"Monotheism" ( CD) May 2006 Antifrost |afro2035| - - - - - - - - - - - - - -

THE WIRE (UK) Based on field recordings made at Mount Horeb in the Sinai, Greek sound artist AS 11's Monotheism is an excoriating reminder - all the most prescient in the light of current events in the Middle East - of the overt and implicit violence that lies at the heart of religious dogma. The winds at the mountain's summit are whipped up into a howling gale of distortion. Buried within the squall is a loop of what might be mournful chanting, racking up the Old Testament dread and making this a dark, frightening endurance test of an album. Keith Moliné

TOUCHING EXTREMES (IT) In December 2005, AS 11 made some field recordings at Mount Horeb (Sinai, Egypt). One could never guess the original source, though, as these sounds were radically studio-altered with the addition of "voice effects" after the author's return to Greece. The whole composition is engulfed by an oppressive distortion whose kiss of death has no mercy: gradually, the first elements of "Monotheism" start to revolve around themselves in a whirlwind of infernal utterances, destructured loops and anti-cosmic degradation in one of the harshest, uninhibited liberations of hidden monstrosity of the human soul heard recently. Nevertheless, it also feels like having been delivered; somewhere in this sea of lost hope, an element of sacred nihilism is to be found, its weak grip slowly becoming the guide light that finally leads to the end of this apparently infinite tunnel. More rotten beauty in the never disappointing gathering of fabulous contradictions which Antifrost puts out with blessed regularity. Massino Ricci

VITAL (NL) Releases on the Greek Antifrost label usually don't have that much information, certainly not when it has to do with the music of AS11. 'Monotheism' is based on 'field recordings made at Mount Horeb, Sinai/Gebel Musa, Egypt'. That mountain is also known as the mountain of God, Gebel Musa means the mountain of Mozes. We could say that this is the one place where man met God, and we know there is just one - hence the title 'Monotheism', believer in one God. AS11 made these recordings and added 'additional voice effects' in his studio in Athens. The work opens with what sound like the wind, first solely and stale around the top of the mountain, but as the piece progresses, things get louder and louder. Like a forceful and evil God, angry at his followers. Erosion made audible, I thought. Also some of the sounds reminded me early Eric Lunde music, who also recorded on a top of mountain, and whose music had a similar erosive quality to it. This piece builds and builts, but suddenly after thirty seven minutes it's all over and it takes another minute for the sound to die out. Maybe there is some significance in these time frames, which eludes me (both conceptually and religiously), but it's a mighty powerful piece of heavily treated field recordings, that someone may put down as simple noise, but which I think just works great. (FdW)

BAGATELLEN (US) You get the impression we’re talking Old Testament God here. You know, the one who blithely wipes out thousands for the merest infraction. Given the title of the disc and the fact that the sound sources were compiled from recordings taken atop the peaks of Mounts Horeb and Gebel Musa in the Sinai and Egypt respectively, I guess it’s safe to assume that AS11 is commenting on the state of relations between the Jewish and Muslim worlds. If so, it’s a bleak forecast. The first few minutes seem innocent enough, a rough loop of indeterminate origin, a few clicks, some wind-like references. But then the storm begins, the scythe-wielding hand of God emerges from the clouds and, in a manner of speaking, all Hell breaks loose. What follows is a half-hour plus of howling chaos with enough interior iteration to suggest cyclonic activity. There’s a kind of scouring quality as though what’s left behind after this assault is going to have been sandblasted clean. Played at high volume, the only way to do it justice, this is an impressive, engrossing work, monolithic in addition to monotheistic, but with plenty of mass and detail. The avenging arm recedes back into the clouds rather abruptly; not sure anything’s left alive..Brian Olenwick


"new cd out now!" (3" CD) May 2002 Antifrost |afro2013| - - - - - - - - - - - - - -

