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ANEMONE TUBE, JARL & MONOCUBE "HUNTERS IN THE SNOW” CD . THE EPICUREAN . AUF ABWEGEN 2019
“Given the glut of releases being issued year upon year in the broader dark ambient field, it is becoming increasingly difficult to stand out in the mass, yet this album has no issue in those regards. This is an album which immediately draws you into its sonic tapestry and thematic narrative and does not let up for the entire duration. Personally, I listened to this three times back to back upon receiving it, which is proof enough of this point, and further underlines my assertion that this album warrants your detailed attention, regardless of if the contributing projects are familiar or not. Conceptually, sonically and visually, this a veritable feast for the ear, eye and mind.”
(Noise receptor)
“Grandiose Kollaboration, die sich an Pieter Bruegels Jahreszeiten-Zyklus anlehnt und ihrer hoch gesteckten Programmatik vollumfänglich gerecht wird: Fünf atmosphärische musikalische Kontemplationen über das Filetstück des Bruegelschen Werkes, die den Hörer aufrichtig beeindruckt zurücklassen.”
(Nonpop)
“Kalte Dark-Ambient-Sounds gegen die unvermeidliche Hitze.”
(Deadline, Marcus Stiglegger)
“Yet again, Anemone Tube leaves us with an open mouth of surprise (...) The Hunters In The Snow is an intensely dark and atmospheric album (...) Conceptually a genuine masterpiece.”– Rating 9/10
(Dark Entries)
“Yet another unmissable outlet for the most attentive and demanding lovers of dark ambient and industrial music from quality label The Epicurean."
– Rating 7.5/8
(Darkroom)
“Fifty minutes of fantastic, hypnotic atmospheres (...) This new release of the German label The Epicurean surprises us with its careful sound aesthetics, pondering the ambient with noise segments, perfectly implemented to the pre-eminent dynamics of the work – reflexive, clamoring dynamics (...) The Hunters In The Snow is a convincing and analytical album.”
(Nomelody)
“Einer Musik, die sich auf ein bestimmtes Werk der Malerei bezieht, geht es meist weniger darum, die Aussage des Bildes im eigenen Medium neu zu inszenieren, viel eher ist sie ein durch ein atmosphärisches Moment inspirierter “Kommentar”, der sich zu einem eigenen Werk verselbständigt. Bei den drei Musikern, die in den einzelnen Tracks immer wieder in anderen Konstellationen auftreten, liegt diese Deutung nah, denn mit ihren kontemplativen Soundscapes zwischen Ambient und dunklem Industrial arbeiten sie weitgehend abstrakt und intuitiv. (...) Die Musik bestichtdurch eine außerordentliche Dichte, die man als einziges Kollaborationsmerkmal anführen mag, wohingegen ihr jeglicher Kompromisscharakter, der so vielen Zusammenarbeiten anhaftet, fehlt. Durch den Kontext der Bilder kann sie an weiterer Tiefe nur gewinnen.”
(African Paper)
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ANEMONE TUBE . THE THREE WORLDS – ALLEGORY OF VANITY / FORGET HEAVEN / VANITY OF ALLEGORY . 3 CD set . THE EPICUREAN . LA ESENCIA . 2017
“The longer we listen to this music, the more genius it appears to us.”
Rating: 10/10
(Dark Entries)
“"Allegory Of Vanity" is another cornerstone of the triptych entitled "The Three Worlds". In this second world, Stefan Hanser discovers introspection, noise and a caliginous darkness (...) Once again we must praise the masterful ability of Hanser when conceiving covers. Allegory Of Vanity, respects the aesthetic balance raised in this saga, offering us another impressive perspective of his macabre style. In it Hanser appears again represented, hiding his face after the characteristic and enigmatic means by which he is known.”
Rating: 5/5
(No Melody)
“Being one of the new leading artists in death industrial, Anemone Tube has managed to consistently evolve quality wise. 'The Three Worlds - Vanity Of Allegory' is a perfect opportunity to appreciate its evolutionary diversity, as it compiles songs recorded at different moments of its musical trajectory. (...) Our recommendation is "From Anthropocentrism To Demonocentrism II", theme that ends this part of the 'The Three Worlds' triptych. Perhaps we are attracted by its stoic apathy, or by its rhythmic nihilism, but in any case, the atmosphere evokes the best moments of Anenzephalia as far as claustrophobic sensations are concerned.”
Rating: 5/5
(No Melody)
“(...) tightly knit together in over-arching streams of conscious- and unconsciousness; as much rationally planned in conception and execution, as it is a labour of aural love and deeply felt commitment to the sound and subject matter.”
(Vital Weekly)
“Anyone searching for philosophical wealth and spirituality in a pool of human and industrial decline, will get a unique opportunity to get acquainted with a special artist through these three albums.”
(Gonzo Circus)
“In Form & Inhalt ausgesprochen gelungener erster Teil einer Retrospektive musikalischen Materials aus der Frühphase des Wahl-Berliner Post-Industrial-Projektes mit gewohnt mystizistischem Hintergrund: rauher & harscher als die Alben der jüngeren Zeit, dennoch eine klare Empfehlung! ”
(Nonpop)
“... angenehm bedrohliche Dark Ambient Soundlandschaften erschaffen, welche an die ganz großen deutschen und franzöischen Vertreter dieser Musikrichtung denken lässt. (...) Ein vielschichtiges Klangwerk, welches ich allen empfehlen möchte, die sich für experimentelle, komplexe (nicht: harsh noise) Musik an der Schnittstelle von Industrial und Dark Ambient (sowie jenseits davon) interessieren. Schaut und hört!”
(Black Magazin)
“'Meditation is a Practice of Death' hieß es mal bei OM in Anspielung auf die Vorstellung, dass es in jeder spirituellen Arbeit darum geht, sich in der einen oder anderen Form auf das Sterben vorzubereiten. Für den an buddhistischer Praxis ebenso wie an christliche Mystik interessierten Anemone Tube geht es seit langem darum, dem Horror der Vergänglichkeit ins Auge zu sehen, ohne dabei den Blick in Watte zu packen. Dass dies mit einer gewissen Faszination geschieht, könnte ihm, würde er vermehrt außerhalb der alles Düstere oft gewohnheitsmäßig abnickenden Industrial-Community rezipiert werden, als masoschistisches Suhlen in Negativität ausgelegt werden, doch bei genauerem Hinsehen begegnen einem immer wieder Zeichen des Mitgefühlt und zugleich die Tendenz zu einem kraftvollen, quasi nietzscheanischen Vitalismus. Das trotz seines Umfangs füllmaterialfreie und von Hunter Barr bestens in Form gebrachte „The Three Worlds“ macht deutlich, wie sehr all dies von Beginn an leitmotivisch war.”
(African Paper)
“Unique and mentally hypnotic (...) the most innovative and advanced underground sounds within the dark scene.”
"The excellent work of mastering done by Hunter Barr I find admirable and worthy of the highest praise.”
“Sublime art of composition transforming industrial, dark-ambient, experimental music ... into sonorous virtuosity.”
