Friday, 19 September 2014

PBK





































"The killer God"
Year:    2015
Country:    US
City:    Chicago
Label:    Kassette Kult Tapes
Format:    cassette
Tracks:    4
Time:    55 min.
Genre:    electronic
Style:              Dark Ambient















PBK's new apocalyptic noise / dark ambient release, raging at the killer God, into the depths of the universal human experience, implacable Death and Suffering. One of the very rare PBK recordings which the artist doesn't show his more experimental side but the darknest, even "violent" side. A little walk for the PBK wildest side. Not fast, not furious, but apocalyptic and oppressive blackened noise. Four long tracks full of changes, different landscapes and noise textures.
  Discogs   ,   Lastfm   ,   Bandcamp   ,   PBK Sound  



























































































"winterscrubbed"
Year:    2014
Country:    US
City:    Chicago
Label:     The Museum Of Microcassette
Format:    digital
Tracks:    2
Time:    30 min.
Genre:    electronic
Style:            Microcassette            Field Recordings            Noise














"The tape uses a variety of sounds, some field recordings, some studio-generated (synth sounds, etc), all degraded through recording/re-recording. I used only the on-board microphone of a malfunctioning microcassette to record through (no direct-in). I found out right away that the sounds recorded through the mic took on a different character from their source so I decided to exploit that by creating chambers to live-record inside. I positioned a cardboard box around a small practice amp (also malfunctioning: it has a short and crackles at times for no obvious reason), and would carefully place the microcassette into the box to record, every now and then dropping small objects or crumpling paper into the box around the tape recorder. When the 15 minutes was finished I would digitize that and make purposely careless edits via music software (reverse portions, add in bursts of noise, pitch shifts sounds, etc) and then play it through the amp while recording again. The process took probably 20 overdubs in this manner to get to the point you hear on the finished tape".
  Discogs   ,  Bandcamp  





























































































































PBK + ANLA COURTIS
"Invasive species"
Year:    2013
Country:    US , Argentina
Label:    Green Records and Tapes
Format:    cassette
Tracks:    8
Time:    50 min.
Genre:  electronic
Style:            Drone               Noise














Courtis, guitarist and co-founder of the legendary psych band Reynols. Courtis’s sound-sources consist mostly of feedback frequencies and throbbing synthetics that push the limitations of digital sound. Set against PBK’s crunching, psychedelic noise and turntable manipulation creates the sensation of being inside a structure of circular forces where the infernal sounds are swallowed up in pulsing sonic vortexes. Sound is somewhere between ambient, space music and noise/drone. Xerox covers with insert, numbered edition of 55 copies.
  Discogs   ,   Lastfm   ,   Bandcamp   ,   Green Records & Tapes 



























































































PBK + TELEPHERIQUE
"Ambient noise connection"
Year:    2008
Country:    US
Label:    Monochrome Vision
Format:    CD
Edition:    500 copies
Tracks:    9
Time:    77 min.
Genre:    electronic
Style:          Ambient           Noise














"This joining of forces of the American sound painter PBK and veteran German experimental group Telepherique here encompasses a fertile creative ground, and is titled more than appropriately, being a playful mesh of softly textural, bizarre and sometimes playful sound compositions. It all begins with the oddly surreal 'Twilight Cue', which sounds like an electro-acoustic collage with samples and recordings of raw metal and primitive percussions (though perhaps more ambient than that description implies). 'In Ecosystem Interrupt' is a mysterious set of sounds that evoke a dramatic cinematic scene in a plastic baggie factory (with strings)...on vinyl! 'My Rare Dreams (Of The Future)' is a more structured, rhythmic mix of atmospheric guitars/bass and skittering, looping sounds, like an old 4AD band being mixed by Stefan Betke/Pole. 'You Only Fade' soundtracks a late-night haunting in a factory, through a pixel haze, whereas 'Seen Through Cloud Cover' closes it out with a spacious ambience. Overall, a heady and quirkily pleasing collision of sounds and abstracted textures." (Goatsden). "You most likely do not need a history lesson in the trades PBK, Phillip B. Klinger, and Telepherique, Klaus Jochim et al, but if resume perusal is requirement to employment you’ll find the inner liner notes’ publicity rap on both acts taken from the CD booklet paragraphed within the internet loquaciously (should you do require a background, please follow aforementioned instructions). This, however, is not a split album but a union of two into one that deserves its own space: they have, after all, entitled the album with that in mind. All the tracks are skewed heavily with eschatological and societal ideation, each nesting poignant subtitle in sentence, from the curtain call of ‘Twilight Cue – The Beginning of an Ending’ to withering query of ‘Sun Continue to Shine – How much longer will the solar energy remain a constant and feed the planet? – a prayer’, libates a future fallen and failed, expressed in word. How ironic then, that it is by the product of oil that both artists illume their ecologically introspective sound. Sheeted steel screams as they sharpen together, gleaming whips stabbing and shearing. The attacks are random in, The Beginning... (Twilight Cue), where oscillations of sampled cyclic machinery are gutted and howl strange frequencies and rattling gears groan, creak and tense. The palpable pressure expressed in the album, whose most harsh and unrelenting tragedy was finalised before the first track began with the predilection of subsidence of survival – ours and all else, is taught and chaotic. Flickering tones are struck with steel, some force or wind sans life the only animastic force causing such collision. Delving into a planetary disaster with the reversal of the poles, the second track continues in a rich bubble of noise and ambience evoked in the first play, swelling with organic tones and twitching just-around-the-corner malfunctions: haunting visions of violent lifelessness of mechanical repetition. There are seismic changes in the presentation of disaster outlined in the track titles and subtitles. Static squeals accompaniment to shivering bird calls, tortured bicycles screeching like tortured banshees while electronic saccade splutters oblivious. Noise and ambience abet the artists’ amalgamation without excelling or smothering each other, allowing for carefully delineated segments of space between the fused. The interplay, which perhaps an artist of either camp who stubbornly sees no space tween, is one of chiaroscuro.  Menace and darkness are portrayed, but less as a necessity and more a by-product of what is being evinced, aural statements of ecological disasters, which in today’s day and climate are hardly menacing or dark enough. It is little wonder that such a future and such music treads a lonely path of absence of life save its echoes. The album is a limited edition of 500 disc jewel-case and nothing particularly aesthetically inspiring. A simple and glossy four-page black-on0white booklet is detailed with minimal design angular and ovular." (*NOTE this review was written HERE ).
  Discogs   ,   Lastfm   ,   Bandcamp  













































































































































