smallfish

You may know Boris Hauf's name from his release on Viennese label Mosz. And this CD certainly comes acorss with a similar flavour. Really well put together electronic tracks that have their feet planted firmly in experimentation, yet stay cohesive and nicely structured throughout. From the opening swells of white noise through to more upbeat, rhythmic pieces and melodic works, there's a quality here that's very appealing indeed. Sijis release another goodie... props!

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furthernoise / alex young

Clark, a 7 track CD released on Sijis by Boris Hauf, is aesthetically well-placed in Sijis territory. Fragments of techno juxtaposed with modernist contemporary experimentation make it liable to pique the interest of many an electronic music connoisseur.
Hauf has been actively releasing music since 1995, and has over 20 releases listed on his biography. In fact, Hauf appears to be a very busy man indeed, working with bands Tvpow and Lozenge in Chicago, as well as touring around Europe and America. He's also had time to study saxophone, flute and cello.
She Was A State Trooper begins with bursts of static, a repeated motif that is accompanied by flecks of sounds that sit between rhythm and melodic lines. Although the packaging of the disc does not seem consistent with the music, She Was A State Trooper feels very much like an introduction to something. And if you leave Clark playing on repeat, this indication becomes apparent as the other tracks blend together.
Highly tactile sounds towards the end of the track give it a tangible quality that I hoped to see more of, but instead the track gives way to Hit Me With Your Pet Shark. At this point I felt the Sijis connection, since it brought to mind The Archduke of the Furrycats by J Torrance, one of the best Sijis releases. Despite being understated, Hit Me With Your Pet Sharkisn't really best described as minimal or lowercase—it's more a case of subtly.
Judging by the title, Annie, Are You Puking On Elvis? is something of a less subtle affair. Hauf introduces some classic techno snares that get distorted until they bleed all over the entire track. If you listen carefully you can still hear some of the track's themes languishing in the background while they're assaulted by explosions.
Le Chien returns to experimentation with tactile sounds—percussion is experimented with gradual phase shifts that made me feel as if I could reach out and touch the sound. The track reaches a climax towards the end, although Hauf decides not to detonate this one.
Clark finishes with Your Aunt's Tripe, in which techno-inspired drums witness more destruction in the form of blistering distortion. At this point, the destruction is a little less extreme and I was left musing the Sijis tagline, "the home of music with a limited appeal." Ironic, since this appealed to me from the outset.
Review by Alex Young

furthernoise / alex young

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Phosphor Magazine / Paul Bijlsma

This is a Sijis release, so quality guaranteed. Founder of Efzeg and part-time member of Chicago bands TV Pow and Lozenge: Boris Hauf has already built-up a nice discography since 1998, with releases on labels such as Grob, Mego, Extraplatte, Cheap, Durian, Zomba and Crank Satori. This album combines a minimal rhythmic approach with electronic hiss and fine-tuned noise, though strictly seperated in time. What heads off as ominous ambient in the vein of Schloß Tegal, unexpectedly turns into minimalistic crystal-clear percussive parts. This is not ordinary dance though, therefore it's too intelligent. It can be described as constantly evolving rhythmic patterns that have been linked with digital crackles and static hiss. The music has a pleasant 35 minues-long flow, slowly changing from one style to the next.

Phosphor Magazine / Paul Bijlsma

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Sands.zine / Alfredo Rastelli