(Lux Atenea)
"In the latter part of the trilogy fully revives the spirit that led ANEMONE TUBE to cross the Far East in search of sounds and atmospheres that smelled of death, but also of majesty and ineluctability and to combine them with noise and post-industrial sounds: the transformation is completed here and is reunited with what ANEMONE TUBE is today, i.e. obsessive and claustrophobic atmospheres, solid walls of noise and rhythmic rhythms, combined with concepts that belong to Buddhism, realism and nihilism."
(Rosa Selvaggia)
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ANEMONE TUBE "IN THE VORTEX OF DIONYSIAN REALITY“ CD/LP. BLOSSOMING FERN . THE EPICUREAN . 2017
“In The Vortex Of Dionysian Reality continues Anemone Tube's conceptually based sound explorations. (...) it's further proof, with the help of Post Scriptvm, Pacific 231 and Monocube, of Anemone Tube's ability to craft a deeply immersive sound from harmonic and melodic synths, carefully controlled discordancy, and field recordings. (...) Anemone Tube continue to craft something unique and complex from noise, ambient, industrial and sound art.”
(Compulsion)
“Like all that Anemone Tube has produced in the last ten years, this album is also astonishingly good (...) technically and musically in its most basic form very strong dark trip music. (...) Incredibly handsome work. Without a doubt."
Rating: 10/10
(Dark Entries, July 2017)
“Anemone Tube has been synonymous with the very highest quality of conceptually hyper charged drone ambient. ‘In the Vortex of Dionysian Reality’ only adds more to this setting high of the bar to new standards of intensity and passionate processing of sound in supremely and astutely philosophical realms.”
(Vital Weekly . May 2017)
“From sound, concept*, and visual presentation, Anemone Tube’s releases are always highly considered affairs. Consequently ‘In The Vortex Of Dionysian Reality’ is far from being any sort of filler release, rather represents some of Anemone Tube’s strongest work to date and yet another demonstration of Stefan Hanser’s ability to create deeply evocative soundscapes built around melodious elements, sculpted field recordings and squalling feedback.”
(Noise Receptor . January 2016)
“shoegaziges Rauschen und melancholische Schönheit.”
(African Paper . April 2017)
“Maybe the best album of
this year.”
(Cultureelpersbureau . May 2017)
“Gelungene Neuauflage des 2015 im Tape-Format erschienenen Mini-Albums, angereichert durch zusätzliches Material von 25 Minuten Dauer, welches das ursprüngliche Konzept nicht entstellt, sondern vertieft. Kontemplative Feedback-Noise-Drone-Schwelgereien, die dem Titel alle Ehre machen!”
(Nonpop . April 2017)
“Cohesive, intriguing, inspiring and worth to be listened for fans of death industrialism, as well as subterranean dark ambient.”
(Igloo Magazine . April 2017)
"... In my year long journey into this genre, I haven’t encountered an album structured quite like this. I’ve encountered albums that have a musical structure that is similar to classical, but none that almost directly mirror a certain style. I’m a huge Wagner fan (how cliché of me, I know) and as Nietzsche and Wagner were at one point in their lives very close friends, I think this album was created with a Wagnerian musical structure and Nietzschean philosophy to be the ultimate blending of the two. Don’t believe, though, that those two masterminds were the only people on the mind of the creator of this vintage. There’s a very post black metal feel as well, despite having no metal to speaking of, black or otherwise. If I were to call it something, and this might be a very, very large stretch that makes me look idiotic, I would call it dronegaze. It’s built with so many different tonal changes and distortions that no matter what you choose to get out of it, musically or aesthetically, you will be able to experience something unique. That’s all we can ask of music right? No matter the genre, if the music experience is unique, then it is worth the price of admission, so to speak. Anemone Tube and the fledgling Blossoming Fern Records putting this album are on the right track. The distillery is open! Drink your fill!”
(Resounding Footsteps . March 2017)
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ANEMONE TUBE & POST SCRIPTVM . LITANIÆ MORTUORUM DISCORDANTES . CD . THE EPICUREAN . 2016
“Gelungenes Split-Release der beiden Post-Industrial-Projekte, die ihre musikalische Diversität hier vorbildlich fruchtbar machen: überzeugender Mix aus Noise-, Drone- und Experimental-Elementen, appetitlich abgeschmeckt mit einer Prise Mystik und einem Schuss Humor.”
(Nonpop Magazine, January 2017)
“The two dark experimental projects, Anemone Tube and Post Scriptvm, join forces to offer us an unprecedented work, "Litaniae Mortuorum Discordant". Hypnotic, engaging and mysterious ... riding between ritual and dark ambient.” Rating: 9,75 of 10
(Mentenebre Magazine, December 2016)
“With Anemone Tube and Post Scriptvm sharing this split, it is a logical pairing as they have quite individual and distinctive sounds within the post-industrial underground and both tend to frame their musical works around specific and interesting concepts. (...) the benefit of having a strong conceptual underpinning, is the ability of a release such as this to be a multifaceted experience which engage on levels of both emotion (i.e. the music) and contemplation (i.e. the concept).”
(Noise Receptor Magazine, December 2016)
“Ein Konzept, zwei Ansätze, ganz nah beeinander und doch ganz unterschiedlich in der Wirkung – so wünsche ich mir ein gutes Split. Nach konzeptionell sehr dichten und von der künstlerischen Aussage her sehr ernsthaften Alben wie Anemone Tubes „Golden Temple“ und Post Scriptvms „Benommenheit“ hat es sogar etwas augenzwinkernd Selbstironisches, scheint mit dem düsteren Outsider-Gestus seiner Macher zu spielen. Trotz allem hat es alles, was ein Release dieser Acts braucht. Das „Oratorium“, so heißt es, sei zur Aufführung in der Kirche bestimmt, und ich denke doch mal, das sich das über kurz oder lang umsetzen lässt.”
(African Paper, November 2016)
“Me myself I didn't feel elevated after hearing all of this, or particular depressed actually, but I found it all most enjoyable. Hopefully that is allowed!”
(Vital Weekly, December 2016)
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ANEMONE TUBE . GOLDEN TEMPLE . CD . RAUBBAU . 2016
“The album is as dark as the large intestine of the devil. Aggressive and fluctuating, mysterious (...).” Rating: 9,25 of 10
(Mentenebre . February 2016)
“Masterpiece ... at this moment you can hardly find anything better in history of industrial/noise.” Rating: 9,5 of 10
(Dark Entries . February 2016)
“Golden Temple is definitely Anemone Tube’s strongest release to date.”
(Heathen Harvest . Kate McDonald . March 2016)
“Certainty one of the most authentic industrial releases in recent decades.”
(Darkroom . Roberto Alessandro Filippozzi . March 2016)
“Noting the sophisticated levels achieved on earlier Anemone Tube albums, both from conceptual and musical perspectives, ‘Golden Temple’ is a work which has exceeded the emotive heights of Stefan Hanser’s own rather imposing high water mark. (...) Anemone Tube have distinctive and individual sound which is essentially without comparison (…an equilibrium of structure & chaos and a balancing of harmony & disharmony). This album has been long awaited and is a veritable feast for the eye, ear and mind (...)”