THE SOUND PROJECTOR (UK) More meat for those European avant-tech sandwiches you crave.. Antother sausage oozes from the macerator and already i'm tying my disco shoelaces and blaming it, as you do, on the boogie. Think i'll lose myself in these body-poppin' grooves tonight and maybe never come back! But i guess it doesn't work that way any more. Insofar as this record catalyses my escapist tendencies, it does so only to dash them maniacally against the jagged edges of mutant moons as it flies through transPlutonic space on a suicide mission - blind, uncaring, meaningless, dangling the listener in its claws. Yes, that's right - a bit like Shania Twain. You could line-dance to it if you really tried: this music understands hate (important when line-dancing) even if it disdains to actually hate anything in particular, prefering a more Gnostic approach in contrast to the take it personally sadism of, say, Whitehouse.
Given that these sounds are out to negate yu, it's still a wild ride, with much to enjoy. The artist has seen fit to bisect the listening experience in a manner that strikes me as slightly incongruous - about halfway through the movie flips to a commercial break, and an ingratiating voice is thanking me for buying the CD and suggesting others we might like, available now on Antifrost! ok, you might argue a touch of whimsy is always welcome, but you'd probably be a sissy if you did. Me, i don't want the conjuror to show me how it's done - i find illusions are more real than mechanistic explanations anyhow. This quibble aside, I suppose the break does serve to demarcate the point where the intensity of the sounds increases. Prior to it, there's a lot of umber-grey silence, ominous hissing, and a lonely two-note refrain which together evoke interstellar wastes and interminable journeys betweeen dead husks very nicely. But realy this is just about establishing an appropiately severe background for the pageant of violence that follows. My giddy aunt! Scraping noises of impossible depth and intimacy; platinum feedback soaring like metal birds through clorine skies; piglets squealing as witches grind them against helicopters. It's awful! And there's more: he lets it build irresistibly like a massing tsunami instead of lapsing into kitsch as lesser warlocks might. The final eight minutes or so are like the spinal escalator down from the brainstem into atavistic basements of lust. The noise twists and rotates multidirectionally; we lose the centre and begin to black out though oxygen deprivation, but by this time the artist has wrenched our mortal ears through zones of high magick into the screaming diamond infinities that we incarnated into matter in a futile attempt to avoid dealing with..
Oh, it's finished. Cup of tea? jonathan hellier


REMOTE INDUCTION (UK).....another contribution to the series of extreme sound souvenirs on 3"CDs. This disc presents 11 tracks over 20 minutes and is playing with an idea that as11 have. The first track a computerised voice telling us to "advance to track number 11", telling us that our time has run out and we will now be transferred to track number 11. With that tracks 2-7 present a certain level of silence, but one which is edged by an audible hiss and is building across the scope. With track 8 this builds, light piano notes working into the build of the hiss in a subdued manner. This is really quite a nice piece, understated and not necessarily going any where, but not really worried about that. Continuing our journey to track 11 we go via track 9 where we have a backing track of soothing string work while we are thanked and congratulated for purchasing this CD. An odd little advert for this CD, the label and other works by as11. To contrast that the next piece is a stuttering electronic sound, shifting from piercing to blunt noise, from short to extended and generally balancing off in the middle ground. Track ten is about 10 minutes long leaving the track 11 we were supposed to move to from the initial instructions. Though if you did you would have missed all the detail in between, and been disappointed by the silence of 11 - a silence which lasts for nearly two minutes and gives the impression that there might be something there if only you can turn it up loud enough. A curious little item really, with the build up and game that as11 playing here in some ways being of more interest and fun than the actual track that the rest seems to be working around. ptr

MOUVEMENT /OCTOPUS (FR) Les obscurs AS11recidivent sur Antifrost avec un nouveau mini-CD “new cd out now” ou ils poursuiventleur exploration extreme de la musique numerique Une voix synthetique asseneune repetition de mots puis fai place a les distorstions bruitistes precises et savamment amenees, qui ous present de voir ce projet realiser vite un album entier.

L' ENTREPOT (B) AS11 divides his CD in 11 parts…Most contain some short pieces nothing or a voice explain what you are been listening to. But two real pieces, when we reach track eight we stand for the first real tune, and a masterpiece. A melodic piece, you wonder or they have used traditional instruments for it. The song makes a perfect link between post-rock and electronic, Great tune. But then we get something totally different, chaotic noise with fogy shape and patroness who are continue changing in a random way.

