V I V E N Z A

[Bloated Slutbag]

To me, [Aerobruitisme Dynamique] is, maybe slightly surprisingly, weakest of all Vivenza. But it's still very very good. I just felt that the very pure and very clear concept sound of jet engines, by passing planed and possibly cars etc.. slips somehow out of my interest. The rotation of some industrial mechanism, clashing metals, repeating patterns, and so on, I can listen for all my life. But when it goes to simply listening planes fly over... hmm... ...as much as I pretent to know about art and such, the bottom line remains that piece has to work as "musical experience" for me. No manifest or concept will make car engine be worth to listen to. Unless it's made listenable. And perhaps the dominating repeated "sweeps" of the early part of disc is turn off, as opposed to more ongoing & texturally rich Vivenza rhythm.

No surprise here. It's hard not to love the sweet sounds of metal wanging on metal. And in terms of pure sonic abuse, Aerobruitisme Dynamique doesn't slam into the aural passages with nearly the industrial-strength force of that relentless, Bruitiste, hammering. Though I would hardly chalk this up to source material; or concept. AD strikes me as no more or less "conceptual" than any other Vivenza.

In fact, to my ear, AD hardly features jet engine sounds of any kind. Jet engines idling, maybe. But jet engines in action? No. To my mind, jet engines are screechy scorch hot, so brutally overpowering that the ears can't even process the shit - unless so far removed from the source that the "actual" sound is no longer represented; eg muffled. Jet engine sounds are what I'd expect something like "CCCP & CCPC" from Incapacitants Asset Without Liability to sound like: massed clustefuck of pure saturation. And indeed, upon first exposure to AD, my harsh head registered considerable disappointment that the shriller, scorch-ier, extremes promised in a transfiguration aerobruitistique were barely hinted at.

But why should this be surprising? Most people hate that shit; probably Vivenza too. Vivenza's genius is in presenting the musical beauty of jet engines for the masses. This is not harsh turbine noise. This is practically darkambient. Darkambient as it SHOULD be. I'm reminded, both in the ominous tone and in the oddly warm attempt at "cold" atmos, of Chemical Bride era PGR; though AD's dense cumulous layerings make for much phatter sound pressures, and the movement tends toward unabashed melodrama - about as subtle as sticking yr head in a jet intake.

Now, saying AD's front-loaded flyover samples leave a bad taste is like whinging about the R2D2 lazer-blooping occasionally indulged in Thirdorgan's Heavy Metal Battle Fighter. Not fair. While these elements may somewhat lessen the impact, they are not at all what the work is about. What makes AD great are the deeply thunderous, interweaving, bass textures, the darkly splendored, heaving, underbellows, the constant, surging, tar-blackened, masses of turbine-saturated brew. After Machines have pounded the ears into a pulp, nothing salvos like a nice, fluffy, Aerobruitisme Dynamique.

[FreakAnimalFinland]

This makes me think about what how far goes the connection of industrial music vs. simply the "industrial sound" available? I mean, there are a lot of recordings, what never meant to be "music" as such (at least I believe), but they serve very special fanatics who like to listen for example sound of certain trains.
For example, when you walk to NEdS industrial/noise shop in Tokyo, you see photo of old steam engine train framed among the records. And then next thing when you casually browse 2nd hand vinyls of Konstruktivists, Orchestra of Skin & Bone and such, you suddenly have in your hand some, possibly BBC production of  XXXX model steam engine train driving in rain and thunder. And few other less specific train sound vinyl albums. It kind of amazes me, that there has been need of mass production of gatefold double LP of specific train model, and that it happens in thunder. I was told the owner of shop is enthusiast of such things. During my life I have met couple train fanatics. They go to spot these things in real life, investigate the models, engines, and whatever. And never asked, but I'm sure they like to listen the sound of engines.
In art section of recommended sites, there is a link to german industrial photography site where are mp3 files of various engines. Nothing is assembled to sound as art. It is merely the existing sound, untreated and raw, to be heard.
While Vivenza even at his most conceptual mode might try to be "just sound of machines", there is always the artistic touch in it, with effects and adjustment. I do wonder about level of enthusiasm for pure unaltered and effect free industrial sound. Machines and engines as they are, without layering unless machines happen to operate in same space.
I do regret I didn't use my invitation of Imatra steel factories when I had opportunity to go record it. I also regret I didn't have my portable recorder when catched NYC sky scraper construction field in full action. It was like "vivenza" happening in massive scale. You didn't need effects or composition. Hundreds of guys with powertools, trucks, huge steel elements, wires, hammers, whatever.. in full force create colossal sound, what would have been simply album worthy to publish if properly captured. I do think that there is most certainly problem to sell just... hmmm "happening". Something which isn't artists work. Except pushing the "rec" button.