(Noise Receptor . Richard Stevenson . March 2016)
“(...) what does work best if I want to create something of raw power. The answer is simple: 'this'. Topped off with a great package, gold on black paper and a booklet of paintings and quotes, this is a rare thing these days.”
(Vital Weekly . FdW . February 2016)
“Außergewöhnlich gelungenes, facetten- & bezugsreiches Album aus ATs "Suicidal Series"-Reihe. Ungeachtet durchaus harscher Noisepassagen insgesamt extrem atmosphärisch & auf abgründige Weise, ja: verträumt. Bislang zweifellos das stimmigste und reifeste Album des Künstlers - close to perfection!”
(Nonpop . March 2016)
“ (...) das immer etwas links klingende Wort Antikapitalismus und das immer etwas rechts klingende Wort Antimodernismus wurden selten so sehr überblendet, wie auf diesem an Andeutungen und Anspielungen reichen Album, das den Geist Pasolinis wie ein Kontrastmittel über die Goldenen Tempel unserer Zeit gießt – und damit selbst die namenlose saufende Schönheit zu Füßen der Kolosses aus Glas und Beton zum Strahlen bringt. (U.S.)”
(African Paper . February 2016)
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ANEMONE TUBE . IN THE VORTEXT OF DIONYSIAN REALITY. TAPE . THE EPICUREAN . 2015
“From sound, concept*, and visual presentation, Anemone Tube’s releases are always highly considered affairs. Consequently ‘In The Vortex Of Dionysian Reality’ is far from being any sort of filler release, rather represents some of Anemone Tube’s strongest work to date and yet another demonstration of Stefan Hanser’s ability to create deeply evocative soundscapes built around melodious elements, sculpted field recordings and squalling feedback.”
(Noise Receptor . January 2016)
“Rückmeldung nach ca. 2 jähriger Pause mit einem bemerkenswert innovativen Stück Musik: Primär feedbackbasierte Noisestücke entwickeln eine innere Harmonie, die zum Träumen einlädt - erstaunliche Melange aus energetischem Sound & luftiger Atmosphäre; file under "Post-Rock-Noise" ...”
(Nonpop . October 2015)
“Auf seinem neuen Tape zieht uns Anemone Tube kompromisslos in den Strudel einer dionysischen Welt. Man muss nicht viel über den Mythos des griechischen Wein- und Rausch-Gottes wissen, um die abgründige Natur dieses Strudels zu begreifen, denn zumindest die ersten drei Stücke der vorliegenden EP lassen an dieser keinen Zweifel: Formlos und chaotisch wird die in Sound gegossene Welt des Dionysos gezeichnet, doch manchmal auch überraschend einfach in ihrer derben, verrauschten Musikalität. Man mag die Atmosphäre der vier Tracks dunkel und zum Teil niederdrückend finden, wenn man Rausch und Sinnlichkeit zu sehr mit Frohsinn assoziiert. Doch ganz abgesehen davon, dass dies eine Frage des Blickwinkels ist, gibt es im Laufe des 21minütigen Tapes auch eine deutliche Entwicklung.”
(African Paper . October 2015)
“Visionary album (...)”
(Gonzo Magazine . PV . July 2016)
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V/A EPICUREAN ESCAPISM I . CD/DVD/CATALOGUE . THE EPICUREAN . 2014
“Weiterer, rundum gelungener Teil der Festival-Compilation-Serie: Die DVD beeindruckt mit ebenso verstörenden wie faszinierenden Videoarbeiten von MARTIN BLADH, während die CD vier lange, packende, und bislang unveröffentlichte Tracks festivalaffiner Künstler versammelt. Ein Juwel!”
(Nonpop Magazin, September 2014)
“Zusammen genommen muss man sagen dass die gesamte Veröffentlichung dadurch besticht, eben nicht glatt gebürstetes Szenefutter zu enthalten. Jeder Künstler nutzt seinen Anteil, um tatsächlich Kunst zu machen, sperrig und kantig, keinen Industrial-Pop. Danke dafür! Da solche Veröffentlichungen viel zu selten geworden sind, ist hier eine dringende Kaufempfehlung auszusprechen.“
(Ikonen Magazin, D. Novak., October 2014)
“Desde Mentenebre te invitamos a descubrir uno de los eventos más impactantes y originales de este nuevo siglo.”
(Mentnebre, October 2014)
“Ancora una volta un compendio esaustivo, ricco e di assoluta qualità (sia a livello di package che di contenuti) per questa stimolante serie, semplicemente imperdibile per chi vive la cultura industriale fino in fondo.”
(Darkroom, October 2014)
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ANEMONE TUBE . THE TRANSFIGURATION OF THE IMAGE . C-25 tape. 2013
“The Transfiguration Of The Image is a must have! Masterpiece of experimental noise.”
(Pure Nothing Worship, December 2013)
“... a short tape of nasty late 90’s harsh noise influenced industrial with power electronic-esque structuring. It clearly shows that from the start Anemone Tube has put a lot of thought into the structure of his work and the way that sounds interact with each other as well as the listener. This tape is less plodding, atmospheric or conceptual than newer albums, but considering the time it came out, it would feel right at home as harsher counterpoint to a lot of the industrial influenced synth projects of the time, without being flat-out harsh noise or typical European PE. These are heavy slabs of corroded electronics, preserved beautifully by Danvers State.”
(Existence Establishment Magazine, September 2014)
“Im direkten Vergleich mit den zuletzt hier besprochenen Arbeiten von Anemone Tube ist „The Transfiguration Of The Image“ ruppiger, aber dennoch klanglich (aus)differenziert. Dass das Tape zudem musikalisch wie aus einem Guss wirkt, obwohl teilweise 13 Jahre zwischen einzelnen Stücken liegen, spricht auch nicht gerade gegen den Erwerb dieses vielleicht nur scheinbar obsoleten Mediums.“
(African Paper, M.G., August 2013)
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V/A EPICUREAN ESCAPISM II . CD/DVD/CATALOGUE . THE EPICUREAN . 2013
“Epicurean Escapism II CD/DVD is not only a must-have, but a perfect example how art forms should exist nowadays – in an absolute symbiosis.”
(Heathen Harvest, August 2013)
“I am lifting my hat to bid my respect to all who are involved into the production of the release which is destined to become a millstone of the industrial epoch.”
(Olegh Kolyada/Old Captain, 2013)
“Although in the first instance this release is a memento of the festival is seeks to document, with its meticulous execution and sheer quality of its content, Epicurean Escapism II transcends this mere documentary role, to become an exceptionally focused multi-media release.”
(Noise Receptor Magazine, July 2013)
“Keineswegs ist der Sampler zum unlängst besprochenen "Epicurean Escapism II"-Festival etwa nur eine schnöde Compilation-CD, oh nein: Auch auf Produktebene hat man sich alle Mühe gegeben, einen medialen Rundumschlag auf höchstem Niveau zu realisieren (...) mit "Epicurean Escapism II" wird der gleichnamigen Live-Veranstaltung ein in Form, Inhalt und Ausführung ebenbürtiges, nicht minder außergewöhnliches Medien-Bundle an die Seite gestellt.”