AUF ABWEGEN (D) Wenn man das Styling der neuen as11 miniCD betrachten, muss man unwillkuerlich an Ios Smolders kongeniale Music for Cd Player denken: AS11 kokettieren mit den Insignien des Mediums, weisen die Form als Struktur des Inhalts aus und streuen nebenbei ein ganzlich unkommerzielles (weil kaum hoerbares) Produkt mit den Slogans der Industrie auf den Markt. Die Welt hat nicht drauf gewartet, trotzdem rockt das hier. Fur fans von Sachiko M.

SKUG (A) AS11s gleichnamiger dritter Release enthalt brachialere, knarzendere Miniaturen, verstromt aber zuweilen auch gelassene Wehmut.
Zu selten wachsen elektronische Gerausche und von Instrumenten gespielte oder gesamplete Melodien stimmig zusammen.

JADE (FR) Le label grec Antifrost rapproche son point de gravite du centre europeen,en delocalisant une partie de ses forces vives a Barcelone, ville ou les rhizomes electroniques et experimentaux font chanter l?underground (De Shudoa Scott Herren en passant par Ant).Construits autour d?une serie mentionnee comme une "extreme sound souvenir series", les pieces de ce mini-disque prennent comme pied d?appel le voyage,l?exotisme et la memoire. Chacun des trois enroulant a mesure de l?ecoute ses lianes autour de l?auditeur.Ca commence avec une voix vocodee sortie d?un album de DMX Crew et ca se prolonge par de lentes nappes atmospheriques, gracieuses et discretes, puis une voix langoureuse de crooner pour revenir a ses premiers amours (concretions d?infrasons inaudibles). Un peu hermetique, mais toujours surprenant. Julien Jaffre.

INCURSION MUSIC REVIEW (CAN) AS11's third release for Antifrost. It begins with a computerized voice possibly giving an instruction about how to listen to the CD, which unfortunately I could not completely understand, so I just listened to it straight-on from track 1 through to 11, together running up to 20 minutes in duration. The pieces play like a series of abstractions or scenes, sketches of hiss, clicks, silences, melodies and electronics in turns subtle and harsh. Track 8, for example, carries a simple yet eerie synth melody, saturated with hiss and other gently encroaching sounds. Contrast this peaceful and mysterious track with track 10, the longest piece featured here (about 11 minutes long), full of sharp textures and louder, more abrasive sounds and electronic cut-ups. Sprinkled in between these two tracks is a great little advertisement for AS11 and Antifrost. This release might not have the focus and unity of his last contribution to the series, 5000m. New WR released last year, but it's a noteworthy disc nonetheless, full of dramatic twists and turns, holding your interest all the way. [Richard di Santo]

ABSURD (GR) as11 “new cd out now”. divided in 11 tracks, makes it for me one of the most challenging as11 works I’ve heard by now. being a bizarre figure of athens’s scene, really impresses me w/ his unique games regarding his releases. starting w/ a manipulated voice, a kind of manipulation that if it was created from a non allow me to say “electronica” like artist, some 20 or 30 years ago could have easily being categorized as a sound poetry effort. to be followed by small pieces of few seconds which can be regarded as sole pieces or a whole divided in 7 parts of hissing sound (some might call it a “lowercase” effort too), to turn to a great electronica piece on the 8th track, which is to be followed by a really intelligent short piece “promoting” the 3”cd which you’re hearing which you can see it as either a jingle or even an introduction to the 10th piece which is a brilliant more than 10minutes digital noise piece, extremely interesting in listening. to end of course w/ silence… personally I see it as one of the most intelligent releases I’ve listened from greece the last years, as on one hand has a link to releases of greek experimental projects such as dimosioipalliliko retire, ilios but as well shows that seeks new grounds to explore making it worth to check out if you like diverse & bizarre releases!

