Storm: Outside Calm Tamed

Aal AALFREE | mp3 | 2007 | free download

This is a mini-album with a previously unreleased track and can be seen as the direct link between “VIVMMI” and the forthcoming, yet unreleased successor "An Ear For Love".

About the record

"The great gray beast February had eaten Harvey Swick alive. Buried in the belly of that smothering month, he wondered if he would ever find his way out." (Clive Barker)

"Storm: Outside Calm Tamed" is a mini-album with a previously unreleased track and can be seen as the direct link between “VIVMMI” and the forthcoming, yet unreleased successor "An Ear For Love". The contrast could not be more blatant! “VIVMMI”’s focus was on barely noticeable melody fragments and chary drones. "Storm: Outside Calm Tamed" really lives up to its title’s promise: a heavy and harsh hurricane out of tinitus laughter and noise frazzles - with the listenere in its center.

But something seems strange about the scene...for more than a half of the title you believe yourself in a time loop.

Additional notes regarding the mp3 re-release:

"I decided to share the second part of the VIVMMI-trilogy "Storm: Outside Calm Tamed" with all my listeners for free - after destroying all physical copies of that mini-album. For some personal reasons. Quien siembra vientos recoge tempestades. Lo hago por ti.

"Storm" in its aesthetics is quite a antithesis to the introverted and fragile soundscapes of its predecessor. With this piece I tried to conjure the thunderstorm in which centre/time the idea came to birth."
Mirko Uhlig, 2007.


"Already in the press release, Uhlig says that the new work is to be seen as a transitory one and will appeal to fans of William Basinski and Merzbow – which could be a joke, but it isn’t. Of course, he is not the first one to discover the beauty of noise in its direct form and to recognise that this beauty is not hidden “beneath” its surface as some have somewhat complacently put it. Fact is, noise has no surface, it is infinite and without borders, which is why it is omnipotent in the truest sense of that word (and why it can be so easily abused by kids trying to look mean). But he may be the first to touch upon its frailty. On the outside, this is pure industrial and it would be wrong to even try and relate it to counterpointal techniques, philophical programs or dadaistic ideologies. Of course, this thick cloud swells and ebbs, changes pitch and pulse, tonal colour and distortion. But in its heart, it remains a wild beast or a force of nature, just like you can describe a tornado with equations and physics, but you can not tame it, explain it or laugh in its face. It is the very fact that “Storm” does not conjur up any smart or ironic excuses for its rawness which makes it seem so inpenetrably powerful and attractive. You can not write about this music, without failing to make a point, just like you can not listen to an excerpt of it on MySpace, thinking that you know what to expect. You need to sit this through from the beginning to the end to be able to understand and you need to put all other thoughts and activities aside – in the background, this is as effective as watching a horror movie with the volume muted. Instead, turn up the dial one noth higher and drown your intellect completely. Then, you will be able to feel the tenderness hidden in that one delicate motive, which Uhlig exhibits like a war veteran showing his wounds because they’re the only thing he has got left, besides some memories of better times. And you’ll be able to experience feelings seldomly related to noise: Compassion and the notion of being touched."
Tobias Fischer

"die trilogie geht weiter, mit dem zweiten teil, und wer meint, es gibt jetzt die auflösung der geschichte der "VIVMMI", der sieht sich getäuscht; eventuell fast brüskiert.

oder hat mirko uhlig einfach ein paar kapitel übersprungen und wirft uns mitten in neue handlungsstränge? oder ist dies eine mögliche andere sichtweise der geschichte? der blick aus den augen des abseitigen wesens hinter dem sonnentag der "VIVMMI"? roh und fast brutal, aber mit einem wesenszug von leidenschaft (und rauer liebe?), der zwingt, immer wieder hinzuhören, der wiederholung verlangt, um hinter die auflösung zu kommen.
umsetzung durch granulare distortion ohne soundhinweis auf das verwendete instrumentarium. und über die laufzeit wird diese qualität so heimisch, dass das piano, das kurz vor dem ende zu gast kommt, das eigentliche alien ist / wird. und bevor es sich selbst heimisch machen kann, charmant ins stolpern gerät..................und vom hörer verlassen wird.

und wer weiss: diese betörende melodie im grossen mittelpart; wenn sie durch diese megadistortion nicht so zerschreddert würde, fast auf eine andeutung reduziert: generiert nicht gerade dieser gegensatz ihre unbedingte anziehungskraft..........."
Hellmut Neidhardt

Touching Extremes:
"It starts with a nicely bewitching electric guitar spiral, you're willing to abandon your body to the flow, then - bang! - Herr Uhlig makes your pacemaker award an extra ball before tilting, for an attack of sweetly furious distortion - more or less the meeting of Lou Reed's "Metal Machine Music" with a poignant melody that William Basinski's distant cousin could have stolen from his archive - hits you on the chin. After a while the melodic hook becomes more evident, even if the sulphuric corrosion that submerges it would make Lasse Marhaug green with envy. Uhlig declares that "for more than half of the title you believe yourself in a time loop", but while I'm listening - TV switched on mute during Moto GP races, outside rainy and cold as in the worst winter days - I just think that I must have some problem if at 43 I still choose to spend my Sunday in such a near-human condition. The distortion grows, so does the instability of my tranquillity; maybe now I see why Mirko refers to a "tamed" calm. To think that our last emails discussed Genesis 1969-1975...Fittingly, the end comes abruptly with disturbed electric piano chords recalling the intro to Peter Gabriel's "Family snapshot". This guy is so unpredictable, you would just adopt him; and since he also says that this record is "about love - not being in love", play this thing loud if you want your partner to leave you without an apparent reason."
Massimo Ricci

%s1 / %s2