(Nonpop Magazin, July 2013)
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ANEMONE TUBE / DISSECTING TABLE . THIS DISMAL WORLD . LP . PERIPHERAL RECORDS . 2013
“Mit "This Dismal World" wird ein Konzept-Album im besten Sinne des Wortes vorgelegt, bei dem Anspruch und Umsetzung nicht, wie so oft, geradezu beschämend weit auseinanderklaffen – vielmehr wird das Sujet auf den unterschiedlichen Rezeptionsebenen mit einer Intensität und Liebe zum Detail durchgearbeitet, die den Rezipienten geradezu in die emotionale und intellektuelle Auseinandersetzung zwingt.”
(Nonpop Magazin, July 2013)
“This Dismal World (…) is among the few magnificent examples of symbiosis between idea and sound that I have heard. (…) Everything on this record, from its concept through its design and until its very last bit of noise is embodied in a massive — and I have to admit — extremely intense and aggressive atmosphere.” Rating: 5/5
(Heathen Harvest, April 2013)
“Anemone Tube lead off and based on the sheer quality of their recent output (specifically referring to the ‘Death Over China’ album), it is great to see the new material is as equally stunningly here.”
(Noise Receptor Magazine, April 2013)
"Wie auch schon auf anderen Alben Anemone Tubes zeigt sich, wie kraftvoll und bar jeder Klischees Power Electronics klingen kann. (...) selbst wenn man keinerlei Informationen über das zugrundeliegende Konzept, über die verwendeten Texte und die Orte, an denen die Aufnahmen gemacht wurden, hätte, so könnte man sich auch rein am Klang der drei Tracks erfreuen, die verdeutlichen, dass Geräuschmusik nicht gleich Geräuschmusik ist und dass atonale(re) Musik unglaublich differenziert sein kann.”
(African Paper)
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BRUME / OUBLIER ET MOURIR . A YEAR TO LIVE . LP . SILKEN TOFU . 2012
(Excerpts)
“In this release we can see two artists with notably different points of view complement one another's vision, in such a precise and dedicated manner that one can truly not exist without the other. (...) OUBLIER ET MOURIR (new side project of ANEMONE TUBE) is harmonious, serene atmospheric ambient with ethereal and organic passages. In this side of the record the tragedy and the miracle of life are equally expressed, asserting that one cannot exist without the other. We are reminded of the emotion that overcomes us, when we are witnessing beauty of the sublimest kind – admiration and awe, mixed with sadness. As soon as something is born, its death becomes inevitable. That sort of realisation can only be awakened in the truest forms of art, and that is what we are faced with here. (...) BRUME creates environments ranging from the completely abstract to the vaguely specific, using elements such as voice samples, loops, wide-ranging drones, ghostly ambiences, noise, various electronics and even percussions. (...) The loops and voice samples roam throughout the track list like persistent ghosts wandering in a transcendental, shapeless purgatory, reciting their obsessions as a you would recite a mantra.”
(Santa Sangre Magazine, VITRIOL, 2012)
“The soft melancholy evoked by OUBLIER ET MOURIR, which is emphasised by ‘The Wind from Nowhere’ (J.G. Ballard), generates an interplay between the consciousness of the (own) impermanence and feeling save within the sounds. (...) seagulls seem to screech, waves are hissing, the Lama lets the prayer bells chime, and also here repetitive patterns are used to create a meditative, trance-like atmosphere, with a similar mood as TOR LUNDVALL. This is indeed an all-embracing listening/listener`s experience in the truest sense of the word."
(African Paper, M.G., 2012)
“Oublier Et Mourir's sound design stands out, with all the pieces hanging in suspended perfection. He stands at the edge of oblivion, unblinking, and notates it all to see. Oublier Et Mourir then acts as a psychopomp to the living, describing the afterlife and all its strange angels with a rich, complex tonal pallet that is more Bach than Bastard Noise. If only every member of the underground had this dedication towards their craft! (...) and we, as record listeners, are subjected to millions of hours of vacuous cosmic wind dark-ambient records. It is a rare and precious combination, to have talented and adept composers and sound artists looking into the subtle hues and strata of living and dying; reflecting upon memory, thought, passions. 'A Year To Live' is a valuable addition to any late-night listening library, or for anyone who's burned a hole in their Lustmord or Black Tape For A Blue Girl records, and are looking for a different kind of melancholy.”
(Chain DLK, December 2012)
“... ein zeitloses Meisterwerk, dessen Strukturen in Gänze berühren, vereinnahmen & faszinieren – meine absolute KAUFEMPFEHLUNG!”
(Kulturterrorismus, November 2014)
“Pretty damned good.”
(Brutal Resonance, October 2013)
“2 visions d'un même concept, 2 tueries, 1 album à ne pas manquer.”
(Have Faith In Sound, December 2012)
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“... this one is among the best examples of how a bunch of tracks by different artists can become something so immense and homogeneous that you eagerly hope for a new volume the same way as you’d be waiting for a new release of a favorite artist.”
(Heathen Harvest, April 2013)
“From packing to the multiple formats of contributed material, it provides ‘Epicurean Escapism’ with a clear point of difference from the more ‘standard’ approach to a festival oriented compilation.”
(Noise Receptor, Richard Stevenson, January 2013)
“Was diese Compilation auszeichnet ist die mehr als solide Balance zwischen Qualität und Vielseitigkeit. Gerade letztere sollte man bei dem mittlerweile schon recht alten Genre Industrial mit all seinen epigonalen Erscheinungen durchaus lobend hervorheben.”
(African Paper, U.S. June 2012)
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ANEMONE TUBE . DEATH OVER CHINA . CD . SILKEN TOFU . 2011
(Excerpts)
“Only one year after the magnificent ‘Dream Landscape’ the new Anemone Tube album ‘Death over China’ is released and exceeds all expectations.”
(Ikonen Magazin, Patrick Kilian, June 2011)
"... Effectively Anemone Tube achieves a sound that spans the divide between ‘academic’ experimental material and ‘underground’ industrial territory. Likewise within this context Anemone Tube have achieved a particularly unique sound, which these days can be a challenge to say the least within ambient/ industrial spheres."
(Noise Receptor, Richard Stevenson, February 2013)
"... an ambitious artistic statement realised in sound and images from Anemone Tube. (...) I’d be tempted to align this with many other noise records that push the “apocalypse culture” buttons, but Anemone Tube’s distinctive sound-art here is dramatic and powerful and very creative too. (...) An exceptionally strong and unsettling work."
(The Sound Projector, Ed Pinsent, January 2012)
“Anemone Tube uses field recordings masterfully (...) A combination of brutal, grim noise, recorded sounds, spoken word and machinery turned into heavy, slow rhythms (...) ‘Death Over China’ is painfully alive, bursting with an agonizing tension. It grips the listener with admirable force, never letting go until the 45 minutes of the recording are over. Rating: 5/5"
(Heathen Harvest, VITRIOL, November 2011)
“Excellent work of noise art."
