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Violet - Let the Sunshine In [zero003]

  • Artist: Violet
  • Title: Let the Sunshine In
  • Format: Net Release
  • Release Date: Jan, 2003
3Ufer des Botong 3:35MP3Flac


Violet's first release "Let the Sunshine In" is a surreal and warm holiday of sound. Using a record player, guitar, autoharp and tape nothing really sounds like it is. Strange and dark.


This 3" subtitled Music for record player, guitar, autoharp, tape features four tracks. The tracks are hardly comparable to each other. The organic porridge of electronics in combination of a sort of alarm signal during the first part of the opening song sets the standard in accessibility for the rest of this output. The second half of this track consists of a deep pulse, occasional static noise and a sample reminding of a very distorted radio broadcast. The second and third piece, are collections of layered loops with a short duration, due to which relatively fast rhythms are created. A distorted and fucked-up piece of a classical record can be found in the last and shortest track, which takes about one minute to take the listener by surprise. Violet presents 21 minutes of original, but quite hard-to-digest music. ~ Phosphor - Magazine

Another set of Zeromoon related releases - this time it's all 3" CD-Rs. Has Jeff Surak decided to meet the expectations of the contemporary homo sapiens whose attention span grows shorter and shorter. I haven't been thinking much about my faculties in this regard, but the discs give me a lot of pleasure. Well not all of them, though. Violet is Surak's solo project whose catalogue, apart from this mini-album lists two other items. Somewhat idyllic image on the cover fits the mood of the contents that seems to be approaching the modern electronica in terms of the final result rather than the tools employed, for neither of '(...) record player, guitar, autoharp, tape' could be called hi-tech ones. In a sense, it proves my home-bred belief that at the end of the day it doesn't matter whether you use a Powerbook or your panties' elastic it's the final product that counts. Surak again employs looped themes to build his compositions, ironing out the seams so that they flow relatively smoothly. If some works of the contemporary electronica remind you of a sterile laboratory and precise incision of a lancet, we could say that he build his own one. However, since he used simple tools and materials only, there are some leaks and organic life from without gets inside. These are mostly old vinyls' hisses, and in 'Ufer des Botong', actual samples from old records. Speaking of the track titles, they bring to mind 'Zembla, a distant northern land' those in the know will know... A very nice one, it is. ~ [przemek chojnacki] - Eld Rich Palmer Issue 12

Music for record player, guitar, autoharp and tape make up 'Let The Sunshine In' with a long track and three shorter subsequent ones. ''Kwangmjonghoehle' seems to be a compilation of various pieces - pulsing tones with machine cycling and additional mechanical loops and clicks, cycling wash; a brief run off groove and musical snatch; the first part returns simpler with a high ringing cycle in, easing to a pulse and crickle click and pingling music, changing foregrounds and easing back; a very crackling vinyl fanfare with resonant gong notes, more details emerging from the crackling vinyl, a buzzing, snatches of voices and gulls, and then a rolling noise which could be an LP rotating, a chugging, out. The vinyl is even more obvious in 'Songdowon' as a big extended orchestral chord with a click in it loops on and on, slightly changing - at one stage you can hear three notes in it and a higher tone, but goes back to the dense single note. 'Ufer des botong' starts as bubbly soft percussion and synth loops with buzz and pulses, building speed and threatening to jump out at you; then a clattering like a fan and a motorbike buzzing; before backt o a fuzzier version of the first part with varying tones and pulses. Finally 'Wonsan' another very scratchy sample with an orchestral soundtrack piece that has a slightly tinny distortion. A light hearted romp, reflected by the images on the cover that seem to have a 50s optimism about them. Enjoyable. ~ Ampersand Etcetera - 2003_h

For 'Let The Sunshine In' he uses guitar, record player, autoharp and tape. It's a kind of strange interaction going on that defies the categories such as 'improvisation' or 'composition' - maybe it's a combination of both. No doubt the use of a record player delivers the somewhat vague industrial character of some of the music, but it never gets to a point that it's too noisy or too industrial." Vital Weekly - Issue 373