Over 2.5 hours of beautiful, affective deep house, collating all material from their now sold-out double packs and the newly issued triple LP 3rd volume. The first CD contains all of Will Long's original productions, the second CD all of Sprinkles' versions.
As promised, Tokyo, Japan-based American artists, Will Long (Celer) and DJ Sprinkles offer a CD edition of Long Trax, gathering all three vinyl volumes of their sublime, durational deep house studies examining the dancefloor in light of contemporary socio-political inequalities and failed illusions of ‘Revolution’ and ‘Progression’, for Terre Thaemlitz’ Comatonse label.
Revolving around some of the deepest house music you’ll hear in 2016, Long Trax collects beautifully modest, economical productions backed with corresponding, masterful overdubs by DJ Sprinkles that reassert the sound’s original intentions and aesthetics in a way that’s inarguably closer in structure, feel and intent to the original, queer and black-rooted dance music of late ‘80s/early ‘90s NYC, yet feels timelessly effective.
Collected, these tracks outline their point with tactile subtlety and clarity; using minimal, era-consistent means of rhythm composer percussion, polyphonic synth chords and rack-mounted samplers to reveal a humbling alternative to flashy, overproduced, modern deep house that effectively runs counter to its badly repackaged vibes and empty sloganeering and its position as the catalyst of social trends, rather than social transformation.
The beautifully absorbing results - which sound miles away from Long’s gentler ambient and experimental work - are testament to the democracy of early deep house and prove that it is possible to elicit subtle yet optimal responses with a well-selected palette of grooves and samples, faithfully taken from speeches by civil rights leaders including Jesse Jackson, H. Rap Brown, T.R.M. Howard, John Lewis, Kathleen Cleaver and Bayard Jackson, respectively.
To perfectly underline that point, DJ Sprinkles’ meticulous, pensile overdubs quite literally and psycho-acoustically resonate their intention by tactfully rending a farther, lush physicality and soulfulness from Long’s slinky bones. Whether adding a lick of rolling, era-consistent breaks to Under-Currents or nimbly toying the bassline of Daylight and Dark with frankly jaw-dropping results, her overdubs prove that there’s a whole world of new sounds to be drawn out from within, and with relatively simple, classic technique, provided you’re willing to look deep enough.
It is rare that a conceptually rooted project should occur within the realm of modern deep house, and perhaps even rarer that its conceptual thrust resonates so systematically and with such meticulous attention to detail and faith in the subject. But, considering the project’s inputs, we’d hardly expect any less from these two exceptional artists.
'Live Knots' presents two immersive live recordings of Oren Ambarchi playing the epic 'Knots' from 'Audience Of One' (Touch, 2012) in Tokyo and Krakow's Unsound Festival.
Captured with alternately intimate and widescreen fidelity, the original elements of cyclonic guitar harmony and quicksilver percussion are twisted different ways across the two performances, exploring and testing every nuance of the track's framework. 'Tokyo Knots' intimately documents their show at SuperDeluxe in March 2013, Ambarchi cautiously stalking Joe Talia's prickling, Dejohnette-esque percussion with viscose bass tone and heady harmonic incense, progressively whipping up a free form storm of buzz-saw guitar attacks and crashing drums, organically resolving to a lean motorik groove flecked with spring reverb.
By contrast, the twice-as-long performance of 'Krakow Knots', featuring Sinfonietta Cracovia led by Eyvind Kang on viola, presents a more expansive reading of the same structure, adding a prelude of sliding string dissonance before swelling against Talia's adroit patter with a burgeoning tension, ratcheting the mid-section squall to blistering barrage of buzz-saw flares and strobing fuzz, before burning out to reveal a captivating resolution of string glissandi swept against Joe Talia and Crys Cole's skittish percussion objects and retching spring reverb. The applause at the end is very well earned.
The xx’s anticipated third album, ‘I See You’, is the follow up to the band’s two previous albums ‘xx’ and ‘Coexist’.
‘I See You’ marks a new era for the London trio of Romy Madley Croft, Oliver Sim and Jamie Smith, both sonically and in terms of process - while ‘xx’ and ‘Coexist’ were bothmade in relative isolation in London, ‘I See You’ was recorded between March 2014 and August 2016 in New York, Marfa TX, Reykjavik, Los Angeles and London and is characterised by a more outward-looking, open and expansive approach.
Produced by Jamie Smith and Rodaidh McDonald, ‘I See You’ is The xx at their boldest yet, performing with more clarity and ambition than ever before."
Groove-driven psych-rock from the Montreal stronghold of Constellation Records.
“Psychedelic rock, krautrock, desert rock, punk rock, noise rock, afrobeat, experimental pop, post-rock, electronic; all are touchstones for Avec le soleil sortant de sa bouche. Their multi-movement durational music arguably combines trance rock and audio collage above all - a diced and spliced approach to longform multi-movement groove music played by a stripped down quartet of two guitars, bass and drums, synched to pre-recorded electronics and musique concrete.
