Hyaena Fierling Reich – “Kalahest”, the principle of open windows on a windy day.

I had been warned about Kalahest way before its release – active since the mid-90s, the works of Hyaena Fierling Reich have been previously available, one way or the other, in one-off collaborations, momentum compilations and self released ep’s and mini-cd’s but this recent full-length release offers a new viewpoint towards the real dimension of her music and sounds. Although a literary approach is temptingly motivated by the contents of this album, I suppose its inner strength is so sincere, genuine and well-intended that one reckons it must be faced through the eyes and ears of facts and how they interfere with the way her music gets perceived by the listener.
Hyaena Reich is a laborious mind; apparently, she combines at least three different stages of procedures that lead to the final body of work (and, please mind you, I do not intend hinting at all the possible alchemic connotations this work may have) – invention, experimentation and, above all, improvisation play a heavy-duty role in it all; Hyaena seems to ponder about all the possible implications the choice of her field sounds are going to induce the listener into, so she makes a careful division, a separation of waters which is only perceptible “after the fact”, that is, unlike most fellow ambient musicians and sound craftsmen/women, who accomplish their task along the process, thus “betraying” the overall effect of both performance and artistic creation. In these cases, the ambient work functions as some wallpaper you can “taste on the side”, but I dare you denying the fact that most seldom people feel the curiosity to re-listen to them the next minute.
With Hyaena you are always led into going back a bit so you may check and re-check the logic and structures of tracks, thus enticing the listener into an aural focus mode. I hear you say – “ok, it’s narrative, then…” – well, it is, but clearly not only that. You cannot be narrated into the unknown, especially in the shape of sound, unless you have been set in tune, meaning to turn interactive, thus being able to immediately respond to stimuli and activate your mental creativeness. Traditional narrative often implies active –passive roles that may change just slightly as the story goes. From the sounds in Kalahest, you move along under your own will – actually I feel literally like swimming some undercurrent!
Indeed, there’s a rather efficient care in providing the listener with a cinematic approach to the themes in the album – the opener is a magnificent example of how an hypothetic film could be being shot in a parallel world, not that faraway actually, preceded by an introductory dialogue that sets the expectation reeling for more; the evident ethnical vocal approach on both of the two opening tracks beams us in through open eastern fields of fulfillment – without the ever-growing corny and helpless effect of “new-age-world-music-for-world-music’s-sake” – and if you are able enough to draw a sense out of the sequence, you’ll be given the passport to the fully understanding of it. 2 tracks that are worth one of the best “acclimatization” I’ve recently experienced to a first listening.
If the Vietnamese voices looped down in Smiling radiant and Trembling, shining matter, the following handful of tracks reunite us with a more recognizable Hyaena (not sounding exactly redundant – just more familiar, which is but a good sign for stylistic consolidation!). The harsh, shouted anathemas/liberating screams in Clouds Immense portray her as a powerful individual performer (how many women in the music world do you really know capable of such delivery? Maybe 1 or 2, yes, but the best, actually, and hers is finding the way up…). There are a few re-encounters with tracks that had been previously released in special occasions and performances, but that just won’t stay in the way of the sound discovery voyage this album is – déjà vu is here something of considerable enjoyment! Anyway, I do not intend to go on setting a kind of track by track map of Kalahest – that would be tiresome and would kill the thrill of it all.
In a world so highly referential as modern (contemporary) music, it’s basically a contradiction in terms to tag Hyaena’s work – from all the interviews and conversations I was able to attain, she was always very frank about the artists and creators that somehow introduced her to the universes we may travel to in her work –that said, we mustn’t forget this can also seem limiting and pigeonholing. But acknowledging influences and references can be a constructive and uplifting exercise when you mention the names of Peter Christopherson and Jhonn Balance of Coil, of Throbbing Gristle (especially on their most recent comeback ventures, unfortunately culminating in the death of P. Christopherson), of Diamanda Galas, or even Hawkwind for that matter ( actually, I believe Dave Brock would just love to use some passages in Kalahest for long intros on the Hawks’ recent and ever proficient production ;)).
The fact is that her work hardly – if ever – sounds derivative. I feel it is extremely important that women musicians of my country are definitely leading the way in terms of highly innovative experimental music and sound (just check the very recent “Les Femmes Experimentelles” compilation) – it’s not reversed sexism, it’s just a kind of big expectation that is being fulfilled all through this “lost decade” (also in music!) for this especial country in Europe. Hyaena Reich isn’t someone to be mistaken by anyone else – actually, her highly superior learning is the kick-starter of the whole process, then using untraceable skills of her own. Kalahest is probably a new starting point, not a “but” in itself.
As the title suggests, Alchemy may have its golden rules but as experimentation goes the free will knows no boundaries, so Kalahest dissolves more predictability than gold, recreating sound matter over and over again. Just like Paracelsus, we have a problem – the container for Kalahest will always be limiting, be it cd or mp3 (maybe vinyl would be a charming format for this, yet still limiting…), the really fit vehicle for its listening being the thin air inside a refreshed and spacious room, pure hologramic sound- just to use a worn out cliché, the sound of freedom is here. Get used to it.

