P O L I O
S O Y U Z
Apoplexy 16 • CDR • $15.00

The follow-up to the well-received Gemini disc sees the digital drones of Polio placed in a live setting in front of actual real flesh 'n' blood human beings, which at first may seem to go against the general blueprint of what the project is about... a studio-based outlet for the digital recycling of recorded material deemed otherwise unfit for active duty. Well, largely that process remains with the live version, the only real difference is the addition of real-time effects and loop processing over pre-cooked brain-melting drones. Not pretty to watch but a damn fine listening experience. Soyuz takes in the bulk of a performance at the Wunderbar in Lyttelton in September 2002, recorded direct to disc by David Khan. An additional unlisted track finishes things off in more traditional Polio fashion with a piece crafted from excerpts of the unused portions of the live recording.

P E T E R  W R I G H T
D I S T A N T  B O M B S
Apoplexy 15 • CDR • $15.00

Music for carports from the Apoplexy headquarters; barely perceptable melodies and overtones interspersed with the clatter of suspended wine bottles and the salty breeze of a lazy Sumner afternoon. Oh, and a wee singalong sing song to finish. Comes with the typically minimal Apoplexy slipcard sleeve to go with your best dressing gown and slippers... What more could you possibly want?

More intriguing sounds from Christchurch, New Zealand, home of Peter Wright and the Apoplexy label, which he founded in 1998. Using guitars, violin, electronics, voices and a variety of bottles (bowed, suspended or otherwise), Peter has woven seven haunting tapestries of dark, droning sound, distant melodies submerged in a sea of drones, a place of silence and noise, of stillness and motion. At the centre of most of his work is the drone, often constructed from bowed instruments, and here we see him branching out with more diverse instrumentation, employing melodies and new techniques into the arrangements. Since I first heard his music some time last year (or maybe it was nearly two years ago?), I have been captivated by his soundtracks, creeping into the listening space then slowly drifting out, leaving indelible marks all over the walls and carpet. There's always something hidden beneath the surface of his arrangements, which makes listening a pleasure. In an unusual turn of events, he concludes this release with a short song for solo guitar and voice. Look out for other projects by Peter Wright, including a bewitching release under the name Polio, also on Apoplexy.

Richard di Santo
Incursion Music Review

As himself, Wright list more standard instrumentation such as guitar, violin, electronics and voice, but also includes bowed gas bottle and suspended bottles. Chopped organ-like loops with a backward humming over are 'The subtle vibrations of distant bombs' into which rapid-pick and melodic guitar and longer tones slide. All is harmonious (possibly even harmonium) that weaves to a lovely tonal end. The guitar is prominent in 'Sprawling like an open field' which is indeed a sprawling ambience, layered swelling tonal work (a la Fripp), ringing and pulsing, and probably including some other instruments. In 'Deflection' we hear the violin, squeaky adjuncts shifting in to solo-improv emerging through a high pulsing tone, which returns as shimmers and then a pushing pulse into a resonating high tone (perhaps the bottle). Is that a train bringing tones (perhaps the 'Sumner wives wheeling prams on the esplanade'; but on further listening it sounds as much like some Alan Lamb-like whipping wires) and then a twangy echoed melody that is joined by wavering pulses, lustrously vibrating. Briefly, layered metal drones with scrapey crashing noises over are 'Claymore'. A shifting across the length of 'Harsh reflection' travelling from a soft unstable tone with metal taps, light drones and squeaky puffs that drift gently into a more stable bowed centre before becoming a delightful piano tones and click piece. Simple guitar and voice reveal the 'Undertow' an understated conclusion. The changing moods of this album are melodic and appealing, and reflect a real difference between Polio and Wright. Both are skilled and enjoyable releases.

Jeremy Keens
Ampersandetc

A . M .
E P I S T E M E
Apoplexy 14 • CDR • $15.00

A new gem from Antony Milton, the man behind Wellington's PsuedoArcana label which you should definately explore. Episteme is a beautifully chaotic work that fluctuates between clamouring noise and finely crafted rumble, with a little bit of percussive action thrown in for good measure. Bound to be the hit of the summer so don't muck about, get yours now before it becomes too popular.

