Kostis Kilymis
More Noise Ahead
CD (E147)

Barely Outside
Minute’s Pulse
Tiny Vices, Part 1
The New Fragmentation
Negotiating the Streets/Elevate Me Later
More Noise Ahead
A Crutch
Reaction as the Afterthought
Tiny Vices, Part 2
Old Tape Worms Direct

Mixing board, effects, Flower Electronics Jealous Heart,
microphones, four-track cassette recorder, lloopp, samples,
field recordings, anticipation

More Noise Ahead is an assemblage of tones, noises and
auditory responses. A confrontation in ten parts containing
live recordings, home experiments, and brief compositions.
It attempts an acceptance towards the hidden and the
arbitrary.

Recorded and mixed between June 2011 and January 2012
in Thessaloniki, Milan and Oxford. Tiny Vices was recorded
live at Bios Cinematheque, Athens, June 2011.

Thanks to Lia Karre, Vasilis Konstantoudakis,
Giannis Kotsonis and Panagiotis Melidis.

  why not give tape recorder parties every guest arrives
  with his recorder and tapes of what he intends to say
  at the party recording what other recorders say to him
  it is the height of rudeness not to record when addressed
  directly by another tape recorder and you can't say any-
  thing directly have to record it first the coolest old tape
  worms never talk direct
    what was the party like   switch on playback
    what happened at lunch   switch on playback

  —William S. Burroughs

Kostis Kilymis works on audio feedback systems and re-
presentation. His practice touches upon music, performance,
installation work and video — developed using a mixture of
electronic and acoustic approaches. He has collaborated with
musicians such as Lucio Capece, Nikos Veliotis, Leif Elggren,
Phil Julian, Sarah Hughes and Patrick Farmer. He also runs
the Organized Music from Thessaloniki music label.

morenoiseahead.tumblr.com
kostiskilymis.com

Edition of 200 copies
Mastered by Jacques Beloeil
Co-released with Organized Music
from Thessaloniki
(T20)






Photo by Kostis Kilymis, 2012


Reviews

The overall effect is not far from a John Cassavetes film,
which are also often said, somewhat mistakenly, to be
improvised. The film professor Pamela Robertson Wojcik
says his films “... look and feel improvised due to a number
of factors … the loose structure of the films, which tend to
operate in segments of real time, avoid narrative causality,
resist closure, and emphasize character exploration.”
Cassavetes de-emphasises certain filmic aspects, like plot,
to capture other, more untamed aspects of life on film.

Kilymis draws these same open-ended characteristics out
of his music not through improvisation alone, nor field
recordings or the technology behind it, but through nuanced,
almost invisible editing. You don’t see the joins. You don’t see
where the improvisation ends and the afterthought begins.
It’s all wrapped up in a big, kinetic mess. He succeed[s]
mightily in returning some essential strangeness to record-
ings that draw on improvisation. Rather than being about
that process as a musical development, they remind us that
its pleasure — its challenge — is how it makes us explore
not just another’s ideas and space, but our own as well.

Matthew Wuethrich at Dusted

The essence of the album seems to be to form simple little
constructions by placing usually no more than a couple of
elements beside one another, with neatly picked out tones
and sinewaves often placed beside metallic crunching, or
forced pulses of rhythmic feedback, or little bits of recorded
found sound — the essential concept seemingly to pair few,
but interesting items up to see how they respond to one
another before dropping them and moving on to something
else. The opening track, Barely Outside, may be my favourite
here — with scything feedback lines cutting through strange
metallic abstraction not unlike someone kicking a metal bin
lid around a resonant space. The basic exploration of how
these two parts play off of one another seems to form the
essence of the track — a simple and yet thoroughly worthwhile
and rewarding concept. Elsewhere, the two tracks named Tiny
Vices Parts 1 and 2 are more involved constructions formed
(I think) from improvised feedback parts and throbbing pulses
probably pieced together at a later date to form the jittery,
nervous pieces here. The New Fragmentation (oh, those titles!)
pitches squeaking feedback against grey traffic sounds, while
Negotiating the Streets/Elevate Me Later is one of a few pieces
with a dirtier, white noise infused edge which slowly dissolves
into the buttery temperament of heavily resonant groans.