GUTSOFDARKNESS (FR) “Advance immediately to track number eleven...” voilà ce que nous répète la voix robotisée de la première piste. « New CD out now ! » est certainement le mini le plus dérangeant de chez Antifrost, parce qu’il nous mène complètement en bateau, parce qu’on ne sait ni comment le prendre, ni l’apprécier, ni le saisir. Et pourtant quelque chose de très fort s’en dégage, comme s’il possédait une logique ineffable, un verrou dont l’unique clef aurait été perdue. La première piste, donc, cette phrase répétée, est suivie de huit pistes vides, puis d’un titre minimaliste proche d’un Disjecta (side-project de Mark Clifford de Seefeel), d’une publicité (!) nous remerciant d’avoir acheté l’objet, et enfin d’un long morceau noise syncopé rempli de grincements et d’infrabasses, de bruits d’eau hachés menus, livrés à nous l’air de nous dire « voilà, je remplis mon contrat, je te fais une piste bizarroïde ». Et la fameuse ‘track number eleven’, alors ? deux minutes de silence… L’objet se mord la queue (sans parler de son titre) et pourtant intrigue et fascine par son autarcisme absolu. Une belle irrévérence à ses compères plasticiens du son ; As11 a clairement passé le cap de la complaisance. Le genre de truc fascinant que l’on remet, en se disant « je vais comprendre, je vais comprendre… »

DE-BUG (D) Das durfte wohl der Titel des Jahres sein! Und er lasst taten folgen: Zunachst versteht man die entscheidenden Worte des vorangestellen Textes nicht, dann purzeln die Start ID's 2-8 still undmunter herunter, bevor die Ablosung in Form einer schonen fragenden Melodie naht, die sich glucklichweise nicht vom Fleck bewegt. Abgeschlossen wird dieser introbereich von einem freundlichen Werbejingle in eigener Sache, um scliessich endlich die bosen Tone von der Leine zu lasen.
Klange, die schon auf geringer Lautstarke den Ohren nicht besonders guttun, ihr Potential allerdings erst bei grosserer Lautstarke entfalten und auf angehm schleppende Weise ihr Ziel erreichen. Dass jemand Muzik in Form solch sicker Klangschlachten nicht als normal empfindet, ist angesichts der Tatsache, dass sogar schon an Grundschullern korpeliche Verfallserscheinungen die Regel sind, schwer nachvollziehar PP

BAD ALCHEMY (D) Der ultimative Titel fur diesen in Barcelona eingespielten vierten Streich in Antifrosts "extreme sound souveniers series". Eine Computerstimme adebrecht ihre Message. Danach ein monotoner Klingklang, sanft umsirrt von einem Schwelldrone. Dann wird einem, von einem Jingle unterlegt, von einem
freundlichen Herrn dafur gedankt, diese 3" erworben zu haben. Und dann ist Schluss mit lustig. Flatterndes Gerumpel macht mich nicht neugierig auf die zweiten zehn Minuten - Naja, ich hab's dann doch gecheckt, das Rumpeln zieht sich und Track 11 ist... stumm.


"5000m. new WR" (3" CD) May 2001 Antifrost |afro2008| - - - - - - - - - - - - - -


REMOTE INDUCTION (UK).....damn this is an uncomfortable listen! very claustraphobic..... on headphones takes on an oppressive feel - it becomes almost everything.ptr

BIZARRE (UK) ..a physically and psychologically loaded 17 minutes. Any heartbeat sound produces a physical, human reaction in the listener, its the most natural rhythm there is. I train with it on my headphones and my doctor has prescribed me a course of ether

VITAL (NL) This little disc could be one of the most conceptual releases I have EVER stumbled upon. 5000m New WR is a sonic approximation of an attempt at a new World Record for the 5000m race. It consists of three tracks: 'Pre new WR', 'New WR' and 'Post new WR': here are the body's internal rhythms and arrhythmiae as music - literally. The make-up of this release is nothing more than the digital pulse of the heart; the irregular dense flow of the lungs in electroacoustic form. An unusual concept I'll grant you but also a highly listenable one; and tiring to listen to at the same time. Notwithstanding its armchair physicality, I've come back to this one often over the past few weeks, which surprises me a great deal, as 5000m New WR is compelling for reasons I just can't fathom and it's all over in seventeen gloriously minimal minutes... Brian Lavelle

FREQ (UK)....Put this on headphones and go jogging and see what happens to the heartrate - would it be a help or a hindrance?
Apparently the current record, held by Haile Gebereselassie of Ethiopia, is 12 minutes 39.36 seconds, so of course each track takes the listener through the paces surrounding the record attempt itself at the appropriate durations, including the pumping heart muscles afterwards and a settling into near silence. It's all quite a strange set of experiences to listen through, a form of virtual audio reality, especially on headphones. Consequently, a full run through is also rather tiring, but without raising too much of a sweat of course. The ultimate in sports couch potato voyeurism?