“Clark” è il nuovo disco, pubblicato in cd-r dalla Sijis, etichetta londinese che ha un interessante catalogo di uscite limitate in cd-r di elettronica. Boris Hauf è anche il nome più quotato fin ad ora pubblicato essendo un’artista già più volte incrociato tra collaborazioni importanti, progetti più estesi (vedi il gruppo EFZEG) o uscite soliste. Proprio al suo ultimo solo, uscito per l’austriaca Mosz e recensito anche su sands, ci allacciamo per la disamina di questo nuovo album. Rispetto a quello, molto incentrato su uno sviluppo pop dell’elettronica, Boris Hauf recupera qui alcune suggestioni pop, vedi i ritmi di hit me with your get shark e annie, are you puking on elvis?, ma non abbandona le istanze avanguardiste che hanno contraddistinto anche altri suoi precedenti lavori: a tal proposito ascoltare la nebbia sonora di she was a state trooper e il rumorismo di ken doll in the wind. Tuttavia ciò che spicca maggiormente in “Clark” è il lato più danzereccio, forte di pezzi ipnotici e solidi come le chien (ricorda certe cose di Brinkman), l’ambient di non stop flight, uno dei miglior pezzi del disco, che parte in sordina ma che si trasforma poi in un pezzo dal destrutturato andamento new wave. Il finale di your cunt’s tripe è invece perfettamente a metà strada tra ritmi ballabili e sperimentazione sonora.
È un Boris Hauf senza regole quello che viene fuori da una presa visione globale dagli ultimi suoi lavori (il disco degli EFZEG, il solo per Mosz e questo “Clark”), capace di passare dal serio al faceto, dalla sperimentazione al pop e alla dance, con grande facilità e abilità e di ciò non si può che essere contenti. babelfish italian -> english

Alfredo Rastelli

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Geiger.dk :: Anmeldelser / Rasmus Elm Rasmussen
Sidste år udgav engelske Boris Hauf det ganske glimrende Soft Left onto Westland-album, der præsenterede en forfriskende løs og afslappet tilgang til den minimalistiske elektroniske musik. Frem for den sterile kølighed og intellektuelle distance, der til tider kan præge genren, fandt man her en nerve og fysisk tilstedeværelse ud over det sædvanlige.

Nu er Hauf så tilbage igen med albummet Clark, udgivet på det lille London-baserede selskab sijis, der gør en dyd ud af at lave ”music with a limited appeal” (deres slogan). Der er altså i forvejen ikke gjort store visioner om, at denne plade, der i øvrigt kun er udgivet i et oplag af 200 eksemplarer, skal nå ud til et kæmpe publikum og blive et bredt folkeligt hit. Primært vil albummet formentligt henvende sig til dem, der i forvejen er glade for elektronisk musik af den mere minimalistiske skuffe. For det er netop i denne musikform, at Hauf endnu engang tager sit udgangspunkt for herfra at bearbejde konventionerne og levere sit eget bud på genren.

Lyduniverset er således ganske bekendt – hovedsagligt er musikken, som på utallige andre udgivelser af slagsen, bygget op omkring minimale samples af skrattende og blippende støj og -fejllyde. Hauf har imidlertid formået at udnytte disse virkemidler på sin egen måde, der ligesom på forgængeren i høj grad lægger vægt på det rå, upolerede og spontane. Fra pladeselskabets side betegnes albummet som en musikalsk udgave af forfatteren Philip K. Dicks dystopiske fremtidsvisioner, hvilket især på åbningsnummeret ”She was a state trooper” er en meget passende betegnelse. Nummeret lægger ud med en dommedagsagtig repetition af et råt støjsignal, der efterhånden afløses af dirrende flader af ildevarslende maskinlyd. Således starter pladen i fin forlængelse af Soft Left onto Westland, hvor flere skæringer på samme måde skabte stemningsfulde organiske lydbilleder ud af det forbehandlede lydaffald.

Den dystre, foruroligende stemning bevares pladen igennem, hvilket ligeledes er tilfældet med de sitrende støjflader, der med jævne mellemrum glider ind og overtager lydbilledet. Flere af numrene er dog overvejende rytmisk orienterede, og det er her, man for alvor fornemmer arven fra den minimalistiske tradition. Ligesom på forgængeren er det nemlig på dette punkt, at Hauf har sværest ved at løsrive sig fra genrens konventioner. Selvom rytmerne som sådan egentlig er ganske udmærkede og effektivt bygget op af små støjsamples, er de dog sjældent solide nok til at kunne stå for sig selv og bære de mange repetitioner, de udsættes for.

