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[AD]VANCE[D] - poem#red128dot

Format: CD-R
Label & Cat.Number: Absurd #red_dot
Release Year: 2007
Note: after the split of VANCE ORCHESTRA this is the first solo release of MARS WELLINK with his new project (AD)VANCE(D) ! Dedicated to Geert Feytons (NOISE-MAKER'S-FIFES). Oversized cardboard-map-cover !!!
Price (incl. 19% VAT): €10.00

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"Der erste Schritt Mars F. Wellinks nach der Auflsung des Vance Orchesters ist diese vermutlich limitierte CDR-Produktion im bergroen Cardboard-Cover in Plastik aus Griechenland. Ein gegen 40 Minuten tendierendes langes Stck im entspannten Spannungsfeld zwischen Musique Concrete, experimenteller Elektronik mit ambienten Charakter inkl. wohl eingesetzten Fieldrecordings. Hier findet sich alles wieder, was das Vance Orchestra so unverwechselbar gemacht hat, eine organische Entwicklung, die den Hrer nie ganz loslt, aber auch nicht knebelt und fesselt. Hervorragendes ambient noir, das aus meiner Sicht gar nicht hoch genug geschtzt werden kann. Gewidmet dem Andenken Geert Feytons (Noisemaker's Five, Negative Entropy und NMT Productions), der im Juli 2006 gestorben ist." [ [cs] / Bad Alchemy]

VANCE ORCHESTRA is dead, long live AD]VANCE[D]! This is the first release of the follow-up project of the split-up VANCE ORCHESTRA, Arnhem-based musician and designer MARS F WELLINK does it now alone! "Poem#red128dot" is dedicated to GEERT FEYTONS from NOISE-MAKER'S-FIFES, who died last year. A real sound-poem.

"Vance Orchestra from Arnhem are no more, but out of his ashes new paths are chosen. Robert Deters plays around with various people from the local scene, including Machinefabriek, while Mars Wellink goes on solo. As (ad)vance(d) he now presents his first solo work, I think, for the Absurd label. It has been around in their offices for a while, but it's release comes in handy. In various cities (Arnhem, Leiden, Molovos) Mars recorded some field sounds which he knits together to a thirty six minute sound poem. Voices play a role, but more over it's here to create an atmospheric piece of music. The backdrop is a sort of ambient piece of a wall of synthesizers, but it's too angular to be a dull piece of music. On top of that hotbed, Mars lets his recordings drop in and out of the mix, bird calls, insects, people walking and talking. Over the course of the piece things move away from the ambient patterns played at the beginning and moving into the world of strict soundscaping and then spiral back into the ambient backing of the start. A highly atmospheric work that is more like a sound picture, be it of different places, of sound moving in and from various directions than a strict music piece, more like a sound environment." [FdW / Vital Weekly]