(Vital Weekly, NM, June 2011)
“I played this album 5 times without removing it from my CD player. And it still makes me want to listen to it again. I'm a sucker for loops and physical sounds."
(Special Interests #6, MA, July 2011)
“Individuals who look for a soundtrack for the creeping end of the world must not miss this masterpiece."
(Kulturterrorismus, Raphael Feldmann, June 2011)
“To say it in one word: BUY! Rating: 9/10"
(Connexion Bizarre, Bauke van der Wal, August 2011)
“A masterpiece of its kind."
(Art Abscons, July 2012)
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ANEMONE TUBE . DREAM LANDSCAPE . CD . SILKEN TOFU . 2010
(Excerpts)
“... a genuinely unique amalgamation of sounds which owes more to ANENZEPHALIA-esque power electronics mannerisms than it does to typically apparent field recording collectors
(Night Science IV Magazine, Chris Groves, July 2010)
“Stylistically Anemone Tube avails himself of genres of dark ambient and power electronics, but created a totally unique new mixture, which constantly spreads in new facettes. (...) On ‘Dream Landscape’ Anemone Tube offers intense soundart, inspired and complex, beyond the limits of dark ambient. And all this in an appealing design – what do you want more?”
(Ikonen Magazin, Ivan Kostor, September 2010; translated from german)
“... amazing textures of sound (...) carefully crafted into perfection ...”
(Special Interests Magazine, Mikko Aspa, September 2010)
“When it is written, that ‘Dream Landscape’ is influenced by authors like Lovecraft and Mishima, then these referenzes let arise the mountains of madness in the mind’s eye. We find ourselves beyond the walls of sleep. Great release.”
(Black Magazin, M. G., September 2010; translated from german)
“Fans of BRIGHTER DEATH NOW, INADE, STROM EC, and DANIEL MENCHE probably already have this, but if they don't, they should."
(Chain DLK, eskaton, October 2010)
“These 23 minutes of Anemone Tube are one of the best noise releases we have been listening to this year.”
(Gonzo Circus Magazine, PV, September 2010; translated from dutch)
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ANEMONE TUBE . :EXISTENCE . CD . AUF ABWEGEN . 2001
"German ambient-industrial project Anemone Tube was formed in 1996, and has explored a variety of heavy noisescapes and rhythmic blocks of sound; the Tube's modus operandi has always seemed to focus on putting the listener into a state of delirium caused by constantly shifting sounds and tones sourced from assorted organic and synthetic sounds, and this approach has resulted in a stylistically diverse body of work over the years. On the debut full length Existence, a nearly hour-long disc released in a hand-numbered limited edition of 500 copies, Anemone Tube is at it's heaviest, constructing seven bulky tracks that move from gorgeous ambient dronescapes to crushing, loop-heavy walls of distortion and menacing melodic tracers undulating over grinding rhythmic throb, sort of like what I'd expect a collaboration between Wolf Eyes and Maurizio Bianchi to sound like, although you can also draw lines to Throbbing Gristle, SPK, and violent early UK power electronics when tracks like 'Choke Down' and 'The Encounter III" get into full swing and start obliterating speakers with ferocious torrents of factory distortion. I really dig the way that Existence manages to balance the haunting, atmospheric drones and buried deconstructed rhythms with the louder, brutal passages of rumbling machine filth, making this much easier to digest than many of Anemone Tube's peers. Packaged in an elegant jewel case with a large 10-panel booklet glowing in fiery, fractaled reds and oranges, imprinted with mysterious pictograms.”
(Crucial Blast, USA)
”First proper CD release by this German project. The sounds range from beautiful ambient soundscapes to more harsh, loopy noise tracks. Layers of distorted rhythms, haunting drones and rumbling Industrial Noise make this a recommended release for fans of early Orphx, Throbbing Gristle and SPK.”
(Cold Spring, UK)
”Active in the german noise / drone scene since 1997, Anemone Tube has had to wait till 2001 to release its first full length album, ":Existence", on the label of the Auf Abwegen magazine. 7 tracks for a total of 50 minutes come in an elegant CD displaying a warm, fire-like design.
The tracks Anemone Tube has written for this album are somewhere between harsh noise ("Secondary master" or even the power electronics of "Choke Down"), and calmer ones, made of distant drones and long soundscapes that carry a dark mood ("Red waves" and it violin-like high pitched sounds, "Flesh and bombs").
This CD evens dwells into quasi-electronic (understand "undistorted electronics") on "Continuity" and the very dronesque "The encounter II" which progresses slowly into a new harsh, loud and noisy track.
Very well done, this CD demonstrate how mature Anemone Tube is. From noise material that can compare tothe new american noise scene (think Troniks or Fusion Audio) to soundscapish and abyssmal tracks, the diversity of this CD adds to his quality and brings some fresh air to breathe between the most suffocating tracks. Really well done, this is for sure a success for a debut album, and I guess that Anemone Tube is going to make quite a name for himself in the noise scene."
(Recycle Your Ears, Nicolas, Berlin, June 15th, 2001)
"This is a brand new release of this great German Noise activist. 7 tracks of original Noise from violent to ambient, with many sound sources and great arrangements. The impression of new sound is felt while listening to this great work mixing many influences but in a very personal manner. Atmospheric parts a really mind escaping invitations and powerful ones will pulse your brain. Definitely a Great project to discover or to follow if you want something new in noise sound construction. Get this one now!"
(The Noisiest Newsletter . Ben . September 2001)
This is the first real CD release from the German Anemone Tube, previously having released a load of tapes, vinyl and CDRs. Originally this was supposed to be Anemone Tubes last release, as Stefan was meaning to stop making noise and to concentrate on his graphic designing. Nonetheless, as the text 'A new beginning " in the inner sleeve of this CD suggests, Stefan has maybe decided to continue with Anemone Tube and apparently is preparing new material as we speak. This CD the other hand contains material recorded between 1996-1999 and it represents the more harsh side of Anemone Tube. Of the six tracks included, more than half are probably the noiseiest material ever heard from this band, but instead of plain harsh 'noise, they often bear clear structures and occasionally even rhythms that keep them from becoming too static. Also, the layers of distorted electronics and diverse sounds are so dense and detailed, that the tracks remain quite interesting throughout. Combining the extreme flushes or white noise with some low frequency electronics also quarantees, that the sound contains an essential amount of of strength, The more calm, harsh ambient side of Anemone Tube is presented here on "Red Waves" as well as on the title track which is my absolute favorite of the CD with its slowly evolving layers of massive sound. As a sort of a "new start'" for Anemone Tube this CD serves well and I hope that Stefan has enough enthusiasm arid vision to keep developing the material onwards. (J)
(Degenerate Magazine)
Any extreme music fans in the room? (i see hands raising up here and there). Well, kids, you’ll have lots to go crazy over. :EXISTENCE is of the stuff menacing and rather merciless albums are made of. This is not non-stop japnoise frenzy from beginning to end; indeed, the Japanese influence can be felt on various tracks, but the album rather proposes various paths, amalgamated one with the other, all in a total nervous fashion: power-electronics, old-school industrial, hardcore noise, drones, subdued deconstructed rhythms …the middle track of the album (its nucleus), :EXISTENCE, based on an essentially ambient backbone, deranges, in the same way the more saturated tracks of the disc do. An album that is striking in its intensity. A must for fans of MERZBOW, SOLDNERGEIST or THROBBING GRISTLE etc.
