Rerelease of the legendary 1988 cassette Music for Metaal, partly reworked.
Originally released on cassette in 1988. Side A by Vivenza is unedited. Side B by De Fabriek has been reworked.
A short interlude between the two sides has been added.
Packed in a tin can, just like the ‘Rooie Disco’ CD on UNIFAB. Comes with attached real razorblade…
Design by Universaalkunst, interlude by Martijn..

review Vital Weekly 1451

For reasons not of general interest, I re-discovered Vivenza’s music last year or so when I got some of the old vinyl and a CD again, and I played these with much enjoyment. I don’t know why Jean-Marc Vivenza never released any new music beyond 1994, but I am sure he has his reasons (a study in esoteric and philosophic movements may be the answer). The exciting aspect of his music was his recordings of machines, which he didn’t link to the industrial music scene of the mid-1980s when the bulk of his was released, but to the 1910s Futurism, in particular Luigi Russolo, best known for his ‘art of noise’ manifesto. I saw Vivenza in concert, in October 1986, and I was surprised by his use of two EMS VCS 3 machines and whatever he did, they sounded like machines. Now, I know he may have used tapes of machines and industrial recordings in this
synth. Two years later, he played a concert in Groningen, The Netherlands, which found its way to a cassette by De Fabriek, who also had a live recording on the side. Both the release was a surprise, and the live recording by De Fabriek, a group known not to play live. In the end, during a 45+ year career, they played three concerts, most likely without founding member Richard van Dellen.
There have been various re-issues of Vivenza’s music in recent years, so only some are gone and remembered. In his three pieces, he takes on a particular industrial modus operandi: lots of machine sounds, piercing electronics, and, towards the end of the final, a choir singing. I can’t determine what this is, but no doubt some glorious revolution is celebrated here. It’s a slightly noisier approach than some of his other works, showing an interest in developing his music and adjusting levels each night. Perhaps sadly he didn’t take up the idea to rework the recording, as requested by De
Fabriek. They had a go at the 1988 recording, which I’m sure can be found online, and it makes a nice comparison with the new work. Elements such as certain rhythms, voices and guitars can be recognised, but they all sound distinctly different from the original. I wonder if the archives of De Fabriek contain all these separate elements from so long ago, allowing them to do such a remix. It isn’t easy to pinpoint the differences, yet it is also evident that it’s a rework/remix/polish-up job. It’s also music one wouldn’t link to De Fabriek, being all more electronic and atmospheric, whereas here there they sound, at times at least, like no wave/post-punk band sans drummer and with a drum machine. Strange, but in the universe of De Fabriek, strange is a badge of honour.

review Gonzo Circus 184

Een metalen doosje, getooid met een scheermesje, bevat de gelimiteerde halve cd-heruitgave van een cassette uit 1988. We zeggen ‘halve’ want Vivenza heeft de opnames (een concert in Groningen in 1988) ongewijzigd gelaten, terwijl De Fabriek het bronmateriaal (live in Amsterdam 1988) geheel heeft herwerkt. Vivenza is voor industrial-fans het echte spul: de geluiden zijn opgenomen in fabrieken of van echte machines afkomstig, en worden dan in ritmische loops gezet. Maar componist Jean-Marc Vivenza haalt liever bruitisme en de manifesten van het futurisme (bijvoorbeeld ‘The Art Of Noises’ van Luigi Russolo uit 1913) aan als inspiratiebron. In elk geval komt het totaalgeluid zeer dicht in de buurt van de sfeer aan de lopende band van een autoassemblagefabriek of een staalverwerkend bedrijf. En om het helemaal constructivistisch af te maken, brengt in het slotnummer een Russisch strijdkoor een ode aan de arbeiders. De Fabriek maakt op zijn beurt als groet een erg leuke Vivenza-achtige intro als overgang, maar dan is het uit met het machinegezang. Nu primeert de elektronica, en anders dan bij het origineel klinkt de herwerking minder rauw. De vrouwelijke zang is gebleven, en we menen ook minder metaal te horen. Maar de 2024- versie staat dan weer wel garant voor enkele straffe ritmische momenten.