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¥724.2 dead hollywood stars. gone west. cd. september2k2

 

tracklist:

incantation
*.mp3
all-star western
*.mp3
jigsaw motel
*.mp3
dreamland's burning
*.mp3
the way of the fugu
*.mp3
mojo
*.mp3
arid zona
*.mp3
lunacy
*.mp3
amongst the stars
*.mp3
afterlife (see you later)
*.mp3
wunderkammer (broken)
*.mp3
épisodique
*.mp3


produced by john n. sellekaers, c-drík fermont and hervé thomas. with: j-r rob(u)rang (6-string bass guitar, jew's harp), m. medea (sampler), b. lee (vocals on 9). recorded at metarc, brussels, february-april 2002.

 

baked goods week 21/10/2002
continuing hymen's association with the excellent mad monkey records, after the splendid l'usine iron city album, comes this second offering from the excellently named dead hollywood stars. their first offering sank without trace, after a distribution deal with nugroove misfired, this time they've found a much more congenial home in hymen. crunchy beats, strains of ghostly americana a la bill frisell and dustbowl john fahey styles mesh almost seamlessly with electronic treatments. i suppose the closest port of call for comparison is matmos' effortlessly brilliant the west, but there are other elements at work here. disembodied echoes from thirties film and dance bands on the opener, "in the abbey of the psalms" strips it all away to one bad, bad beat, while "singapore sling" kicks it somehere between "organ transplants" and the slanderous mambos of senor atom heart.

discover
http://www.discover.de/kritiken/sites/Dead_Hollywood_Stars2002-09-16.html

bad segeberg hat die digitalisierung überstanden. winnetou (wie auch immer das geschrieben wird) ist immer noch versucht, die weißen und die roten brüder in frieden zu wägen. dieses mal jedoch prescht old shatterhand (wie auch immer das geschrieben wird) als doctor jazz im leichten drum'n'galopp durch die prärie und verkündet ohne zu zögern, dass der "singapore sling" eine mixtur ist, die selbst für den hartgesottenen cowboytrinker starker tobak ist. john sellekaers, c-drik, herve thomas, j-r rob(u)rang und marc medea sind dieses mal noch einen gehörigen schritt weiter gegangen. manch einer würde es als einen schritt zurück bezeichnen, der nächste mag es für eine entwicklung halten und wieder andere glauben an eine einfache notwendigkeit von sich ändernden prozessen. alle werden darüber im einklang sein, dass mit tracks wie "the crying indian" die mystik ihren weg in den
digitalen wild west-soundtrack dringt und der große manitu (wie auch immer das geschrieben wird), am synthesizer in die tasten haut. (carsten bäumer)

ambientrance
http://www.ambientrance.org/1202/deahs-j.html

when i heard that dead hollywood stars released a disc likened to slim westerns, i just had to go to junctions and hear for myself... the comparison is often apt, but not that simple (nor that ambient)! file under experimental-western-collage. a minute of boiling grayness is followed by the onset of a thump-shuffling rhythm, guitar strands, clarinet tones then a little nostalgic megaphone crooning; throw in a bucketful of enigmatic environmental sounds and assorted synth layers... last train to aldebaran improbably manages an intriguing balance of these disparate elements. tinkling bells, languidly stretching strings and other instrumental glares shine onto the pure voice, a subtler terrain of rolling contours. old-timey piano notes, varied strings and weird drifts are topped with old-timey cowboy soft-speak and song, coming back from exile. oddly soothing, through the cane fields treks between distant rumbling and laid-back strings jangling in the fore, which, like followup track suburban mystery, or later stardust, fuse the known with the more mysterious. of the assorted spoken entities sprinkled into these decidedly atypical tracks, the little faux-chinese-woman voice of akiko's diary is the most intrusive, though brief. triangulating the daemon (6:27) rises from a stewing morass of deep tones and sparsely-applied ethno patter; then it receives various visitors (opera singer, squawking crow, elf-laughter?) usually in seconds-long snippets... the deep-though-perky beats stick around, backed with odd electric scrawls and other obtuse goings-on. over a soft sheen of squiggly electronic deformations, gunslinger's warm plucks, brassy sweeps and more cowboy talk are underscored by cool glitch-percussion. after the serene guitar resonance of down to zero, the glaringly zippy singapore sling may come as a shock, though its beat-pummeled liveliness proves incorrigible. a finale of skewed harmonica streams and donkey brays is injected with roughly spattering e-rhythms and randomly skronkning strings in western glamor (1:04). not just plain strange, but a specially-developed, artfully-crafted strange. impressive sonic collagework from dead hollywood stars slices and dices a plethora of audio ingredients, spiced with a predominant western-american seasoning. packing alot into 58 minutes/16 tracks, genre-defying junctions takes the road less-travelled; listeners of scattershot (and not too rough) experimentation will appreciate the unique path choices within. the more i've heard the higher the rating has grown... a final, appreciative a-.

