*Limited edition in tin can with attached razor blade* "For reasons not of general interest, I re-discovered Vivenza’s music last year or so when I got some of the old vinyl and a CD again, and I played these with much enjoyment. I don’t know why Jean-Marc Vivenza never released any new music beyond 1994, but I am sure he has his reasons (a study in esoteric and philosophic movements may be the answer). The exciting aspect of his music was his recordings of machines, which he didn’t link to the industrial music scene of the mid-1980s when the bulk of his was released, but to the 1910s Futurism, in particular Luigi Russolo, best known for his ‘art of noise’ manifesto. I saw Vivenza in concert, in October 1986, and I was surprised by his use of two EMS VCS 3 machines and whatever he did, they sounded like machines. Now, I know he may have used tapes of machines and industrial recordings in this synth. Two years later, he played a concert in Groningen, The Netherlands, which found its way to a cassette by De Fabriek, who also had a live recording on the side. Both the release was a surprise, and the live recording by De Fabriek, a group known not to play live. In the end, during a 45+ year career, they played three concerts, most likely without founding member Richard van Dellen.

There have been various re-issues of Vivenza’s music in recent years, so only some are gone and remembered. In his three pieces, he takes on a particular industrial modus operandi: lots of machine sounds, piercing electronics, and, towards the end of the final, a choir singing. I can’t determine what this is, but no doubt some glorious revolution is celebrated here. It’s a slightly noisier approach than some of his other works, showing an interest in developing his music and adjusting levels each night. Perhaps sadly he didn’t take up the idea to rework the recording, as requested by De Fabriek. They had a go at the 1988 recording, which I’m sure can be found online, and it makes a nice comparison with the new work.

Elements such as certain rhythms, voices and guitars can be recognised, but they all sound distinctly different from the original. I wonder if the archives of De Fabriek contain all these separate elements from so long ago, allowing them to do such a remix. It isn’t easy to pinpoint the differences, yet it is also evident that it’s a rework/remix/polish-up job. It’s also music one wouldn’t link to De Fabriek, being all more electronic and atmospheric, whereas here there they sound, at times at least, like no wave/post-punk band sans drummer and with a drum machine. Strange, but in the universe of De Fabriek, strange is a badge of honour." - Vital Weekly