"Shadows Of Prophecy / In His Throes"
Year:    1994
Country:    US
City:    Chicago
Artist:    Phillip B. Klingler
Label:    N. D.
Format:    CD
Tracks:    13
Time:    60 min.
Genre:    electronic
Style:            Noise            Ambient














American composer, Phillip B. Klingler, better known as PBK, has been active in the experimental music underground since 1986. His soundwork correlates to electroacoustic, classic industrial and free jazz genres. PBK has fashioned a noise-based music that doesn't rely on harsh noise process, but rather, by placing noises themselves into ambient/atmospheric sound environments. His soundworks are composed from turntable manipulation, sampling and analog/digital synthesis. Improvising spontaneously and with little preconception, PBK creates pulsing, echoing, organic soundscapes of unknown sonic origin. Between 1992 and 1996, PBK lived in Puerto Rico. He began experimenting with sound using record turntables and an extreme use of MIDI sequencer programming. Two projects were completed including a three LP boxset titled Domineer/Asesino/Retro and a CD release titled Life-Sense Revoked, a collaboration with other artists.

















PBK has performed live throughout the U.S. and in Europe. A restless collaborator, he has worked with some of the most respected names in experimental music. A partial list would include such musicians as Wolf Eyes, Asmus Tietchens, Vidna Obmana, Jarboe (Swans), Artemiy Artemiev, Minóy, Adam Mokan (8-Bit Porno), Athan Maroulis (Spahn Ranch), Aube, Guillermo Gregorio. Over the course of nearly twenty years PBK has had over 35 full-length albums released internationally establishing a complex body of work that reveals a unique approach to the Noise music aesthetic.
  Discogs   ,   Lastfm   ,   Bandcamp   ,   Wikipedia     Facebook   ,   Twitter   ,   N. D. Records  
































































































"macrophage the toil and the reap"
Year:    1992
Country:    US
City:    Chicago
Label:    ND
Format:    CD
Tracks:    11
Time:    62 min.
Genre:    electronic
Style:            Experimental           Noise














When considering american independent electroacoustic music (as opposed to composers working in university studios), we generally spot strong individualities like Kim Cascone, John Hudak, Minoy, John Wiggins, Philip Perkins, etc (Tellus cassettes #13 Power Electronics, 1986 and #20 Media Myth, 1988, are a valid introduction), though it would make sense to consider the trend as a movement, like German Elektronische Musik or French Musique Concrète. Philip B. Klinger (b 1960, Michigan) has been a prominent figure of that scene since 1987, releasing many solo and collaborative tapes on various US underground labels. At first belonging to the nebulous US noise underground, his style had moved to distinct electroacoustic endeavors at the time of his first CD release, ‘Macrophage/The Toil and The Reap’ on Daniel Plunkett’s N D label. The disc pairs two electronic suites, the noise ambient Macrophage and the nuanced and restrained The Toil and The Reap. The opener ‘Forge’ aludes to Wagner in both title and content, as it could pass for an updated soundtrack to Siegfried‘s scene where the dwarf is forging a blade in a cave. Macrophage can be heard as an homage to Richard Wagner, the creator of noise music, though PBK put his PBKSound archive under the tutelar figure of Luigi Russolo. The Toil and The Reap explores dreamy, cinematographic territories with subtle combinations of inscrutable electronic and musique concrète sounds, synth loops and sound effects. The free-floating, amoebic music of track #10 ‘Beckoning’ is a collaboration with Dirk Serries’ Vidna Obmana. N D also released another PBK CD ‘Shadows Of Prophecy/In His Throes’ in 1994. (*NOTE = this review was writen HERE ).
  Discogs   ,   Lastfm   ,   Bandcamp 















































































