Således ligger pladens styrke primært i de mere abstrakte, billedskabende passager, hvor Boris Hauf, på fornem og gennemført vis, formår at give støjen og maskinerne deres eget foruroligende liv. Her lykkes det ham endnu engang at tilføre genren sit eget unikke præg, der på trods af albummets ”begrænsede appel” rigeligt vil belønne de få, der alligevel måtte stifte bekendtskab med det.

Rasmus Elm Rasmussen

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Chain DLK / John Gore
1. SHE WAS A STATE TROOPER
solemn entrance by sharp noise braking the silence - electro-drone laying a bed of electric roses preparing us for ominous washes of vibratory silk

2. HIT ME WITH YOUR PET SHARK-
intertwining beats of wood and steel and skin - borg inplants squealing for attention

3. ANNIE, ARE YOU PUKING ON ELVIS?
naive rhythm - questioning bass - noisus interruptus

4. NON STOP FLIGHT
static entropy brings about electronic ripples of insect intelligences - factory floor dancing - cartwheels of delight and abandon - waiting in line with tinnitus and the awareness of electricity

5. LE CHIEN
do robotic dogs dream of electric cats? - fleas of discontent feeding off the static charge - burying the battery-powered bone - take a nap fido!

6. KEN DOLL IN THE WIND
wind tunnel reverberant plastic hair parted on the girl's side sending messages of pain and embarrassment to the central core of being without member and less than needed flexibility - oversize the ambient wave for a well needed rest

7. YOUR AUNT'S TRIPE
heart and mind and stomach beat as one - the wonder of essential juices - dissolve! dissolve!

Review by: John Gore

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Chain DLK / Andrea Ferraris
Minimal and elegant electronic music for Boris Hauf, nothing more that that, everything is quasi essential during the listening. The sound choice is accurate and the mastering done by Todd Carter in Chicago pushes everything at the right place. I think if poor Satie is still wandering up there teaching somebody the discipline of "un-expressivity": down here Boris Hauf shows the lesson has been learnt by heart. This music is a skinny blend between danceable beats and "wide-range" electronics, I think if I'll say idm the most of you may visualize something melodically oriented but that's not the case. As I was saying "clark" is not melodic at all and sails much more in a pool where soft noises, bleeps and beats are the water. If you give a check to Hauf's discography you'll discover he's a "restless child" but if sound quality and song assembling in electronic music does still make sense...all of this hyperactivity brought "ability". "Le chien" is probably the only pure fragment of minimal techno kicking inside this record but somehow the whole "portrait is evolved around this same figurative thought", you will have an hard time finding dance clubs where you can move your feet to songs like "ken doll in the wind" or "she was a state trooper". Lately I got the idea many electronic musician are fusing more and more that genre with post-industrial moods (c'mon, the succes of Pan Sonic disclosed a whole world of possibilities), maybe that's the wrong impression but with weird "objects" like Hauf it’s hard to believe that's the wrong one.
Review by: Andrea Ferraris

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Vital Weekly 515 (NL)
The activities of UK born worldtraveller Boris Hauf are numerous: playing with Efzeg, with TV Pow, with Lozenga and even a Berlin based classic rock cover band The Understated Brown, he also finds time to produce his own solo things. Armed with his laptop he sets out to produce a fine bunch of microsounding glitch ambient or whatever you call it, but here on 'Clark' he comes up with something that sidesteps that: his own version of techno music. Stripped bare of all unnecessary elements, adding his own sometimes creepy sounds, such as the high pitched frequencies in 'Hit Me With Your Pet Shark' (all titles seem to me related to popsongs, like 'Annie, Are You Puking On Elvis' or 'Ken Doll In The Wind'), which gives this dance music a weird twist and certainly makes this less useful for your next rave. It's more like after party music, when you have left the real party behind, and on a late night train going home, still being in the mood for some more techno related music. The train goes past sparsely lit cities with great speed and you can also sit down and listen, while your feet tap away with the rhythm. Certainly weird enough for techno music, but pleasant enough to be throughout entertaining and breaking away from well-covered territories of microsound. Very nice indeed. (FdW)

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