DE:BUG (DE) Nette Idee sich mit der 5000m Strecke, die ja zu dieser Jahreszeit wieder zunehmends populdrer wird, auf einer 3"-CD auseinanderzusetzen. Umgesetzt wird das Unterfangen durch eine pulsierende, am Herzschlag orientierte Bassdrum, die nach geraumer Zeit mit einem mechanisch klingendem, tief keuchenden Gerdusch verbandelt wird, so dass sich ohne weiteres und zudem schweissfrei erahnen ldsst, auf welchen Bahnen sich die Unmengen Endorphine rumtreiben, die von den Kfrpern der Laufenden permanent ausgesch?ttet werden.pp

PROSPECTIVE (SF)I have to give credit to AS11 (who apparently is an amateur long distance runner himself) for succeeding in making a quite accurate pitch / pulsesimulation of the run. Very low frequency heartbeat-like pulses and sounds of heavy breathing. Extremely well constructed and surprisingly good. Jukka Mattila [8/10]

ANGBASE (US)...a breathy loop, distant fridge drones and a few subtle Ikeda-like frequencies.. is not an easy listen - sounds like an obscene phone call from a faraway land. The final piece dissolves into a low intensity soup of digital sizzle.

HEIDMALLR (CH) AS 11 est le projet d'un artiste conceptualiste grec. Sur ce MCD, il a essayé de retranscrire l'instant d'un coureur du 5000 mètres lors d'une tentative de record du monde.le premier morceau consiste donc en un rythme lent et dosé, pareil aux battements du coeur. Le rythme s'accélère sur le deuxième titre,
toujours plus fort et rapide, avec en fonds sonore tout un magma sonore représentant le brouhaha intempestif produit à l'intérieur de notre corps.
Un exercice de style fort intéressant mené de main d'expert.En effet notre homme porte aussi la casquette de coureur à pied amateur,
ce qui le raproche d'autant plus du thème abordé. Il nous montre ainsi toute son abilité à construire des ambiances et des
atmosphères particulières, emplies d'une dualité toute en tension entre l'agonie et la tranquillité.
Très Intéressant. Stéphane Fivaz

OPPROBRIUM (UK)..if rendered at appropriate volume in the correct environment, can induce interestingly constrictive and claustrophobic physical sensations. I'm still grateful, however, thatit didn't go on for the amount of time it takes me to cover said distance in a controlled gymnasium environment - 21 minutes, fitness police.Nick Cain

JADE (FR) Une declinaison integrale de ce que notre coeur peu avoir a subir. Il marque dans un premier temps le retour e l'avant-scene du discret AS11, grec de son etat. Son travail de conceptualisation prend ici pied dans le course de (demi) fond,soit le 5000m. Evidemment, qui mieux qu'un grec, dont sa mere patrie est le foyer des olympiades, pouvait s'attacher e rendre intelligible une des preuves reines . L'idee etant de simuler chaque etape rythmique , reveler ce qui se passe de souffrance intime, de lutte intestine contre le metabolisme, le coeur en etant l'acteur principal et le souffle l'interprete. L'anecdote est prolongee jusqu'e composer des morceaux, qui reunis, egalentle record mondial de la distance, etablit par un Ethiopien : partager un peu de sa souffrance et de son adrenaline, une vrai therapie emphatique.