starvox
http://www.starvox.net/

there is probably something wrong with me. i adore this cd, but i especially liked it when i put "slim westerns" by a small good thing, on in the background and then listened to dead hollywood stars in headphones. i'm sick, i know. layering. further assemblage. it never stops. to my credit, though, they fit together nicely. "slim westerns" adds an even more ethereal layer to the dead hollywood stars sound. all i need now is "calamity jane" starring doris day on the tv, and i'm set. likely, there's a term somewhere in a psychology book for this. meanwhile, back at the ranch. dead hollywood stars have created a meandering, pleasurable work with "junctions". if you've ever travelled across the "desert states" of the u.s., you'll understand this music cellularly. the american desert is itself already twisted. already david lynch. there is no fiction here. it's all true. drive through it. dead hollywood stars adds one element to their desert-americana soundtrack that o yuki conjugate and purr (a small good thing) did not. dhs added the truck stops. dhs added the small collections of silver spoons with each of the states cloisonned on the handles. dhs added the little stones all glued together with bubble eyes on them, and "rock concert" painted across the bottom. what a small good thing left out, dead hollywood stars put in; right there in all the majesty and mystery of the american desert, there is the wide-eyed, ugly, evil, innocent, ayn-rand heart of capitalism at its best worst. dead hollywood stars capture it all with affection and detail. it's like james dean in "giant". it's like the monstrous billboards careening the landscape, petrified forest of signs, "hungry? tired? lonely? out of gas? left home? don't know where you're going? it doesn't matter. whatever you need, we've got it here. credit cards accepted." it's like ravens as big as cats, hopping around the endless battlefield of roadkill. "junctions" is achey. it's as big as a goddam texas sky or a goddam texas waitress' hairdo, and just as sincere. the gum-clicking resplendency of the desert southwest. it's all here. (saint petrol)

bbc - experimental review
http://www.bbc.co.uk/music/experimental/reviews/dead_junctions.shtml

i start to listen to this music for the first time tired and a bit depressed at the onset of another london autumn with its chill and rain. outside my window the rain is beating down, the leaves are being blown from the trees, but i close my eyes with dead hollywood stars in my headphones and suddenly it's a hot mexican/spanish/american afternoon where the heat haze obscures the distance and a multitude of experiences await. junctions employs found sound as signifier in the best filmic tradition: cicadas, threatening drones, bollywood strings, cooder-esque guitar drenched in reverb implying great (american) distances, a horse neighing, gritty noises, and so on. there's lots of things going on, but the detail isn't fussy at all, just necessary to the setting of a particular scene. synthetic sounds associated with idm or d'n'b (bass waves, washes) are placed in a different context and the consequent mix of acoustic and synthetic is highly enjoyable. rhythm tracks are used sparingly, and when they are the template is electronica-derived. the sonic world of junctions is luxurious, like a book whose first page you've just read and you know you're going to enjoy the rest of. lavishness is a large part what this music seems to be about: in the same way you'd enjoy savouring a thali, here the constituent parts await your delectation, adding up to a satisfying whole, a nice full belly. reference points? john zorn's spillane, fsol's lifeforms, fourtet's first album, ry cooder's paris, texas. new invisible soundtracks are emerging constantly - this is one of the (much) better ones. there are three photographs on the cover of the cd: mountains covered in cacti with a vivid blue sky above, railway tracks and shadowcast, old wooden doors. there is nobody visible in these images: they are scenes waiting for you to step into, out of rainy london or wherever you are. (colin buttimer)

