Den elektroniske støj-duo fra Oakland i usa blander samples, trommemaskine, guitar og effekter i et åndeløst elektronisk landskab af lyd! Altsammen godt spædet op med visualt i et varieret ambient elektronisk udtryk med mere end en enkelt afstikker til mere støjende udtryk. De to herrer har tidligere touret det store amerika frem og tilbage, og op og ned. Nu kommer touren til Europa og 1000Fryd. Duoen har tidlligere delt scenegulv med dejlige navne som Yellow Swans, Usaisamonster, Gregg Kowalsky og mange andre gode mennesker.
--------> Tjek video her og der!
Kiloton er Aalborgs helt egen elektroniske begavelse og er også resident DJ under synonymet Barry Weitling til 1000Fryds månedlige Klub Taktlös.
Kiloton bevæger sig mellem en venlig skandinavisk electronica-lyd og elementer af glitch, noise og lydkunst, men er også inspireret af den dybe og minimale lyd i moderne ambient dub. Så mon ikke Chen Santa Maria er kommet i godt selskab:-)
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Oakland duo Chen Santa Maria utilizes a mix of samples, drum machines, guitars and effects to hone their varied outputs.
Formed in the winter of 2005, the two solo acts (Megaweapon and Fun Santa Maria) were thrust together on a West Coast tour. An ever fluctuating instrumentation and dedication to computer-free improvising has been the only consistent factor since CSM's inception. Buffalo native Steven Santa Maria has made copious CDR noise releases under the names Fun Santa Maria and collaborated with Randy Lee Sutherland in Jah No Dead. George Chen has played in the bands KIT, 7 Year Rabbit Cycle, Boxleitner, Vholtz, Grey Daturas (as touring bassist), Must Have No Magic, and Common Eider King Eider.
Having shared stages with pinnacles of rock and noise (Yellow Swans, UsaIsAMonster, Hair Police, The Better To See You With, Evolution Control Committee, Sic Alps, YACHT), CSM have toured West and East Coasts of the United States and plan to continue said campaign for the foreseeable future.
REVIEW:
Chen Santa Maria is an electroacoustic improv duo from Oakland. This album consists of seven pieces, mostly around the 4-6 minute mark, except for the 9-minute opener. These tracks generally seem to consist of stray guitar notes and flanged drum machine beats and samples shrouded in a thick haze of reverb and distortion. It doesn’t ever really get noisy enough to be considered a “noise” release, and there’s plenty of moments (especially the second track) when you’ll catch your head bobbing to some abstract rhythm (dare I even say “groove”?) before the track ends and another haze of reverb and distortion begins.
It’s hard to tell exactly what’s going on here, or why it works, but for some reason it does. The rhythms, however abstract they may be, save the release from getting tedious, and I can never get enough reverb or delay, so this one suits me just fine. 7/10 -- Paul Simpson (17 March, 2009)