The band's unique restlessness and inventiveness seduces with shifts, turns and dovetails, consistently destabilizing its own inexorable musical logic in highly satisfying fashion. Avec le soleil sortant de sa bouche deploys a panoply of buoyant musical ideas, subtly sumptuous sonic treatments, and joyous stylistic nods - while remaining fundamentally devoted to working the groove from a kaleidoscope of angles. Their sound always seems to be escaping overt homage or retro tendencies; neither freighted with reverence nor weightless with irreverence, the music of Avec le soleil routes and uproots itself along its own refreshingly untrodden path.
Pas pire pop, I Love You So Much is post-modern psychedelic trance-pop that sounds like no other. Quite literally: the needle drops on “Trans-pop express” with Avec le soleil in full swing, playing a musical theme that had been submerged at the end of Zubberdust’s closing track, now developed in the full kaleidoscopic light of day. Unfurling over 10 minutes of sinuous bass, chiming guitars and wordless vocals, “Alizé et Margaret D…” opens with naive melody lines played on dry staccato guitars, peppered with ragged vocal calls, before transitioning through some unison riffing into one of the band’s signatures: clean, methodical, exuberantly layered grooves perhaps most reminiscent of Remain In Light era Talking Heads.
Nothing the band has recorded to date quite drives home the fascinating sonic identity they’ve forged from their overflowing toolbox of techniques and influences more than “Tourner incessamment dans l’éclatement euphorique…”, the 20-minute tour de force that comprises Side Two of Pas pire pop.This is post-modern psychedelic trance-pop the likes of which we can honestly say we’ve not heard before.”
Manchester’s legendary, pivotal post-punk unit comprising Linder Sterling and Ian Devine, a.k.a Ludus, are subject of this long overdue anthology from Les Disques Du Crepuscule, collecting all tracks from their early compilation, Nue Au Soleil (Complètement) plus stacks more single, album, Peel Sessions and rare live cuts in the same place, for the first time.
The undoubted locus of Ludus is Linder Sterling; originally an art school student from Wigan who came to study in Manchester, Linder was there at The Sex Pistols 2nd show at The Free Trade Hall where she met Pete Shelley and subsequently became a main muse for Manchester’s punk scene, becoming instrumental to the inception of New Hormones for her definitive collage cover art on the Orgasm Addict 7”, later contributing to Factory with her Menstrual Abacus (Fac 8) and a part in Factory Flick (Fac 9), before her notorious meat-dress made from discarded chicken meat debuted at the Haçienda in 1982 - at the end of the period under review here - decades before Lady Gaga copied her.
But that’s not to discount Ian Devine input to Ludus, too. Moving from Cardiff to Manchester in 1979, he quickly expanded the Ludus remit from punk via the improvised musics of Evan Parker and Derek Bailey, and played foil to Linder’s remarkable vocal range, which variably referenced Meredith Monk, Annette Peacock, Yoko Ono, Urzula Dudziak.
So it may well come as a happy surprise that Ludus don’t really sound like any of the above, at all. As you’ll cop across these 29 songs, they excelled in making a loose yet compact form of avant-pop equally open to punk’s melodic spikiness and the freeform clatter of improvisation, and wherever the feeling takes them - for example, from the mesh of rolling tribal drums and Linder’s soaring operatics in How High Does The Sky Go? or frolicking no wave jazz skronk in Howling Comique, thru to svelte, lilting palm wine guitar and Antenna-like bossa pop in The Escape Artist, to pieces which recall a prototypical Mr. Bungle in Mother’s Hour, or e subversive disco-pop on Little Girls - perhaps most definitely in the Peel Session recording of Vagina Gratitude - with Linder’s always pointed lyrics exhorted and puckered in styles ranging from yelps and shrieks to piercing extended technique and animalistic or orgiastic glossolalia.
It’s maybe baffling that Linder isn’t better known by the generation who followed her, but thanks to the fact her son, Maxwell Sterling, is now making brilliant music of his own, including collaboration between the pair, this anthology will serve a necessary introduction, where needed, to this pioneering, challenging and important artist and her band.
It has taken 20 years for Mick Harvey to resume his project of translating Serge Gainsbourg’s songs into English and following the release of Volume 3 - ‘Delirium Tremens’ in June, Mick Harvey now delivers the final in the series, Volume 4 - ‘Intoxicated Women’.
‘Intoxicated Women’ contains many duets and songs written by Gainsbourg, mostly during the 1960s, in a period where he was focusing his songwriting on singers such as France Galle, Juliette Greco and most famously, Brigitte Bardot. Here Harvey has enlisted the talents of guest singers Channthy Kak (Cambodian Space Project), Australian singers Xanthe Waite (Terry, Primo), Sophia Brous, Lyndelle-Jayne Spruyt and Jess Ribeiro and the German chanteuse Andrea Schroeder plus a special appearance by Harvey’s son, Solomon.
On his long-awaited 2nd LP for Houndstooth, Ross Tones a.k.a. Throwing Snow takes influence from the cyclical nature of life itself as the diving board into a dreamy album of elusive and emotive electronica themes and razor-sharp drum programming.