(Angel Records)
Anemone Tube is het pseudoniem dat de Duitser Stefan H. hanteert voor zijn noise-escapades op het Duitse undergroundlabel Auf Abwegen. :existence bevat zeven tracks die de luisteraar in een delirische trance moeten brengen. Hanser werkt zich flink uit de naad op het knarsende en knetterende 'Flesh & Bombs', 'Secondary Master', 'Choke Down' en 'The Encounter III' om een zo extreem mogelijk geluid te creëren met analoge en digitale geluidsbronnen. Beeld je in dat je ergens op het drukste kruispunt van het land staat temidden van het niet aflatende en helse geluid van boorhamers, overvliegende jets, krijsend verkeer en ondefinieerbare stemmen die constant in- en uitfaden. Diegem, jawel… Het contrast met de golvende illbient van 'Red Waves' en 'Continuity' is enorm. Die twee tracks roepen de verstilde sfeer op van een net gebeurde lustmoord. :existence is de perfecte soundtrack voor uw hentaï-bondage rituelen op een late zaterdagavond.
(Urban Magazine)
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CHRISTIAN RENOU / ANEMONE TUBE - TRANSFERENCE . CD . AUF ABWEGEN . 2003
Anemone Tube is a relatively new ambient-concrete project from Germany. Christian Renou is the man behind the legendary project Brume, and released tons of excellent works on almost every important label in the field of drone music and music concrete. Now that the Brume project is no more, Christian Renou works under his own name. On this CD Renou reworks some of the recordings made by Anemone Tube. The result is an intense dark-ambient drone work that ranges from soft drones to loud noise-bursts. The CD is quite different from the average Brume material, since it lacks the immensely layered fluttering sounds that are so common in electro-acoustic compositions. It is really atmospheric and most of the time very calm. Also the CD is very melancholic and emotional. This release comes in a nice oversized package and is limited to 500 copies. It is highly recommended.
(funprox.com, TD 2003)
Christian Renou, the French man behind the Brume project, has reworked the music of Germany’s Anemone Tube. The result is a stunning collection of pieces – untitled yet under the heading of “transference” – that range from analogue bruitism to concrete sounds and dense soundscapes in an ambient mood. Underneath the music’s flow there lies a sense of despair and soft melancholy. These are not hard guys, although their music can be challenging and harsh at times. The tracks create an atmosphere of longing, a feeling that there is more to it all than appears on the surface at first glance. Very suitable is the accompanying design, a minimal and elegant poster booklet conceived by Stefan Hanser, the man behind Anemone Tube. The CD and booklet are packaged in a green specially printed envelope and come in a hand-numbered edition of 500 copies.
(Dense, 036, Berlin, Juni 2003)
French project BRUME is no more, but its creator, CHRISTIAN RENOU, is as active as he was. This legendary figure of concrete and drone music teams up, this time, with ANEMONE TUBE, a German artist renowned for his monolithic and dense drones; here, ANEMONE TUBE’s compositions are reworked by RENOU. The resulting sound loops oscillate between melancholic drones that could make stones cry and noisy outbursts that are well-measured and controlled, and sometimes embedded as interludes between the calmer passages. Organic, elusive and often emotional, this record surprises the listener by its freshness and audacity. It played on repeat mode at .Angle.Rec.’s headquarters during a whole day… A disc that is unseizable but that will seize you and will litterally possess you.
(Urban Magazine)
Du néologisme du titre découle beaucoup de suggestions et d’idées. L’association de 2 termes, transparence et transfert, émanation directe du vocabulaire de l’image et du son suggère ici les apports visuels et musicaux des 2 protagonistes, respectivement Stefan H. et Christian Renou. Une collaboration qui prend en fait les traits d’une relecture d’un travail passé, prétexte à la sortie du brouillard de Christian Renou, artiste français caché durant de longues années sur le pseudonyme Brume. Un travail qui, ça ne surprendra personne (du moins pour les amateurs du français) gravite et s’imprègne d’une densité sonore noire et palpable, matière évoluant et lancinante de couches dark atmosphériques, d’éléments néo industriels, et de strates droniennes et opaques. Une sorte d’esthétique de l’austérité et de l’obscurité qui prend à l’occasion des couleurs « liturgiques et ambiantes » comme sur ce second et troisième morceau d’une belle intensité. Stefan Hanser, en sus d’être musicien au sein d’Anémone Tube, a par la voie de la plastique et du design, développé une pensée conceptuelle autour de ses travaux qui se reflète dans la fluctuation de lignes fines et « parallèles » qui ornent ce Transference. Les amateurs d’Alan Lamb, de Comae ou des climats de chez Ant-zen seront comblés.
(Pastis)
Here is a nice collaboration from artists whose works I`ve always enjoyed. Anemone Tube and Christian Renou/Brume. For this work Anemone Tube has provided source sounds which Christian Renou has re-worked and finally added his own sounds to it. A lot of material is very calm and ambient, reminding me very much of Anemone Tube`s more ambient and droning approach, but there are also some more striking noises and louder electronics addong to the dynamics of the sounds. The subtle melodies underneath the dense soundscapes create a sense of melancholy on the entire work which sometimes appears as a sad mood in the ambience or in a more aggressive manner as abrasive loiud electronics like in the third track and I like it a lot. Limited eddies of 500 copies in a poster sleeve. (J)
(Degenerate Magazine)
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ANEMONE TUBE . FORGET HEAVEN/ANGEL FALLS . DO-CD . SOLIPSISM/USA . 2000
Diese auf 100 Stück limitierte Doppel-CDR auf Transflexion wartet mit insgesamt 13 Industrial-Tracks auf, die zwischen Ambient –und Noise Industrial pendeln. Die einzelnen Songs wurden bereits auf diversen Tapes veröffentlicht und entstanden überwiegend 1997. Was mir an dieser Doppel-CD gefällt, ist eben genau die Verbindung zwischen Atmosphäre und Noise, so dass sich das Ohr auch einmal entspannen kann. Brachiale Noise-Attacken mit unterschwelligen Rhythmen halten sich mit Ambient-Industrial-Tracks die Waage. Auf Vocals wird gänzlich verzichtet, was den Sound von Anemone Tube aber sicher nicht belastet. „Forget heaven/Angels falls” ist absolut weiterzuempfehlen und sicherlich eine Bereicherung der Industrial-Szene.