 PBK + ZAN HOFFMAN
"Whoso sheddeth mans blood "
Year:    1989
Country:    US
Label:    ZH27
Format:    cassette
Tracks:    1
Time:    30 min.
Genre:    electronic
Style:             Abstract           Experimental


  Discogs   ,    Bandcamp   ,   ZH27 Records   

























































































"Descent"
Year:    1988
Country:    US
City:    Chicago
Label:    Attenuation Circuit
Format:    CD , cassette
Tracks:    2
Time:    60 min.
Genre:    electronic
Style:           Noise           Ambient













Phillip B Klingler: that's what PBK stands for. No secret but just in case you didn't know this and that might happen, since PBK might not be a household name these days. Unlike the late 80s when he rose to small fame in the underworld of home-brew cassette releases. He never went "away'"or in hibernation, but perhaps was not always as visible in this twenty-five year career. I am not sure if this re-issue of one of his earliest cassette releases is part of a longer campaign to re-issue earlier works, or perhaps part of an anniversary of some kind, but its great to hear it again after so many years. "Descent" is perhaps his first true solo release, and sees him take inspiration from Minoy and David Prescott, rather than Stockhausen of Xenakis (I am using the press text, thank you). At David Prescott's he taped a whole bunch of synth sounds and spread these out over the four tracks of his machine and then started to mix them, adding more synthesizer sounds, tape loops and such like, and the result is one of the earliest instances of ambient meeting "soft noise". It has that spacious character of ambient music, like being in a stream of sounds (as in a stream of consciousness) but at the same time has an angular character, a certain aspect of being nasty, that remote, desolate, empty industrial waste land image that makes it 'industrial'. Composing is perhaps not the sort of thing that applies here, but rather a surrealist take on mixing odd tracks of sounds together in two long form pieces of music. Intuitive playing and mixing, a surrealist approach to the art of composing, that is what PBK is best known for and here he does a great job at it. An early work, but what a fine piece. (*NOTE = this review was written by VW ).






























































































[PBK_Vivisection_Front.jpg]





















"Vivisection"
Year:   1988
Country:  US
City:   Chicago
Artist:   Phillip B. Klingler
Label:   Sound Genetic
Format:   net
Tracks:   4
Time:   60 min.
Genre:   electronic
Style:              Noise













PBK has been working in the areas of noise, ambient and electroacoustic music since 1986. PBK is an acronym for Phillip B. Klingler, born in 1960 in Flint, Michigan. In the early 80's Klingler studied art at Northern Michigan University and CSU San Bernardino. He exhibited his expressionistic paintings in the Los Angeles area and was active on the international mail-art scene. Phillip B. Klingler is an artist in field like visuals or music but also a man who fight against social injustice, racism or in defense of animal rights. This album obviously was focalized on this subject, how mankind torture and kill animals without piety. Apart this album he has participed in different politics actions, benefit concerts, compilations against social injustices like racism, facism or sexism, etc. A good proof that he is something more than a "noise musician". *NOTE = here below you can see the original cassette cover of 1988.
  Discogs    ,   Bandcamp   ,    Sound Genetic Records   ,    Animal Liberation Front    




































































































































"A noise supreme, Early Solo Works 1986-89"
Year:    1989
Country:    US
City:    Chicago
Artist:    Phillip B. Klingler
Label:    X Died Enroute Y rec.
Format:  CD
Tracks:    11
Time:    70 min.
Genre:    electronic
Style:                Noise














Compiled and remastered in 2005/06 from cassette sources: Poetry And Motion (1986/87), Appeal (1988), A Noise Supreme (1989) and various compilations. Edition of 100 hand-numbered copies in cardboard sleeve. Released as a limited edition cd-r on the XDEY label in 2006. This is an expanded edition of a PBK cassette originally released on Sound Of Pig in 1987. Some of these “early works” are among the first that PBK created when he began working with sound. PBK’s background in the visual arts shows up quite clearly, some of the tracks here would definitely be considered “soundscape”. Other compositions are more rhythmic and use vintage drum machines or extensive looping. This release is an interesting document of the 80’s cassette underground and PBK’s unique approach to the “noise” aesthetic. 
  Discogs   ,   Lastfm   ,   Bandcamp    















































































































Phillip B. Klingler is also a great visual artist and you can see his paintings HERE .