Samm Bennett: Korg WaveDrum, vibrators and contact mics, Korg ER-1, Alesis AirSynth, Casio VL-Tone, CD player, Bias, bumble ball, can, gong, beepers, effectors and crank-toy with portable karaoke mic.Percussionist Samm Bennett was active on the New York improvised music scene in the '80s and '90s. Later he moved to Tokyo, where he's been involved in multidirectional projects including SKIST (his duo with Haruna Ito) and R.U.B. (his trio with Kazuhisa Uchihashi and Ned Rothenberg). From early on, Bennett has explored the fusion of acoustic and electronic. At the same time, he's employed a variety of materials--electronic drums like the Korg WaveDrum (his main instrument), household products, toys and so on--in the creation of a highly original, richly colored sound that subtly combines humor and seriousness. While the playful title suggests that anyone, regardless of talent or experience, can enjoy making music with familiar objects, what this album of 19 tracks (almost all live recordings) makes abundantly clear are Bennett's fine musicianship and excellent taste. Bennett has released quite a few leader and co-leader recordings, but this is only his second solo album to date--his first since 1984! It's worth the 20-year wait.

SPECIAL OFFER. LAST COPIES. 'Both Justin Bennett and Toshiya Tsunoda have gained a reputation when it comes to fieldrecording-based soundworks. Using their sonic surroundings as the startingpoint for their work, both are unique in approach and result. Cacerolada is based on a noise-protest against the Iraq-war, recorded in Barcelona. It wakes up and dies out as any day does, gradually moving along all kinds of sonic occurrences in between. Compared to Tsunoda's, Bennett's work comes from a more contemplative approach, outlining to his listener the beauty, absurdness or musicality of the everyday soundtrack he's living in. Originally these protests served a highly political goal, to record them and treat these recordings as a piece, is what made Cacerolada into a sound-object, to be listened to with different ears. This is the core of Bennett's work. Using hardly any processing-tools (Bennett composes with the raw building-blocks he records), these environmental-pieces are very much like documents, with specific artistic or aesthetical qualities. He hunts for certain scenes or situations and captures moments in time that contain a specific type of gesture he is looking for. The reference to daily life might be very much upfront, though Bennett's work is much more than a highly associative collection of recorded sounds. His recordings easily keep up as complete compositions with a strong musical form, taking the listener beyond what is heard at first sight and this is exactly where the strength in Bennett's work as a composer and sound-artist lies. These works show a delicate timespam, organically interpolating from scene to scene. The so familiar sounding material constructs and underlines compositional shape and development, adding a rare compositional richness to environmental-soundworks. Tsunoda's Cleavage of Acoustics stands in close relation to previous works in which he tries to integrate somewhat technical concepts into the everyday beauty of singing birds and chirping crickets. Tsunoda adds to the body of these compositions of the public domain, as Justin Bennett does, but takes a different route to get there. He experiments to find out the musical relevance of technicality for natural sounds and forces a symbiosis between the two. The results still contain the associative character and organic development so typical for environmental recordings, but have a new, more abstract, mimicry. The sometime subtle, sometimes clashing, but always interesting interference between these two worlds, is what gives Tsunoda's work a very unique twist. It can exist as a completely autonomous entity while grafted upon the soundmaterial we all know so well. Tsunoda, like Bennett, makes us hear our surrounding acoustic reality in a different way. Not by fencing off certain parts of it, as Bennett does, but through simple yet very effective technical interventions, making it's appearance shift a bit or two. Dertiende Mixer - Cacerolada - Cleavage of acoustics is a split LP release in a first edition of 300 copies.'