. Ata Ebtekar presents an original commission in 'Turquoise Gas in Ice', a complex piece of electroacoustic composition playing Persian classical scales on acoustic instruments which are then run through a modular synthesizer to create dazzling abstract harmonics. From La Monte Young's former archivist Joseph Nechvatal, 'Ego Masher' is another revelation, offering a vivid Cageian collage which undoubtedly reminds us of James Ferraro's recent exploits, while on 'Trautonium Jetztzeit #4' Oliver Strummer + Liesl Ujvary use the same machine that created the sound of birds in Alfred Hitchcock's classic to shape an acrid noisescape and the work of the hugely influential Henry Cowell is represented in 'The Banshee', a 2'30 summoning of dynamic electronic ghosts. The second disc starts with the drum practices of Z'ev and follows through Daniel Menche's drones and a intense noise attack from John Weise. The Pain Barrier's 'Virus' offers a blackened chunk of speedcore gabber, thematically linked with Julie Rousse's 'Flesh Barbie Techno Fuck' glitchcore, and followed with Bird Palace & Cristian Vogel's micro-to-meta expansion of sound fragments in 'PHing'. One of the oldest recordings is Else Marie Pade's 'Syv Cirkler' from 1958, distinctly reminding of Daphne Oram's ethereal experiments and finding similarities in the high frequencies tones of Stephen O'Malley's 'Dolmens & Lighthouses' but also sharp contrasts in his use of ultra low subbass registers. This historically ripe collection of sound warrants your attention without delay.