(Broken seal)
ANEMONE TUBE . FORGET HEAVEN . C-50 TAPE . BAWLER . 1997
"Das Artwork auf dem tape schlägt dem Betrachter mit einer Brutalität entgegen, die man bisher nur von Esoterik-Bändchen gewohnt war. Wachsmalstifte auf weissem Grund. Die Versöhnlichkeit jedoch täuscht. Die Klänge halten sich vorwiegend zwischen den Polen Harsh-Noise mit gemeinem Windkanal-Terror und bedächtigem Ambient der ritualistischen Spielart auf. Will heissen, auch perkussive und naturverbunden-mystische Elemente aus der Voice-of-Eye-Schule kommen, selten, aber dennoch, zum Zug und sorgen dadurch für ein ausgewogenes Verhältnis zwischen Harmonie und Wahnsinn, das gebannt lauschen läßt."
(Artefakt . Ausgabe #3 . Berlin 1997)
"Anemone Tube is all about ambient noisescapes. Blending in organic and synthetic sounds and noises, all culminating into storming and raging sonic experience. Nothing really concrete can be said about this tape, since it is always a new emotion. Purely depending on the listeners mood, the sounds may either soothe or enrage, expand into massive adventurous soundscapes or diminish into pitiful minimalism. At times the result may be pure revolt, causing you into immediately stop listening the tape. At times it can fuse with your psyche and imagination, accumulating in delirious and halluzinative experiences. The sounds are pulsating, drowning, flowing and floating, tormenting and caressing the listener, but most imporatantly, they cause reaction. Sometimes the sounds can be extremely haunting and claustrophobic, making the listener squirm in uncomfortability and irritation, yet insatiability craving for more. Manic and depressive. The tape comes in special CD-size packaging and has been professionally dublicated. Test your openmindedness with Anemone Tube."
(Degenerate Magazine . Epilog . Issue #3 . Finland 1998 - never published)
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ANEMONE TUBE . FLOWERS OF REALITY . 10”LP . TRANSFIXIONAL . 1998
"Flowers of Reality is a journey through an industrialized dystopia, crumbling under its own weight, while the only sign of the glory that was, is a long since dead river, that flows through the cracked and faded landscape. Ka Do – Der Blumenweg, is almost a soundtrack of an inhospitable industry, with echoed crashes, heavy, vibrating pounds of a engine. Until it all crumbles together into a formless and incoherent mess of sonic violation. Black River and Building of Flavors are a dark and dreary voyage through a long since faded vista of a land that longs for the glory that once was."
(Your Taste in Music Sucks . 2012)
"Anemone Tube zeigen, wie man mit Noise kreativ umgehen kann. Die 10" hat drei völlig verschiedene Gesichter: Der lange Track Ka Do - Der Blumenweg ist Powernoise mit dem direkten Effekt einer dich überrollenden Dampfwalze. Breaks und minimale Strukturansätze geben etwas halt im Chaos, was ansonsten eher bedrückend als straight forward rüberkommt. Black River und Building of Flavors arbeiten mit Strukturen; einmal klingts wie Dive-mäßig angecrunchter Electrosound, einmal wie überrissene Feldaufnahmen mit Narkosespritze. Die Klangquellen zu erschliessen ist mir zwar unmöglich, aber ich habe den Eindruck, als ob sich hier Effekte und Synties mit realtime Geräuschen überlagern würden. Dazu gibt`s eine sehr stilvolle Gestaltung - Kauf lohnt sich!"
(Auf Abwegen . Ausgabe #24 . Köln 1998)
"This is the 1rst vinyl release of this excellent German newcomer. It features 3 tracks: 1rst one is an alternance of pulsating drums with electronics manipulations, and harsh noise. Track 2 is a water ambient introspective trip soundtrack. 3rd track is a more old school industrial tune with noise tools. Definitely a well structured power-noise to watch out! Try this!"
(The Noisiest Newsletter . Ben . 09/2001)
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BRUME / WURZELBEWUSSTSEIN . LE TROU DANS L`EAU / TRAUMBEISETZUNG . C-50 SPLIT TAPE . TRANSFIXIONAL 1998
“...there are three long tracks of brume on his side, beginning with a voice and strange bass-playing, later long delayed harmonies played on a horn are added, and concrete noises appear with slow percussions, the whole becoming more and more melancholic and less aggressive than usual, with a deeply atmospheric touch. really great. wurzelbewusstsein is a duo from south-germany ... they work with cello, guitars, percussion, and lots of electronic devices and treatments. here they present 5 tracks in a quite experimental vein, tracks begin with silent noises and end up in harsher textures, cut-ups appear, mysterious sounds are everywhere, even more conventional passages come to the air and intense atmospheres are created. a promising debut. it’s good to see such stuff on
cassettes.“
(Vital Weekly .Issue#165 . E-mail-newswetter Netherlands 1998)
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TARKATAK / ANEMONE TUBE . SPLIT CDR . TRANSFIXIONAL 2000
"From the German underground two 'bands' on one CD. I write 'bands', since they have one member each. Tarkatak slowly gaines a reputation as the natural successor to Maeror Tri (aside of course Troum). His almost 30 minute piece is based on, maybe even a 'remix', who knows, something by the other band on this CD, a track curiously not on this CD. Tarkatak slides through rough and dark edges to built his own world on the guitar, samples and who knows what else. Great production with lots of attention of the detail, the base end sound good here. Anemone Tube just uses the guitar, but not in one great composition, but in 5 smaller. Which are nonetheless great. Short excursions into the same sort of territory that Tarkakat is inhabiting. Textured ambient drones with a refined character." (FdW)
(Vital Weekly .Issue#165 . E-mail-newswetter Netherlands 1999)
Eine archäologische Hörerfahrung aus ferner Zukunft? Beim Ausgraben von Industriebauten einer längst vergessenen Zivilisation, aus deren Speicherbänken sich ab und zu ein frei flottierendes Datenfragment löst, das niemand entziffern kann? Tarkatak führt einen in gigantische Räume, in denen ferne Musik anklingt, die aus unserer Zeit stammen könnte, aber auch Schritte, die die eines Verfolgers sein könnten. Eine halbe Stunde im Labyrinth. Vom Gehörgang stolpert man immer tiefer in die Gehirnwindungen. Wenn Tarkatak den Staub hörbar macht, der sich auf den Ruinen absetzt, dann sind die fünf Tracks von Anemone Tube die akustische Darstellung der Pflanzen, die den Beton überwuchern - oder Algen in einem Überschwemmungsgebiet. Faszinierend, dass die Klangtexturen der Anemone-Tube-Stücke, deren Melancholie insgesamt etwas mehr 'mellow' wirkt als die anorganische Strenge des Tarkatak-Stücks, alle mit einer elektrischen Gitarre kreiert wurden. Eher geologisch als archäologisch ist an dem Ganzen übrigens, dass ein Anemone-Tube-Track in das Tarkatak-Stück hineingemixt wurde, was hier weniger wie ein gewöhnlicher Remix wirkt als wie die Ablagerung von Gesteinsschichten, bei der man Zeuge sein darf. Fazit: Eine CD zum Überwintern.
