Intelligent Noise Music of the non-entertainment genre. Netlabel, Cassettes, CDs, CDRs. Free improv, musique concrete. Black ambient metal. Field recordings, experimental electronics. Drones & Pop. Since 1983.

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Second Violin - Victoria [zero107a]

  • Artist: Second Violin
  • Title: Victoria
  • Format: CDR
  • Release Date: Sep, 2001
6September 14, 2001 37:05 MP3
5Signal 666: 6:59 MP3
4Wax Platter 1883 1:59MP3
3Ich Liebe Dich 5:39 MP3


Free noise music improvisition of a surrealist nature mark the second album by Second Violin, recorded mostly live in Louisville, Kentucky during a 4 hour performance by Rinus Van Alebeek (vocals, feedback), Zan Hoffman (drawer, sampler) and Jeff Surak (prepared violin). Adam Bohman returns for a short appearance on one track. The second half is a live duet between Zan Hoffman and Jeff Surak on prepared violin and drawer.


Second Violin is a group of four: Jeff Surak (the zeromoon man), Zan Hoffmann, Rinus van Alebeek and Adam Bohman, one of the guys from Morphogenesis. His presence in Second Violin is usually on tape. From the six tracks on their CD, the first five are relatively short and contain heavily processed concrete sound, spoken word, guitars, sound effects. The sixth track, called 'September 14th 2001', is a piece for acoustic sounds with no sound processing. Violin's being scraped, marbles rolling around, chains fall on the floor - electro-acoustic music pur sang (the electro component being the contact microphones which are used for amplification). Improvisations captured live and pure. A fascinating journey along the world of sounding objects. ~ [Frans DeWaard] - Vital Weekly 307

"Asymmetrical in its tracks' playing time, SECOND VIOLIN's "Victoria" appears to be the least approachable of the five that I'm writing about here. It kicks off with a crescendo culminating in the third track, a refined marriage of glitches and noise in which the emphasis gradually shifts from the first to the latter. The two following pieces, though based on the loops and noises, don't seem a logical continuation of the preceding three, but, paradoxically, these five together constitute a certain stylistic wholeness counterbalanced by the last, thirty-minute track. The improvisation based on concrete sounds (whose origins I won't even try to detect) is accompanied by occasional snips of human voices and conventional instruments employed in an unconventional manner, of course. It goes without saying that forcing your way through such a jungle is no mean a challenge and you may get discouraged easily, but the whole affair is worth the effort. ~ [przemek chojnacki] - Eld Rich Palmer