DISC0 DISC0 compilation series : A compilation featuring a wide variety of experimental work. The CDR is crammed to almost 80 minutes and the sound ranges from minimalism to droning and fragments of noise. Material that will expand the reaches of your (sub)consciousness.
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“Disco, Disco” is a series of compilations featuring artists who Zenial, the leader of Palsecam collective and a person active in the Polish scene of electronica, has collaborated or just been in touch with. Both the stylistic diversity and the volume (almost 80 minutes of playing time) are substantial, but since most of the contributions are relatively easily accessible, the whole affair can be “consumed” at a single go. Things kick off with the background music – Mark Bromwich, Geoff Nossiter present meditative soundscapes; Information, Carey Nutman, Palsecam bring exploratory actions in the realm of ambitious electronica, not very different from that initial dose of the ambient music. Both Artur Lason and Vidna Obmana don’t seem likely to abandon the course they once assumed. That of the former is ambient with distinctive new age and meditation music streaks whereas that of the latter is a marriage of ethno and ambient. PBK’s piece marks the beginning of the most interesting part of the record – the Americans make dunes of raucous noise ambient only to smoothly switch to a quite peaceful sound work. Tetsuo Furudate successfully manages to evade any stylistic labelling – a short excerpt from his performing in Barcelona is a blend of orchestral sound, frenzied vocals and sonic vagueness. Very captivating but very short too. Koji Asano presents a cascading composition based on looped sounds off the border between noise and ambient and that leads us to the end of the record, totally opposite its ambient music beginning – noise. Made by Yoko Sato and Bryan Day it acquires a new quality; owing to the vibes and reverb this guitar noise feels spacey and multi-dimensional. One more artist to round the set off, Minetic Field and his serially induced sine waves and bits don’t match the rest of the set and that may be the reason for putting them at the very end.
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ERP magazine / Krzysztos Sadza