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MOSLANG, NORBERT/ WENDY GONDELN - Betty
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Edition of 300. "Another visual-arty 7” to be quietly restrained by the bleached aesthetic design of a Meeuw Muzak sleeve, MM046 is a pair of recondite Bettys. The Betty on Side A is the creation of
Wendy Gondeln, who is perhaps far better known as contemporary German artist Albert Oehlen.
Then Norbert Möslang introduces Side Bs betti-corr, and although Möslang also works in the
visual arts he is more widely recognised as a practitioner of “cracked everyday electronics”
and a former member of Swiss electronic free improvisation group Voice Crack. Further cross-
pollination is represented by Oehlens occasional earlier endeavours in the musical field,
playing in bands including Red Krayola, running a label and providing artwork for sleeves.
Betty announces herself with a distorted gabber kick drum and a cheerfully naive organ
figure which mischievously functions as a decoy for an aggressive and unstable violin to
provide the main narrative from here on in. Overall the piece would make quite a good
soundtrack for a fight in a pub, having a kind of senseless, unpredictable tension, the
comedy of spontaneous violence. A couple of other sounds wade in, either placatory or
adding to the damage. Particularly appealing is a rubbery voice-synthesis type purred gurgle
that seems to attempt to act as an owl-like voice of reason, ultimately found wanting.
By contrast Möslang produces a rich textural sound world sourced, I think, from the same
violin (Is she Betty?) but here granulated into icy splinters and flung into ceiling-less
spaces with the poker-faced accelerated elegance of Buster Keaton. Taken overall MM046 feels
combative, exploratory, playful." — Pete Um, Winter 2016.
"Wendy Gondeln offers up a lo-tech, slow, techno rhythm with a number of additions/interruptions, many of which are violin. Norbert Möslang has a highly edited piece of what could be a lot of violin sounds, very manic and Musique Concrète-ish. Who knows what this means in the Meeuw Universe, but have an evening with some drinks and play through your Meeuw 7"s. You wont be sorry." - Swill Radio.
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Wendy Gondeln, who is perhaps far better known as contemporary German artist Albert Oehlen.
Then Norbert Möslang introduces Side Bs betti-corr, and although Möslang also works in the
visual arts he is more widely recognised as a practitioner of “cracked everyday electronics”
and a former member of Swiss electronic free improvisation group Voice Crack. Further cross-
pollination is represented by Oehlens occasional earlier endeavours in the musical field,
playing in bands including Red Krayola, running a label and providing artwork for sleeves.
Betty announces herself with a distorted gabber kick drum and a cheerfully naive organ
figure which mischievously functions as a decoy for an aggressive and unstable violin to
provide the main narrative from here on in. Overall the piece would make quite a good
soundtrack for a fight in a pub, having a kind of senseless, unpredictable tension, the
comedy of spontaneous violence. A couple of other sounds wade in, either placatory or
adding to the damage. Particularly appealing is a rubbery voice-synthesis type purred gurgle
that seems to attempt to act as an owl-like voice of reason, ultimately found wanting.
By contrast Möslang produces a rich textural sound world sourced, I think, from the same
violin (Is she Betty?) but here granulated into icy splinters and flung into ceiling-less
spaces with the poker-faced accelerated elegance of Buster Keaton. Taken overall MM046 feels
combative, exploratory, playful." — Pete Um, Winter 2016.
"Wendy Gondeln offers up a lo-tech, slow, techno rhythm with a number of additions/interruptions, many of which are violin. Norbert Möslang has a highly edited piece of what could be a lot of violin sounds, very manic and Musique Concrète-ish. Who knows what this means in the Meeuw Universe, but have an evening with some drinks and play through your Meeuw 7"s. You wont be sorry." - Swill Radio.
