Television Power Electric is an extension of TV Pow (http://www.tvpow.net). The members of TV Pow work with a rotating cast of friends that so far has included Otomo Yoshihide, Jim Baker, Robert Wilkus, Ernst Karel, Aeron Bergman, Toshimaru Nakamura, Boris Hauf, Xabier Erkizia, and Inigo Telletxea.
Television Power Electric recordings start with a day or two of improvising which is then edited, remixed, etc. by the members of TV Pow.
What's the difference between TV Pow and TVPE? Maybe you can tell us.
The members for this release are:
Todd A. Carter - electronics
Michael Hartman - electronics
Boris Hauf - electronics
Ernst Karel - electronics, doepfer synth
Toshimaru Nakamura - no input mixing board
Review from Grooves Magazine
Televisoin Power Electric is the big-band alter ego of the Chicago electronics wizards (sic...although our wizardy as been mentioned by several reviewers themembers of TV Pow do not practice magic, black or otherwise -ed) in TV Pow, who appear this time minus multi-instrumentalist Brent Gutzeit and plus Boris Hauf, Ernst Karel, and ubiquitous mixer-feedback guru Toshimaru Nakamura. As with the disc's 1999 predecessor, several lengthy live performances by the international enemble have been diced and stitched back together by Gutzeit and Michael Hartman, both of whom inject ample doese of TV Pow's impish quirkiness. Whereas the previous self-titled record represented a gentle warming of the core trio's prickly sound, this outing finds the collaborators snaking slender sound-wires and icy crackles into the exceptionally cool TV Pow nervous center, setting off tiny sparks and nervous tics as they explore.
The proceedings are, as one might expect, exceptionally subtle and marked by a resolute democratic streak - save for a lone electrostatic flare-up, it's all about the menacing undercurrent of restraint generated by bottlenecking small, coarse sounds into narrow sonic straits. Nakamura is particularly insistent in this environment, and he matches the quiet intensity of his peers by knitting fiberglass canopies over out itchy feedback strands. On the Hartman-remixed "The Freshman," his no-input mixing desk scratches feverishly at the upper atmosphere while the others herd thrumming bass tones and ultra-thin shivers into an icy-lush digital terrarium.
Gutzeit's remixes demonstrate a little more brainy perversity, as they subvert the quintet's instinctual ebb-flow logic with rude punctuation points and fidgety edits. The epic "Title Track" trains the microscope on little hives of activity only to switch the slides at each potential narrative junction, opening tantalizing zones of indeterminacy between each tension-soaked episode. "Storks International, Chicago Chapter" delivers an effective sucker-punch dynamic shift that sets the scene for the rickety digital synth purrs and crackly climax of the lovely coda, "Seguro y Pasajes." The latter's clipped final tone delivers a suitable odd closure to this well-curated collection of jittery delights