A.M. is Antony Milton and presents a mixed bag. 'Salt prayer' is a combination of the sounds of long wires bowed and struck to create varied pitch drones and struck to create chimes (anyway, something metallic for drones and ringings) together with big metal sheet percussion to create a combination of rhythm and melody that rolls along for its 11 minutes. A similar 'perpertual motion' mood underlines 'Waihopai' as long bell percussions and a scrabbling noise are joined by a whistling and a guitar line (plus some distant piano). There is a sample in there (which emerges to take the final fade clearly), deep tones, interference buzzing, radio wooos (almost Theremin) as the foregrounded guitar becomes more insistent and the balances change, with the guitar becoming more strummy near the end before it fades down to the talk about US intelligence. A short recording that sounds like it is in a machine with a constant droning, with banging, tapping, squeaking and more (if it is a 'Sea shack' it was a very stormy time!) Semi-random drums and an aeolian harp (I think) in 'Green wine', ending in a lock groove of a drone-line from the harp. 'A taut whirling' is a noisy layering that is almost a mirror of 'Salt prayer' ý the tones are edgier and distorted over a wavering harsh base, and sounds like a tune that is trying to emerge or is being interred, the deeper tones a voice, with other instruments making a play particularly a violin. 'Fallow' finally, very quiet soft buzz, clicks and taps in, and then some guitar; it fades to become a buzz-humm and mike tapping and clicks, distant tones; fades again to high whine, guitar and bass; and on through a series of miniatures around a theme of closely observed small sounds ý guitar, bass, white noise, clicks. An appropriate end to the album ý A.M. is obviously working a range of sound-fields, and is successfully farming in each of them, leading to the diverse produce heard here. And like many diversified industries, the various arms provide support to a vigorous company. Plant this one in your collection. (Ahem ý sorry)

Jeremy Keens
Ampersandetc

P O L I O
G E M I N I
Apoplexy 13 • CDR • $15.00

The dank undergrowth of New Zealand's southern isle vibrates yet again to the sound of the drone. Polio belongs to Peter Wright, known to some as the man responsible for coining the worst band name this side of Lorne Green's Wet Nipple (that'd be Atonal Death, and yes folks, he was joking!). Following the issue of the first Polio disc on Freedom From earlier this year, 'Gemini' presents 3 tasty pieces of debased analog recordings that generate a panoramic vista of pixelized subscaping minimalism. Perfect for zoning out to on a hazy afternoon.

Polio is Peter Wright (as is Peter Wright): under his own name he composes with guitar, violin, electronics, bottles and voice, Polio uses 'digital abuse of analog sources'. The three pieces on Gemini are an exploration into the deeper reaches of your head as tones echo through that empty inner space. The first piece opens with a slightly unstable buzz that long tones (organ?) develop over and chopped drilling. High ringing, eases, almost spectral as it fades right down to a soft high buzz-ring, pulses, resonant feedback emerges into layered of resonating high tones into a shimmering gong fade. The next starts with a building percussive sound, like a train or wind, with very high ringings, pulsating, waves, a deep burr cuts through. A physicality to it, despite the basis on tones; drilling into your head, are there voices?, new tones weave through, an organ plays briefly, there are mysterious depths you catch 'sight' of below the forefront of resonance, through brief softenings. These two Gemini trips were around 10 minutes, and focussed compressed. The final one is 27 minutes, and is more relaxed in its development and less intense: a soft tone builds (it sounds almost like a piano ý an analog source?) softly suggestive with a light whoosh. After some minutes a single tone enters and fades, then more emerge slowly and gently ý some are still head-ringers. A deeper rumble and a brief keyboard pulse, the evolving sequence of descending tones seems to almost breath. Banshees join in about halfway through ý perhaps they were always there and I have finally recognised the source ý and a deep rocket liftoff, dense panning. High tones ease, gentle build into another rumble, ease back then a chiming rolling series of layers to a slow fade. A very intense album, especially at louder volumes (more ambient noise at lower ones ý ringing away), great handling of the complex sound layers, and very satisfying. (It easily incorporated some percussive workmen outside, and the distant barking dogs are weaving through subtly).