INDEPENDENT ELECTRONIC MUSIC (RU) What always turned my attention to experimental music is its charming ability to build the focus around certain theme without evident explanation, non-verbally but with strong emotional emphasis. You will never know how you feel after listening these piece of music, how it change your thoughts, how long will be a distance between you before and after listening?For the second album of Greek conceptualist AS11, this distance has not only emotional, but real-time dimension: during 17 minutes, you are hearing the heartbeat and breathing of the man braking the world record on 5000m race. It's very difficult to value this album within minimalism, primitivism or microwave genres, and you probably need to listen it more than once to shape your opinion. I played it back again and again when discover its strange "active-background" quality: recorded breathing articulates my own breathing, and even when I speak, heartbeat changing makes me feeling uneasy! But psychophysical training is not only aim of this release - AS11 creates an atmosphere between emotional trembling and tranquility, abstraction emerged from the simpliest natural processes, vibration of the matter, universal rhythm in which real and imaginary worlds are bound together.

ALL ABOUT JAZZ (IT) AS 11 e un artista greco che si diverte con il concettualismo. Dopo averdocumentato con 00:00 il passaggio dall'anno 1999 al 2000, ha costruito 5000m New WR con cui simula i 5000 metri e il tentativo di battere il record del mondo sulla distanza (12'39"36) che appartiene a Haile Gebereselassie.Questo mini CD si divide in tre parti: nella prima ("Pre New WR") si descrive la preparazione al record; nella seconda ("New WR") lo si raggiunge (anche se non chiaro il tempo); nella terza ("Past New WR") centodieci secondi di assoluto silenzio rappresentano la stasi.
La forza descrittiva di questo progetto suggestiva: il pulsante ritmo cardiaco e il respiro affannoso con il rumore dei passi in sottofondo lo testimoniano. La capacita del suono di astrarre.michele chisena

GEBRAUCHTENMUSIK (DE) Mir sind diese 3 Tracks etwas zu monoton, obwohl ich nicht sagen könnte, dass sie langweilig sind. Ich glaube sogar, dass sie solche Trancephänomene, wie sie beim Langstreckenlauf entstehen sollen, ganz gut darstellen, oder einfach die Konzentration auf den eigenen Körper, Herzschlag (so klingt nämlich der Rhythmus des längsten Stücks) und Atmung (so klingt das einzige andere Geräusch auf diesem Track). Darum nämlich geht es in dem Szenario, das der Musik zugrunde liegt: einen neuen W(orld) R(ecord) im 5000-m-Lauf aufzustellen. Tracks 1 und 2 repräsentieren die Vorbereitungs- und Auslaufphase, Track 2 das Rennen. Vielleicht erschließen sich mir die Qualit&aum;ten der Musik von AS11 ja nur deshalb nicht, weil ich so unsportlich bin. Trotzdem glaube ich, es wäre nicht schlecht gewesen, der CD noch ein paar mehr Infos über den konzeptionellen Hintergrund mitzugeben, wie sie sich im Presseinfo finden.

GUTSOFDARKNESS (FR) Dix-sept minutes dans le corps d’un athlète, ça vous tente ? C’est ce que retranscrit As11 dans ce mini, à travers une pulsation cardiaque qui n’a de cesse d’augmenter, en symbiose avec les inspirations et tensions musculaires sur la durée d’une course de cinq mille mètres. La qualité du rendu est bluffante (comprenez : on se prendrait presque pour un ténia) et rien que pour l’expérience anatomico-voyeuriste l’acquisition de cet objet peut-être recommandé. Du reste, chacun réagira différemment à cette expérience singulière : ou bien on en jouit, ou bien l’on s’angoisse pour son propre organisme. Dans tous les cas l’objet ne laisse pas indifférent, ce qui, couplé à sa grande qualité de facture, ne peut aller que dans son sens.

HANG UP (FR) La Grece est le berceau de l' olympisme. AS11 le sait (il sont grecs) et ont conceptualise leurs travaux du 5000m et du record de Gebreselassie. Je n'ai jamais vecu la course a pied de cette facon. Cest interessant. En tout cas il vous faudra du souffle pour tenir la distance.