Well, I guess this whole thing would warrant topic of its own, but those who doubt about the scale of recordings, check this:
http://www.steamindex.com/library/handford.htm

[kettu]

I do wonder about level of enthusiasm for pure unaltered and effect free industrial sound. Machines and engines as they are, without layering unless machines happen to operate in same space.
I do regret I didn't use my invitation of Imatra steel factories when I had opportunity to go record it. I also regret I didn't have my portable recorder when catched NYC sky scraper construction field in full action. It was like "vivenza" happening in massive scale. You didn't need effects or composition. Hundreds of guys with powertools, trucks, huge steel elements, wires, hammers, whatever.. in full force create colossal sound, what would have been simply album worthy to publish if properly captured. I do think that there is most certainly problem to sell just... hmmm "happening". Something which isn't artists work. Except pushing the "rec" button.

dont wonder. when theres so much "deeply personal" and other kinds of buzzword noise etc shit being aimed at the buyers mouth maybe a pinch of actual industrial noise is just what the doctor ordered. maybe spice it up with some different kinds of recording scenarios to make it artistic if thats something to aim at.

cover of the tape could be a neat photograph of a construction site and I would buy that tape.

[Zeno Marx]

Thanks for the information about the train recordings.  I'm very interested in that kind of thing.

[heretogo]

While Vivenza even at his most conceptual mode might try to be "just sound of machines", there is always the artistic touch in it, with effects and adjustment. I do wonder about level of enthusiasm for pure unaltered and effect free industrial sound. Machines and engines as they are, without layering unless machines happen to operate in same space.

I think it's pure folly to try to make a disctinction for art in this way. The sounds themselves are what matters in the end, if they are interesting enough in their pure unedited/uneffected form - bring 'em on. In fact, in most cases I would prefer a good, pure field recording to some chump trying to show his "artistic" ambitions by incorporating the sounds to his/her magnum opus... Of course there are notable exceptions but you get my drift. The simple sound of a train roaring can be the perfect remedy to clean your ears of too much art.
Of course you can start to argue whether it's enough to push a record button and then put your name on the release. But it's not really an interesting argument, is it? I guess the ideal format for field recordings of any kind would be some huge online database. Actually, I'm sure something like this already exists, just haven't fumbled across it just yet.

[FreakAnimalFinland]

I find this kind of "idealistic", yet quite hard in reality.
Most people tend to connect with name of artists or his career so much that it colors the content of recording anyways. And is, what sometimes defines what people listen and buy. Instead of something as simple as "good sounds".

I did kind of admire, for example Cathartic Process doing this Cabal zine, what came with tape with unidentified artists. You'd just get tape, without credits, with "some noise" on it. Imagine full label focusing on nothing but sound, without anyone really knowing who is behind certain catalogue number. I could be wrong, but my assumption is, that no matter how good it is, there is very limited amount of people who'd just purchase "good noise", without knowledge of who's going to be there on CD. Is it just one artist, or perhaps 10 different ones. Will it be just sounds, or actual songs.

And I know even if I appreciate it on level of idea, I know by fact that not long ago I simply threw out piles of CDR's I had no idea who or what they were. Well, first of all, I don't think particularly good, but couldn't really grasp idea of even forwarding to next guy some spray painted CDR with no title or some routine job racket as far as I remembered. Dumpster felt like more accurate place to put them. If one of the covers would have said some good band name, I guess situation could have been very different. It's very rarely I throw any actual recording to garbage, but this shows some tendency that unlabeled, uncredited sound, which can't be "filed" anywhere really, does have some disadvantages.

[bogskaggmannen]

I agree, but then the visuals and presentation should take the lead role. Why bother with something which shows no sign of dedication from the (unknown) artists viewpoint?

This is getting off topic no less!

Back to Vivenza - I got that "Metallurgie" tape recently and I think it suffers too much from soundloss to make any real kind of impact on me. The sound is muffled, weak and lacks very much of detail which I think is one of Vivenzas strengths so I don't really know why any label should bother releasing this, besides in any kind of documentational way perhaps.

[Bloated Slutbag]

I got that "Metallurgie" tape recently and I think it suffers too much from soundloss to make any real kind of impact on me. The sound is muffled, weak and lacks very much of detail which I think is one of Vivenzas strengths

Nope, can't agree there. Crank the bass way the hell up, adjust some higher-end knobs, and Metallurgie hits like a massive, technicolor, dream of industrial-strength machination. Richly textured, densely layered, fully fleshed out, kaleidoscopic, fluttering, thunk, pa-chunk, clunk, wobba wobba, kersplunk. Rather like aggressive gamelon orgy performed in a steelworks mill.