Jeremy Keens
Ampersandetc

Gemini is the second release by Peter Wright performing as 'Polio'. The Polio project marks a radically formalised departure from Wright's more familiar narrative guitar-scapes and warm drones. The 3 tracks comprising Gemini create a much icier atmosphere, a deep space voyage through the abstract math of tone intersections. Although Wright declares Polio's working method as the "digital abuse of analogue source material" Gemini gains distinction in the field of minimalist digital tone works for the actual restraint exercised in its processing. The source sounds are still recognisable as (guitar?) feedback - as an instrument in a room - and due to this the whole project stands upon the familiar ground of the whole N.Z 'underground' noise experiment/ trope/ 'thing'. As suspicious as I am of the whole idea of 'national identity' it is that very familiarity that keeps me coming back to this CD. I can't help but wonder just how conscious was the referencing of such signifiers of authenticity as the audible amplifier pops and the distortions of the analogue recording method (a tapedeck in the corner of the room?), but it is these very interferences amongst the tones which 'brings-it-on-home' for me. Space is a cold place, and traveling there seems to require a sacrifice of much of what makes us human. The formal austerity of the tracks presented here could have relegated their utility to rare late night white-rooms drinking espresso --- with myself... As it is the CD has secured a position much closer to the front of my music drawer.

Antony Milton.

D A V I D  K H A N / P E T E R  W R I G H T
C O N F I N E M E N T  &  R E L E A S E
Apoplexy 12 • CDR • $15.00

Recorded in October 2000 based on the Khan/Wright performance aired in June at the Robert McDougall Gallery, this cd extends the style exhibited by the duo as the musical force behind DiS. Two tracks of guitar, keyboards, and a range of acoustic & amplified percussion; one claustrophobic and minimal, one abrasive and relentlessly expressive, all recorded live to four track and presented in a tastefully austere metallic blue sleeve.

Based in Christchurch, New Zealand, Peter Wright produces mostly guitar based recordings, although by no means does he limit himself to performing on guitar. His projects possess an engaging and experimental spirit, full of drones, tensions and ambient sensibilities. He has worked with kRk founder David Khan since 1994, when they were recording industrial music under the name Leonard Nimoy. They have since moved on to explore more experimental territories with an emphasis on improvisation and atmosphere. Limited to a mere 50 copies on CDR, confinement & release was recorded live in October, 2000. It features two tracks, each about 23 minutes in length. Their catalogue of instruments is impressive: David Khan performs on sampler, analogue keyboard, metal pipe, knives, concrete, oil drum and Balinese rainmaker, while Peter Wright performs on bowed electric guitar, electric razor, digital effects, screwdriver and cymbal. As they describe it in the liner notes, these pieces are all about polarities, an exploration "of boundaries imposed and relieved and of the contrast between abstract and concrete viewpoints in both life and art." In the first track, an expanse of sparse, metallic sounds opens up, the sounds appearing and disappearing in slow movements. Silence and resonance figure largely in this piece, which is in turn answered by the swirling drones in the second piece. Metallic textures and abrasive harmonies are coupled with the droning of Wright's bowed electric guitar in an intense, dark atmosphere. This later recedes to reveal a crunchy repetitive texture of fluctuating static sounds, ending suddenly and leaving you wanting more. It's an excellent work, engaging and highly recommended.

Richard di Santo
Incursion Music Review

David Kahn, who runs the KrKrKrK label, hooks since 1994 up with Peter Wright, who is responsible for the Apolexy label. Together they started the Leonard Nimoy band, an industrial band, but their latest release is something of a different kind. The offer two lenghty but different tracks. The first one is a textured pieces of metalic sounds and drones. They slowly move forward and backward in a very subtle way. Drones play an important role in the second piece too, but here it deals with more overtones and is harsher of nature (still not close to good old industrial noise however). Both tracks have great care of detail. Very nice stuff.