neural.it
http://www.neural.it/rec/deadhollywoodjunctions.htm

fantasmi di defunte star hollywoodiane disquisiscono e s'interrogano sugli archetipi del pop nella cultura americana, non e un incubo, neanche una fantasia ballardiana, sono soltanto le premesse che hanno ispirato junction, secondo album per il trio composto da john sellekaers (xingu hill), c-drik fremont ed herve thomas. una lunga sequenza d'intriganti elaborazioni, felicemente innervata d'astratte influenze cinemascopiche, articolata in paesaggi sonori che accomunano molteplici elementi, attingendo allo smisurato e frequentatissimo repertorio degli immaginari filmici, che viene dipanata in diluita, ariosa successione, fra battute centellinate e ritmi dispari, conditi d'ammalianti melodie, compressi e distorti interventi vocali, a contorno di temi musicali volutamente evocativi. sperimentazioni digitali, suoni di risulta, vocazione ambientale e sibillini accordi (in qualche episodio ricordando i combustible edison, ma piu estremi ed obliqui), una svagata impronta 'western glamour' (sempre morricone fra i riferimenti) per 'congiunzioni' ancora attuali e presenti che testimoniano il buono stato degli avamposti elettronici. (aurelio cianciotta)

infra tunes
http://www.infratunes.com/chronique-album_2034_Dead%20hollywood%20stars_Gone %20west.html

dès les premières secondes de "junctions", l'auditeur sait qu'il a a faire à des génies du son. en effet, la production est absolument impeccable, limpide et quasi-parfaite. "last train to aldebaran" ouvre le bal, et annonce la couleur par la même occasion. guitare bluesy, groove robotique et ambiance iréelle. la voix d'un crooner de circonstance, apporte une certaine chaleur, bien que le morceau en lui même ne manque pas foncièrement d'humanité. très agréable. une mélodie douce, suivit d'une guitare larmoyante et d'un superbe duo trompette/harmonica lance "the pure voice". calme et ambient. "back from exile" exprime à merveille une certaine solitude mais également la volonté de s'affirmer comme entité propre. violons, drones et piano, pour une musique cinématographique moderne. electro-blues comme si le style avait toujours éxisté avec "through the cane fields". court mais intéressant. contrebasse jazzy, batterie discrète, piano et guitare bluesy sur "suburban mystery". intriguant et sombre, avec ce petit je-ne-sais-quoi au charme désué. plus franchement electro, "in the abbey of the psalms" déjout tout les pièges stylistiques qui lui sont tendus. parfois old-school, parfois abstrait, rien n'est plus compliquer à définir, à cerner. claviers mystèrieux, fréquences aigues, et bruits indéfinis durant "akiko's diary", puis atmosphère malsain, et saturation sonore pendant "a cold spot". percussions, nappes menaçantes, puis rythme frénétique, et guitare vénéneuse, voilà pour l'essentiel de "triangulating the daemon". retour de la guitare, folk cette fois-ci, pour un "stardust" contemplatif et cosmique. guitare toujours, hispanisante à present, trompette et rythme clicks n' cuts, avec "gunslinger". mélodique et profond. ambient sombre et froid teinté d'electro et de sons bluesy pendant "down to zero", puis break-beat effréné et musique de saloon pour le très bon "singapore sling". retour de la nuit et du froid sur "the crying indian". intimiste et étrange. "noctuary" poursuit dans la même voie, tout en ambient, glauque et minimaliste. enfin, "western glamor", mix de sonorités graves et torturées sur fond de groove hip-hop, achève l'écoute du disque. encore une nouvelle découverte à faire dans le paysage musical électronique, et à saluer pour son éclectisme conceptuel. a noter que les 500 premières.

phosphor

for those who do know know already, the dead hollywood stars are a collaboration between three musicians that are also the major players behind ambre, silk saw, xingu hill and electro pop formation snog. their long sold-out debut "gone west" was brilliant; a stunning cd that drew inspiration from an incredible number of sources, combining the elements of dark ambient, idm, and country & western (!) into a fundamentally inspirational, sometimes catchy offering. they changed their musical direction somewhat on "junctions" this abum is not so dark, the tension is not so intense, the poignant moments and catchy, hummable melodies of "gone west" are gone. vocals and spoken word play a much larger role here. the result is a shallow dive into filmic ambient, lush electronics, western guitars with country influences. the joint release of germany's hymen records and texas based mad monkey records is another step beyond the general western theme of the first album "gone west" (here re-released as a limited edition with bonus tracks). it charts new territories like vaudeville music, film scores, guitar improvisation and spoken word and also adds a few heavier beats here and more solitary guitar plucks there. dark ambient for harmonica and acoustic guitar. cinematic isolationism for beatniks. the uniqueness of dead hollywood stars cannot be denied. untill now, there is no band that came up with such a sound, such playful atmospheres that might be seen as a cinical image of american culture.

