Mommur Chasma - Parelspanner - Botsbad [BB-01] CD, 500 copies, jewel case, released November 2002.
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The to me unknown Groninger duo Mommur Chasma supprises pleasantly with a ritual droning palette of short-wave signals, computermanipulations, kitchenpercussion, elastics and bicycle-wheels. This rotating factor evokes of course natural comparisons with Berrocal or Spoke. But the neat manner on which the acoustic sounds are inserted does also remind of the older work by Zoviet France or artistic justified trashprocessors like SARDH. The own universe of Mommur Chasma comes on this cd to expression via the artwork (flying beetles throw their ominous shadow over Earth and Moon) and freaked-out titles like 'Seanumbing' or 'Whisperdome. These kind of unexpected pearl(spinner)s elevates the slavishly work of your critic on to a spiritual experience! (pv)
[Gonzo Circus Review]
Quite nice, engaging and idiosyncratic electro-acoustic work from this Dutch duo who have their roots in an earlier group called Indra Karmuka. They're nature-pictorialists - and the first two cuts set the scene for their intended approach nicely. There's 'Bird Valley' with its weird, low soaring drones and added birdsong sound effects and assorted wobbly mis-shapes thrown on top; followed immediately by 'Phantom Ship', which is mostly dominated by the motor sound of this strange aerial craft as it flies overhead, flashing occasional warning lights and with blips sounding on the radar. These two basic approaches proceed to more or less repeat themselves with variations over the remaining 9 cuts. With titles like 'Creaking Wood in Moonlight' and 'Capricom Beetle', there's virtually no need for me to describe anything that's going on - these artists, Floris Sirag and Peter Veenstra, have a very strong pictorial-narrative intent, and it's backed up completely by the photo- collages on the covers - full moons, planet Earth. flying moth-beetle hybrids, dried Autumn leaves - and the short poetic texts (not recited) printed here to unpack further meaning from the mood-pieces. While these pseudo-fairyland-soundscapes have tremendous charm, they can also be a bit inconsequential - they drift in and out again and don't leave much impression afterwards. But while you're there, it's an enjoyable sojourn in a country filled with odd machinery that doesn't quite work, populated by singing insects that behave in unpredictable fashion, and menageries of wild animals purring as they lick their strange-coloured fur. It's agreeable to hear a gentle, non-aggressive and co-operative approach to making this sort of music- clearly they don't feel the need to resort to 'nasty' sounds, loud volume or full-on playing to get our attention - and there's not an ambient cliché in sight. (Ed Pinsent 11-2003) [The Sound Projector Review 12th Issue 2004]
[inner cd back cover]
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