If Metallurgie is to be criticised it is not for sound quality. In fact, the dynamic range of this tape easily exceeds most underground cassette recording from the same period (c. 1987). I would point out that crappy playback configuration often produces crappy results. And in this case, because the bass frequencies are so integral, the recording can sound "muffled" when played straight. But I never give tapes the benefit of the doubt. Tapes automatically go through a mixer. Ditto most vinyl. Metallurgie's "weakness" is that, as a live recording, it lacks the compositional diligence evident in studio work. But sound-quality wise, it's better by half than, say, the side-long Bruitiste comp submission - which, while certainly louder, and better arranged, sounds downright monophonic relative to Metallurgie.

I seem to recall similar (-ly unfounded) complaints being lobbed at early Einleitungszeit tapes, which, in their more orgiastic extremes share more than a little common ground with Metallurgie-era Vivenza. When encountering these complaints, I just shake my head, as I'm doing now.

[AQ]

I would agree with most of what's been said here. AD took some time to grow on me, but now it's become one of my favorite albums. What it lacks and brutality it makes up for in atmosphere. Of course the earlier albums are fantastic too. I'm really happy that some of his work is being re-issued even though it cost a ton. As long as we're doing fanboy request I think David Lynch's factory photos would be perfect for the re-issue LP's.

It seems like the best way to find stuff similar to his work now is by checking the field recordings labels. There is a really great comp called 'Rhythm' on the Gruenrekorder label that starts off with a recording of a Jaguar factory that any fan of vivenza would love.

Speaking of trains, I used to train hop around the country for a few years and I remember the sounds being some of the most amazing things I've ever heard. The first ride I ever took was inside of an empty cole car, with the sides about 9 feet up all around you. Every sound bounced around the car in a natural steel reverb and it was fucking insane. The clacking of the tracks, the hiss of the air breaks, the wind hitting the train on a bridge above a river.. The tapes I made on that trip are still my favorite things to listen to above all else years later.

[FreakAnimalFinland]

So, lets mention re-issue of "Modes Reels Collectifs" CD/LP !
Brilliant re-issue of tape recorded in 1981, issued in 1983. 20 + 20 minutes of material. A-side starts with much more quicker changes than in many other releases. Abrupt cuts of industrial sounds may allow to mention Chop Shop for example. But by no means I'm saying that they'd sound the same. Just the early part of short cut ups of machine sounds. The side goes with just a bit too short loops. Loops that are so obvious loops and so short, that it's like the drum machine repeating the hit of metal. But no worries, the track grows little by little and more and more into multi-layered machine sounds. And the b-side, it's nothing but gold. When I listened CD at work, on the "regular stereos", it was good, but when listened LP at home, with lets say "proper stereos", I'm nearly amazed from the abundance of sub-bass levels of some elements, when the machine sounds clatter and clang on the top, but the roaring and rumbling bass hammers deep down in the mix, loud, although little blurred. Tape from '81 ? Bring me tapes like this in 2011!
CD is pressed on black cd discs. Which, I feel are little no no -category. And while I was quite enthusiastic of GZ introducing the rigid LP cover production, now after having few of those in my collection, I'd say: please, just make regular sleeves. These heavy duty cardboard sleeves are just nonsense. It becomes nearly a task to get LP inside them. Not to mention they are little bigger than regular LP cover, which isn't good at all.
Nevertheless, even if pricy, I recommend to grab cd or lp immediately!

[ImpulsyStetoskopu]

Tape from '81 ? Bring me tapes like this in 2011!

I have got an original cassette with this material. Incridible, how perfect is this sound after 30 years!

[Jaakko V.]

Have any of his more recent writings been translated to English? Or do you know if there are plans to..? Would be quite interested to read about his present ideas. There seem to be quite a few things published but all (?) in French.

[FreakAnimalFinland]

http://special-interests.net/main/2019/02/24/vivenza-interview/

[Strangecross]

Are any English writings included in the releases? seems like Réalités Servomécaniques had something in French, but is it in all versions?
Fondements Bruitistes has several different version one says 20 page book, one 108 pages in 3 languages. I'm assuming this is a collection of writing found on previous releases?

[Scat-O-Logy]

Are any English writings included in the releases? seems like Réalités Servomécaniques had something in French, but is it in all versions?
Fondements Bruitistes has several different version one says 20 page book, one 108 pages in 3 languages. I'm assuming this is a collection of writing found on previous releases?

If you're talking about those two A5 digibooks, they are the nicest digibooks I own.

"Réalités Servomécaniques" has same text in English ("Servo-Mechanical Reality") and Japanese/Chinese. Same with "Fondements Bruitistes" ("Bruitist Foundations"). Has some nice b/w photos too.