So yes, five tracks of twice the length would have suited my
personal tastes, as too often just as I am settling into one of
the pieces here they have a tendency to cut off and move to
something else. This is probably a conceptual decision, but a
little more confidence in where the ideas could develop to may
have served the music better. This minor irritation aside how-
ever, More Noise Ahead is a mature, subtly nuanced collection
of ten acute little studies.
More...

Richard Pinnell at The Watchful Ear

diskoryxeion.blogspot.co.uk (in Greek)

An aspect often missing in experimental electronic music is
a sheer joy in the manipulation of sounds, a kind of serious
playfulness. The ten short tracks (total disc time: 36 minutes)
that Kilymis has assembled here abound in this feeling,
giving the picture of a (very talented) kid in an extremely
well-stocked sandbox. Using all manner of electronics, soft-
ware, cassettes and ‘anticipation’, he fashions pieces that
are almost songs, in a way, though bearing no vestige of
melody, rhythm or anything like that, but a kind of lyrical
sensibility nonetheless. Another element they’re happily
deficient in is any overt reference to 60s-style tape music,
a quagmire that seems difficult to avoid judging by much
of what has passed this desk. The music here reads resolutely
modern. It’s not spare, not at all, but Kilymis manages to
find new creases in a well-worn fabric. A track like Tiny Vices,
Part 1 contains a pulse, grinding metallic sounds, electronic
blisters and more, all arrayed into a structure that’s both
solid and flexible, giving the impression of a potentially large
field still to be explored. Where vague song-like formations
do coalesce, as in A Crutch, the result is also clear and vibrant,
no Fennesz-y like smudges or Radian-ish quicksteps. Even
the urban field recording which ends the disc (sporting the
odd title, Old Tape Worms Direct) has an openness and
freshness to it that many things in this area lack.

In sum, tremendous fun to be had here and beneath the
fun, some serious sound investigation. Get it.

Brian Olewnick at Just Outside

Kilymis runs the Organized Music From Thessaloniki label,
more associated with electroacoustic Improv than Noise.
Don’t be fooled by that, or by a title like More Noise Ahead,
which reads like a spoof, either of party political sloganeering
or the demotic of road signage. This a solo electronics effort,
occasionally roughly hewn, essentially low key and modest
in scope. Its first few tracks play on tensions between stable
and unstable sounds, generating rhythmic similarities and
textural contrasts between oscillating tones and patterned
frequencies. From there, things turn louder with a set of
more abrasive tracks, which set loops against varying
densities of static. Negotiating The Streets/Elevate Me Later
is as noisy as it gets, a conflation of thick, fuzzy textures,
looming drones and granular blasts riddled with stuttering
rhythms. The closing Old Tape Worms Direct detours
pleasantly into field recordings.

Nick Cain in The Wire

Recorded in Milan, Oxford, and Thessaloniki, the release
presents thirty-six minutes of electro-acoustic provocations,
live recordings, and home experiments, a good many of
them brief explorations of abstract character. The ten pieces,
some quiet and some loud, are less compositions than
vehicles for Kilymis’ experimental muse to take him where
it will. Field recording details sometimes give his abstractions
a grounding in reality, as when whooshing cars and street
noises are woven in amongst insistent, high-pitched whistles
and bass tones during The New Fragmentation and when
similar real-world sounds (birds, people talking, etc.) domi-
nate the closing Old Tape Worms Direct. Though one braces
oneself for a noise blast on the basis of the title, More Noise
Ahead turns out to be one of the album’s quietest pieces;
if anything, the brief setting of clicking patter and bass drone
is more micro-sound exercise than detonation. Reaction as
the Afterthought, on the other hand, flirts with noise in its
feedback-laced convulsions, whereas A Crutch, with its waver-
ing bass tones and warbly signals, oozes an ominous sci-fi
quality. As the fidgety bluster and wobbly bass tones of Tiny
Vices, Part 1 (recorded live at Bios Cinematheque, Athens)
appear, one pictures Kilymis hunched over a table-top filled
with electronic devices and objects, rapidly generating one
sound after another and filling the hall with sine tones and
distorted samples.

Textura

Nowamuzyka (in Polish)