João Carlos Silva
( Ex-4Luas, on Aveiro Fm)

KALAHEST by Hyaena Fierling Reich can be listened and dl’ded here:

http://blacksquarenetlabel.blogspot.com/2011/02/bs041-hyaena-fierling-reich-kalahest.html

recorded with the audio capture of a small movie camera, these (sadly) bootleg-quality live recordings capture still the passion and the beauty, the intensity and despair, of HFR’s soundscapes as they have evolved to a new level, intaking in the sets themes from the new album Kalahest (“Rosa de Lobo”, the Ezra Pound spoken word piece) and themes from the forthcoming new mini album Rosa de Lobo. the A Coruña set counted with a brilliant appearance by performer Nemraca, that we can hear in the beginning of the concert having a real knife fight on stage with HFR, followed by a live impro intro on metal percussions and knives.

live set:

Cataclypsa Galakteia
Rosa de Lobo
Ayesha (she who must be obeyed)
Frigidarium
Agnella Dirigire II
Granada Emeraude
Dog Star Rising

http://www.archive.org/details/HyaenaFierlingReich-LiveInPorto28.1.11

live set:

1. Nemraca & Hyaena’s knife fight & impro intro
2. fortran III/oceanic conspirations
3. alpha vulpeculae
4. the transmutations of neptunium
5. night channels
6. ayesha (she who must be obeyed)
7. fortran II
8. laon bosch babylone
9. guantanamera

http://www.archive.org/details/HyaenaFierlingReichNemraca-LiveInACorua29.1.11

both available for free dl at archive.org.

appreciate…

Dear friends of Lvcenti 14-Bis,

Issuing of many of our musician friends records and EP’S, just as Hyaena Fierling Reich’s mini album Rosa de Lobo, are, much against our will, belated due to grievous tech problems that happened in the Lvcenti 14-Bis office.

The main machine where the musical archives were stored was trusted to someone who proved to be a (very) false friend, who, while the staff was away, told to be “fixing and repairing” the machine to make it work better. Once the staff arrived the machine was found, sadly, totally blocked because this false friend maliciously and purpodetly accessed the BIOS, set a password of his own (probably even typing random letters to make it inaccessible) and consequently made any access to the archives impossible, all the while firmly stating it was all “a hacker’s fault”. Friends of Lvcenti 14-Bis who understand about computers and the fellows at the tech store all stated that, tried and true, no hacker in this world could do that and the only and sole responsible for that mishap was this very false friend to whom the machine was lent in total trust, something he abused criminally.

The machine being on the fritz, has been taken to tech support, where it is being presently taken care of. It should be up and running in one to three weeks, after which time Lvcenti 14-Bis will return to its activities. But this utterly evil deed from someone who declared himself be a “friend” left an indelible scar in whoever trusted him, and overall caused damage to Lvcenti 14-Bis, luckily not irreparable – thank the GAOTU.

In hopefully less than one month Lvcenti 14-Bis will be issuing again. Until then we apologize deeply to friend musicians waiting for their works to be issued, friends of this netlabel waiting for more music, and overall the general public.

If YOU, the responsible, are reading this and dare to comment, all you do WILL be sent to the Interpol and you WILL face consequences.

Never trust someone who affirms they “never fail”.

Kristus Kut raised in april 2008 from the ashes of the electro punk band Abattoir Rouge. Was Abattoir Rouge camouflaging noise in danceable epic wild storms of energy, Kristus Kut left the path of structure and used that same energy to create improvised fields of sound.

inspired by the orishas and rituals of the vodou, cantomblé, santeria and lukumi Kristus Kut creates his walls of sound. working with bass guitars, bamboo, broomsticks, vocals and guitar effects every performance is a way to get in trance and meet the gods. every performance is unique and is dedicated to a certain god of the orisha panteon.

releases are dedicated to Oya, Oshun and Yemanya. change, sex, love and sex. new things can only start when the old is destroyed. the circle of life.

sex is important. to do what you want. loose yourself. pure drifts. loose the society morals. follow the instincts. during the orgasm you get into the divine

Kristus Kut played a lot of festivals like the Schlagtstrom festival Berlin, Spektro fest Istanbul, Betontegel Groningen, Hipp Hipp Hurray Antwerp, Kwark Eindhoven,  and been performing in Portugal, France, Germany, Belgium and of course many shows in the Netherlands..