Frans deWaard
Vital Weekly

P E T E R  W R I G H T
A U T O M A T O N
Apoplexy 10 • CDR • $15.00

Constructed loop-based recordings made in 1996. Strongly influenced by the likes of the Hafler Trio and Main this package puts some perspective on the general artistic evolution of Mr Wright thus far...in case you were taking notes. Originally available in a slightly different form as 'Glass Cage' on kRkRkRk, this version cuts out some of the tracks that didn't quite work and leaves us with a compact selection of CD samples, loops and tense sonic dronescapes...and some vocals.

Opening with the title track where very deep rumbles and tones are joined by a distant growling voice: shimmers shape into ringing tones, pulses and breaths develop from an e-bow, zings build, a little guitar and light tapping sliding in towards the end. 'Mantra' has a drone overlaid with tinkling loops, the futzpulses over and other tones swirling, broadening out and then fading by parts. High tones, rumbling percussion and a voice tone emerge from silence in 'A stone blanket', a distant trumpet, pulses, the tone drops and a fuzzy end. The next track reminded me of a gothic minotaur as white noise and a g/rough dark voice growled and it is called 'Screaming skulls' the darkness shifts into some lighter tones, tense metallic-frippy loops with longer harsh ones over that swirl and build almost to a scream, a cry within, bleak, slides to the end. A supple picking loop runs throughout 'Self deception = idolatry' entering with surging tones and drones: long high tones eventually start bending into notes, settles, then introduces some electronics tangs plings shimmers a string sample and tortured guitar. This continues, becoming feedbacky swirly, the pick-loop fades and the last minute or so of the 15 ends with sirens and tones. There are various sections to 'Terminus II': the opening scratchy loop and high tone; some piano and humms; a tonal loop that overlaps and echoes; a loop, playing with its speed; simple and layered tones that fragments and bursts with jumpy cd sampling. And finally 'Dream' releases with a slow beat, pulsing and swirling, restrained. Typical varied and complex early works, pointing to many of the later trends, and also fascinating in its own right.

Jeremy Keens
Ampersandetc

P E T E R  W R I G H T
S Y N C O P A T E
Apoplexy 6 • CDR • $10.00 • LAST COPIES AT SALE PRICE

The first of many Peter Wright recordings that highlight an interest in minimal electronic music. The precursor to later efforts like 'Radioplay' and the new polio project, Syncopate represents the last major connection with Wright's previous musical histories as documented on the kRkRkRk label with the extensive use of analog synthesizers and sections of pre-recorded vocal samples, all taken from outtake Noise/Horror Collision recordings, and manipulated on a computer. The music has been placed under a very strong microscope, detailing the minute elements often buried in overbearing and unnecessary complexity. There is a definate affinity with the cerebral explorations of outfits like Coil and the Hafler Trio in this cd's genetic makeup, as well as the benefits of an extensive lo-fi recording back catalog. The connection remains slight however, with this material being as cooly abstract and emotional as any of the more recent PW outings.

'Syncopate' adds digital treatments, sampler and dictaphone to the guitar and analog synths. 'Sync I' opens with twittering glitch and voice that shifts into pulsing crackles, buzzing surges and fast putters that pulls it alnog to a fast pulsing end: the promised syncopation is here. 'II' evolves slowly swirling shimmering pulses in a mournful mood, adding percussive tweaks and squeaks in the second half. More pulsing in 'III' with a rapid click and a crackling distortion that has that hint of processed vocals (there's something about the patterns) and is quite musical, which stops before a very soft fade. I was reminded of Malcolm Bly's 'Mollusc' releases (net and The Foundry) with 'Sync IV' which has the same subaquatic feel to it long woobly mumbly tones that build with more noisy/aggressive ones, and then have a ringing drift quality to them. Very soft rumbles and putts within static open 'V', joined after a couple of minutes by a singing tone and a voice reciting, with echoes and manipulation, leaving later and allowing the rumble to control the end. 'VI' builds out of the remains of 'V', with deeper rumbles that shake the speakers accompanied by a rising and falling basal tone, and 'VII' is a simpler fluctuating drone with guitar sounds in it.

Jeremy Keens
Ampersandetc