"00:00" (CD) October 2000 Antifrost |afro2006| - - - - - - - - - - - - - -


VITAL WEEKLY In a very nice cover comes a document of last New Year's Eve, which is definitely the most remarkable one of the centuries to come. AS 11 recorded the the event around 00:00 hrs. on December 31th 1999 and January 1st 2000 from several radio stations around the world and mixed it into this collage. So, of course we hear a lot of counting in different languages, followed by party music from all over the world. As a musical piece, this is not really interesting, but as a historical document it certainly is. This one can be enjoyed as such. Roel Meelkop

WE POY Es wurde vor fast elf Monaten Zeit (bis neulich), es lag noch peinlich in der Luft: 00:00 hat nun endlich die universale Euphorie zum vergangenen Jahrtausendwechsel in Form von Radioschnipseln aus China, UK, Japan, Mauritius, Portugal, Brasilien, Argentinien, USA, Australien, Neuseeland, Thailand, Indien, Iran, Angola, Griechenland und Russland während des Sprungs der 99 zum neuartigen 00 eingefangen und fügt dem kulturellen Gedächtnis somit weitere artefakte der immer wieder gross angekündigten und niemals verpuffenden Fiktion hinzu. Wir danken. Die vier Nullen bergen ein wahren Garten babylonischen Radio-Karnevals: Ein Countdown folgt dem Nächsten, Schnitte zu fremden Jubel oder bekannterem Gegröhle, white noise schaltet nach Melbourne, wo das Feuerwerk das Mikro zu zerstören scheint, zersetzt von intensiven Ermahnungen von oben, Gott auch weiterhin zu danken, fernöstlichen Wagnerinterpretationen zur Freude aller oder gemächlichen und doch hefitg beklatschten Ansagen aus dem Land der fliegenden Teppiche. Getoppt wird die Idee mit unsauberer Soundqualität, die das wirre Gebabel oft nur unter schwersten Mühen vom gierigen Schlund des weissen noises fernhalten kann. ed

INCURSION MUSIC PUBLISHING as11 presents his debut album on the Antifrost label. 00:00 is a radio collage recorded through internet radio broadcasts on new year's eve, an aural document of the dawn of the year 2000. Its one track, thirty-five minutes long, takes us through 24 locations across the globe on this momentous occasion. From New York to New Zealand, from Beijing to Tehran, from Moscow to Buenos Aires, as11 offers us an interesting glimpse of a single moment in human history. Radio DJs, presidential speeches, prayers, fireworks, music, celebrations and the noises of the crowds paint this aural portrait of a global party. An interesting concept, indeed, but I found that its execution was a little lacking. The audio clips are presented in short segments and mixed into a continuous and flowing whole, but essentially the collage does nothing but present a more or less linear arrangement of these samples, each "moment" placed one after the next in regular succession. But maybe this release should be praised for its simplicity, for its absence of compositional interference, though to be honest I'm not so sure. Although listening to this disc was a curious and entertaining experience, I can't see myself going back to it very much. 00:00, like the radio broadcasts on which it is based, probably would have worked best if it were produced as a radio broadcast, to be listened to only once, through the internet or over radio waves, as an ephemeral and live production and not something as concrete as a published CD. In spite of this, though, 00:00 should remain at the very least a nice souvenir for those who regard the dawn of the year 2000 with more sentimentality than indifference. rds

HXOS MAGAZINE In an attempt to approach the available discography in our country, one is usually forced to limit his concept of music within designated categories as pop/rock/funk/soul/heavy metal/dance/…etc. The cases that are outside those limits are scarce, in the case of as11 - of greek origin - things go too far. What is actually happening with the album 00:00 is a series of scattered recordings from radio stations from all over the world, through a world band receiver, during the hours of the last new year eve. Carols, national anthems, pop tracks, and local speakers from Guatemala to Kazakstan and from India to Angola. The result may not exactly be "artistic", if this has any importance. But the experience of ready mades in art after Dada and musique concrete after the 50s allows us to categorize it as such if we want to. Nevertheless, the issue here is not the musicality of this work but of the "planetary approach" that offers us. The listener of 00:00 travels imaginatively to dozens of exotic countries and this is an experience comparable to ordinary travelling. However, if the great value of punk rock was that it pushed young kids to express themselves creatively shamelessly, this album may achieve something much more simple, but equally important; push us into opening up to the radio waves (at least) of the whole planet. T.Moutsopoulos