(Gebrauchtemusik . 2000)
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TENDER LOVE / ANEMONE TUBE “TENDERANEMONELOVETUBE” 7” 1999
Tender Love starts out with some nice dark ambient that includes dismal distorted rumblings that lend a slight death industrial feel to the piece. The source material is indicated as wind, vocals, dirt, a rock, and glass. The vocals are fairly hard to notice, if at all, but it's all about atmosphere here. Things are pretty consistent and repetitive, and the side ends with an excellent locked grove. Anemone Tube (Germany) offers up some slightly harsher noise, and it's interesting in that it sort of defies simple categorization. It's part ambient, but it's somewhat abrasive. There are drones and crackling distortion, but the feel is unique. The louder output volume is nice, but the track isn't as strong as Tender Love's. The sleeve is printed in black ink on metallic silver paper, and the cover is all text that layers the record title's blending of the two band names. There's are two inserts on red paper, one which is smaller and reveals a T.S. Eliot quote, and another larger piece that contains an interesting passage regarding the nature of experimentalism. There's also a postcard insert from Anemone Tube's Transfixional Entertainment label with some wonderful abstract artwork on it. This is a nice split, but I honestly would have preferred to hear more from Tender Love, as the Anemone Tube composition falls short by comparison.
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V/A TABLE FOR SIX: ALL QUIET? #3. CD. LTD. 300 COPIES . EE-TAPES. 2008
"EE Tapes was originally a tape-exclusive label established in Belgium back 1987, but during the years the media forms released from the label has changed, to the present state of being a CD-only label. Present release is another shot from the "Table For Six"-series, that celebrates different forms of ambient with contributions from interesting composers of the scene. On this third chapter contributions comes from newcomers as well as from more established artists. Despite the focus on ambient the approaches to the style is quite different with everything from concrete sounds to abstracts noise. Opening piece titled "Bulo omega" is twelve minute work of buzzing drones from Italian artist Neuestrasse. Washes of noise waves creates a quite organic edge to the expressions of noise. Organic is also the word to describe the following contribution from Danish artists Stormhat that specializes in ambient-scapes exclusively based on field recordings. His piece "Substanser" nicely mixes abstract concrete sounds with recognizable found sounds. German project Anemone Tube continues with a minimalist piece of beautiful ambient based on processed choir-samples and grandiose soundscapes. With its warm atmosphere, the work titled "Projected cataclysm" from Anemone Tube stand in extreme contrast to the following icy drone work from Dutch sound artist Frans De Waard. His piece titled "Wortel (root)" is another minimalist work based on buzzing drones operating in subconscious levels with a very interesting result. Once in a while the drones fades away giving space for swarms of high frequency noises and crackling electronics wiping out any sign of buzzing tranquility. Dutch artist (Ad)vance(d) closes the compilation with another great piece of ambience based on field recordings with subtle melodies moving in deeper layers. Excellent compilation that also presents some quite bizarre and beautiful jazz-like ambient-noise-spheres based on acoustic instruments such as horns and string instruments from Italian artist Bruno De Angelis. Thus a great span in the contributing expressions. Good work. (NM) Address: http://www. eetapes. be
(Vital Weekly .Issue #654 . E-mail-newswetter Netherlands 1999)
Depuis vingt ans que le label belge EE Tapes existe, les compilations à suite sont devenues une de ses spécialités. Après les "Notre Dame", "Elegy" et autres "The Walls Are Whispering", la série des Table For Six continue avec, comme d'habitude, six artistes évoluant dans des genres allant de l'expérimental au Dark Ambient. Le CD est, encore une fois, présenté dans un packaging au format 45 tours, avec un graphisme rassemblant les six couverts et assiettes. Le dîner est servi, et chaque invité aura aux alentours de douze minutes pour s'exprimer. Explorons donc ce menu.
Comme hors-d'œuvre, la formation italienne Neue Strasse introduit bien sombrement cette aventure. Des nappes glaçantes nous recouvrent comme des vagues jusqu'à nous paralyser. Au fur et à mesure des minutes, le cauchemar s'intensifie. Des coups portés et leur long retentissement semblent sonner le glas d'un funeste événement. D'autres sons perturbants contribuent à créer un climat d'angoisse. Du Dark Ambient donc pas si calme que ça. La tension monte avec la pièce suivante, assurée par Stormhat, projet du danois Peter Bach Nicolaisen. Les sonorités sont ici plus massives et proche de l'électro-acoustique. Si le titre précédent sentait la givre, là c'est plus le déluge ou la tempête. Grouillant et enveloppant, ce titre se développe tout autant dans le domaine du sensoriel et du climatique. Il nous semble y reconnaître des sons mais sans jamais en être sûr : oiseaux en panique, machinerie urbaine, qui sait ? Viennent ensuite les plats de résistance. Anemone Tube, de l'allemand Stefan H., propose avec son "Projected Cataclysm" une musique synthétique dans la lignée des compositeurs planants allemands des années 1970. Cela peut surprendre, mais la pièce est très réussie, et ne dépareille pas avec l'ensemble. Arrive ensuite une de mes pièces préférées, assurée cette fois-ci par Bruno de Angelis, qui s'était fait connaître dans les années 1980 avec la formation Influenza Prods. Ce titre mélange habilement sonorités acoustiques (harpe, guitare...) et électronique. Suit la pièce la plus conceptuelle de l'oeuvre: le titre "Wortel (Root)" de Frans de Waard, composé entièrement à base de souffles de cassette. Et pour digérer ce repas onctueux, une pièce musicale fascinante et hors norme de (ad)vance(d), projet de Mars F. Wellink, un ancien des néerlandais de Vance Orchestra, quelque part entre électro-acoustique et effets électroniques planants, créant du coup une ambiance à la fois tactile et abstraite. Une compilation dans la lignée donc, pour ceux qui connaissent le travail de EE Tapes, avec toujours des moments très forts.
(Obskure Magazine)
Throughout the years (already 20 and counting), EE Tapes has been presenting several compilation series, where sounding names and new values cohabit in editions that, in their own way, have gained a rightful place in the European underground history. That is the case of “Table For Six: All Quiet?”, from which the third issue was recently released by the Belgian label. The concept behind this series is quite simple: six artists/projects present their work in an autonomous way, although contributing, in the end, to a solid final result. A common point between its contributors is the sound "aesthetic" of their tracks, which can – somehow – be pointed as “ambient”, filtered through different visions and methods. This means a wide range of interpretations, from post-industrial dark ambient to well-learned Eno lessons. Nothing new around here, only guarantied emotions – and that fact deserves to be underlined.
In that sense, it’s never easy to point out “highlights” in compilations like this one. Nevertheless, it’s inevitable to mention the tracks by the certified Anemone Tube (great melodic sound, as usual) and Frans de Waard (noise collages, in its most minimal and subtle version), as well as the pleasant surprise advanced by... (ad)vance(d). It probably will not be a member of your CD collection’s top 10, but here’s another fine goal for the EE Tapes catalogue, though.
(Chain DLK)
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