Protected under a Creative Commons license.

download link: http://www.mediafire.com/?r0gg0v4buoo1g4c

a pearl from the past…


Horus Chamber became real on an irregular timeline, throughout the 90s, descending from a pioneer cell of early industrialism in the city of Aveiro, Northern Portugal, on the mouth of river Vouga. That was Turbina Panzer, a very rough DIY einsatzkommando that started late 1980 (curiously enough, teased by the psychedelic side of early UK industrialists TG and CV, plus the relentless craftsmanship of NYC No Wave…). Some other people would say that the original 3 that formed Turbina Panzer (TeePee for the inner circle of mates…) got influenced by two events in their late teenage: witnessing a gobsmacking Nash the Slash solo performance in Oporto in 1981 and seeing “Eraserhead”. On account of their gossiping tongues, some people get accurate in their depictions… But TeePee also had a huge heart for Metal and when they came to the conclusion that playing true metal instruments inside one of their dad’s workshop, plus the addition of a cheap keyboard and two enormous 1950s stereophonic woodbox valve radio receivers for the manipulation of KW and LW noise, wasn’t exactly the kind of “style” their mates liked down at their comprehensive schools.                                They were 18 but they didn’t like what others did.

Since 1979 TeePee had become Motörhead-obsessed (not only on account of their loud RnR..) and so decided to form Born to Lose ( in a tribute to another of their heroes, Johnny Thunders, apart from Lemmy). They were lucky to find a Maecenas, who lent them Ibanez, Eko, Tama Imperial Star, Zildjian,  EmThree and Shure material ! Counting their blessings, BTL were kings of the neighbourhood for, say, … 20 months, recording two surprisingly good tapes (“Não vai lá!!!” and “Volume Eleven”) and ending up in a haze of Smirnoff and cheap thrills on Live Aid day (significant, heh?!), after having literally performed less than a handful of gigs. A new era was dawning in the country, one with better access to means but far less liberties for the individual, especially in matters of time. So, the early trio, the subsequent quartet and then the surviving duo called it a day. University, careers and marriages ensued and limited every creative aspect, although allowing an interesting parallel radio activity, but that’s just another story. In the very last throes of the 80s one element of said bygone projects, just like the subject in the Van der Graaf’s song started “wondering if…”. After having recorded a home-tape under the successive monikers of Village Sleepwalker (an inside tribute to Amon Düül II ) and UrFeuer ( this time for Faust!), the entity went through a process of intense theoretical literary learning and hermetic/gnostic discovery. The access to a certain music wave coming from Europe and the USA was available overnight, something which enticed whichever spirits to orient the entity in such a direction that lead to some of the recordings of Horus Chamber (an original tribute to the work of Edgar Pierre Jacobs, under the influence of the likes of Steven Stapleton, Diamanda Galás, Zone and Endura, just to quote a few).

After having had the chance of playing with good instruments in adequate places, the entity that was part of TeePee and BTL became once again enamoured with the transcendental possibilities of musical home-working and for a period of over 10 years recorded a few tapes that form the backbone to this ep, kindly brought forth to you by lvcenti 14bis. For the time being the entity behind Horus Chambers is “asleep” but not dead; in a time of change as this is, it may as well be possible that unknown energies re-ignite the unit and activate the mechanism. One thing is for sure – his descendants still walk amongst you…

Protected under a Creative Commons license.

download link: http://www.mediafire.com/?9n04369yd0fyonp

Local: Casa Viva, Porto

Pç. Marquês de Pombal, 167

A decorrer de 27/09 a 1/10/2010

front sleeve

Lvcenti 14-Bis is proud to present its first issue.

Hyaena Fierling Reich is a contemporary Portuguese composer and sound investigator.
Ur Mur and Kor Ver are the two tracks released in this EP, fruit of sound investigations and researches as well as experiments with metal objects, moog synthetizer and HFR’s choice instrument – (prepared) knives.

DL link: http://www.mediafire.com/?xo23hbk1kn3xrz5

Reference: L14BIS00001-2010

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