t.i.k.
http://www.industrialkollective.org

junctions is an interesting experiment, building upon the previous themes of gone west intending to create an idm western. adding vocals to the mix furthers this attempt, bringing this album more in-line with snog's buy me i'll change your life, in that it captures excellently both a good western feel and a nice electronic vibe. junctions has the emotional appeal of old-country, while the musical intelligence of modern idm. now the only thing i'd like to know is: are the vocals sampled or original? they sound original to me, but hey what do i know? the vocals are sort of a mix between old blues and hank williams, which creates an odd effect in that the listener is sort of transferred to a mythical american west. perhaps a west of the future, where all musical folk forms have combined and with the advent of a new superior cyborg species, emit verbal sounds which are blippy and bleepy, all the while evoking emotional appeal, and causing the fan-base to dance and frolic. perhaps this is an attempt to generate a new folk music: something new and authentic to touch the heartstrings and move the mind in obscure directions. in other words feeding both the mind and the soul. the music is fairly mellow and mimics country baselines quit effectively, while updating them for modern living conditions (the city rather than the farm). and while the electro-bass swells, the acoustic sounds of guitars trickle in and out, played sparsely for emphasis; kinda like the idea of sampling metal guitars to add a little flourish. and the electronics generate fairly decent dance music too. i'll definitely file this under neo-electro-folk.

infratunes

http://www.infratunes.com

dès les premières secondes de "junctions", l'auditeur sait qu'il a a faire à des génies du son. en effet, la production est absolument impeccable, limpide et quasi-parfaite. "last train to aldebaran" ouvre le bal, et annonce la couleur par la même occasion. guitare bluesy, groove robotique et ambiance iréelle. la voix d'un crooner de circonstance, apporte une certaine chaleur, bien que le morceau en lui même ne manque pas foncièrement d'humanité. très agréable. une mélodie douce, suivit d'une guitare larmoyante et d'un superbe duo trompette/harmonica lance "the pure voice". calme et ambient. "back from exile" exprime à merveille une certaine solitude mais également la volonté de s'affirmer comme entité propre. violons, drones et piano, pour une musique cinématographique moderne. electro-blues comme si le style avait toujours éxisté avec "through the cane fields". court mais intéressant. contrebasse jazzy, batterie discrète, piano et guitare bluesy sur "suburban mystery". intriguant et sombre, avec ce petit je-ne-sais-quoi au charme désué. plus franchement electro, "in the abbey of the psalms" déjout tout les pièges stylistiques qui lui sont tendus. parfois old-school, parfois abstrait, rien n'est plus compliquer à définir, à cerner. claviers mystèrieux, fréquences aigues, et bruits indéfinis durant "akiko's diary", puis atmosphère malsain, et saturation sonore pendant "a cold spot". percussions, nappes menaçantes, puis rythme frénétique, et guitare vénéneuse, voilà pour l'essentiel de "triangulating the daemon". retour de la guitare, folk cette fois-ci, pour un "stardust" contemplatif et cosmique. guitare toujours, hispanisante à present, trompette et rythme clicks n' cuts, avec "gunslinger". mélodique et profond. ambient sombre et froid teinté d'electro et de sons bluesy pendant "down to zero", puis break-beat effréné et musique de saloon pour le très bon "singapore sling". retour de la nuit et du froid sur "the crying indian". intimiste et étrange. "noctuary" poursuit dans la même voie, tout en ambient, glauque et minimaliste. enfin, "western glamor", mix de sonorités graves et torturées sur fond de groove hip-hop, achève l'écoute du disque. encore une nouvelle découverte à faire dans le paysage musical électronique, et à saluer pour son éclectisme conceptuel. a noter que les 500 premières copies de "junctions" sont accompagnées du premier album de dead hollywood stars, "gone west", augmenté de deux inédites : "wunderkammer (broken)" et "episodique".


 

limited edition of 500 copies. only available with the album 'junctions' ¥724

 

photo by Alan McLelland

 


dead hollywood stars
www.metarc.com
www.piezo.net
www.syrphe.com

a collaboration-release of hymen (¥724) & mad monkey records (mmr09)
www.klangstabil.com/hymen + www.madmonkey.org

 

 

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