Divining complexity from simplicity, across Embers Throwing Snow uses a variety of production techniques - electronic, acoustic, aleatoric - to grow relatively elemental sounds into more intricate structures, which he neatly proposes as a model, or allegory, for the processes of pattern evolution and cycles of birth and decay fundamental to the laws of nature.
In effect he’s produced Throwing Snow’s defining opus; a lushly colourful batch steeped in eldritch whirligig melodies and curdling harmonics, grounded in earthly rugged rhythms, but with billions of years of starlight twinkling in its eyes.
Streamlined big room pumpers from Fjaak.
After introductions made five years ago on Baalsaal Records, Fjaak have refined their sound to the slickest big room templates here, aided by Rødhåd on Offline and teaming with their Monkeytown label bosses, Modeselektor, on Fjkslktr.
Wake in Fright, the second full-length by the New York City duo Uniform, is a harrowing exploration of self-medication, painted in the colors of war.
"Following the Ghosthouse 12", whose A-side Pitchfork called “their most relentless track yet,” vocalist Michael Berdan and guitarist/producer Ben Greenberg return with a new batch of even more punishing songs that incorporate elements of industrial music, thrash metal, harsh noise, and power electronics.
“This record is primarily about psychic transition,” Berdan explained. “The distress that these songs attempt to illustrate comes from a place of stagnation and monotony. This is what happens when old ways of thinking become exhausted and old ways of coping prove ineffective. Something must change or it will break.”
The characters Berdan brings to life in his lyrics quit using but have ruinous relapses (“Habit”) or struggle as their resolve crumbles (“Bootlicker”); they use alcohol to ease their insomnia but and are helpless when they get sober and stop sleeping again (“Night of Fear”); they’re existential misanthropes trapped in dead-end lives (“The Lost”).
Greenberg sets these stories to menacing guitar and samples of literal sounds of war — the kick drums are bombs going off, the snares are gunshots. He drew the record’s immense sample library from action movies, Foley sound packs, field recordings, and more, and the result is devastating. The guitar is also as crucial as ever, and now as indebted Slayeras it is to Big Black. Greenberg conjures up massive riffs and shredding solos, pushing the band deeper into the metal world whose borderlands they’ve long stalked.
“We are surrounded by war and the whole world is burning and it doesn’t seem like there are any appropriate reactions or responses left anymore,” Greenberg elaborated. “This music is our response to and our reflection of the overwhelming violence, chaos, hate, and destruction that confronts us and everyone else in the world every day of our lives. When we play, I don’t feel powerless anymore. I hope this record can help others transcend their anger and frustration.”
NYC's foremost tape loop digger is back with a gorgeous album based around his highly-acclaimed show of the same name.
After a run of much-need archival issues based around Basinski’s seminal The Disintegration Loops series, the New Yorker finally delivers some fresh material for Temporary Residence in the shape of A Shadow Of Time. Formed of two extended compositions, the album has origins in the performances of the same name Basinski gave throughout 2016 and finds him exploring themes of fatality through the decaying medium of his trusty reel to reel players.
The title track finds Basinski again working with his unwieldy Voyetra 8 - a synth he last used on his 2001 LP Watermusic - on a composition dedicated to a friend who took their own life. A year in making before debuting at London’s Union Chapel in February last year, the 23-minute A Shadow Of Time recalls the best moments of The Disintegration Loops, as Basinski wrings out a captivating assemblage of plaintive drones and exquisite melodies.
Face down, For David Robert Jones is obviously a eulogy to the Thin White Duke and was originally commissioned for a performance at LA gallery Volume in the weeks following Bowie’s passing. Here Basinski cannily incorporates some ancient tapes loops chewed up by his “roommate’s cat in New York, this big fat motherfxcker,” with elements of Bowie’s work including his saxophone playing from Low closer Subterraneans.
”Passage” is the second collaborative album from London-based Ulrich Schnauss and Danish producer Jonas Munk. 11 tracks of breezy, blissed-out electronica and colourful ambient.
"As the album title denotes, there's a sense of movement in the music these two producers create together: a Schnauss & Munk composition starts one place and ends up someplace very different – something that can only rarely be said about electronic music, which traditionally has focused it's energy on texture rather than composition. Sometimes their vivid, expansive soundscapes feels like the sonic equivalent of gliding towards the horizon through a panoramic landscape on a train.
One's perspective changes slightly when in motion from one place to another – continously Approaching new things and leaving others behind. There's a prismatic, multi-dimensional quality to these 11 tracks, likely stemming from the fact that these two producers each have worked with a wide range of styles and musicians throughout their 15+ year careers: Ulrich cut his teeth as a drum and bass producer in Berlin, before releasing a string of highly influential neo-shoegazy records on labels such as Domino and City Centre Offices. Since moving to London in 2006 he's been a member of bands such as Engineers and Longview and remixed artists ranging from Depeche Mode and Pet Shop Boys to Mojave 3, and since 2013 he's been a member of legendary band Tangerine Dream.
While Jonas Munk initially became known to the post-rock and electronica communities via his Manual albums on Morr Music, he's also had his hands in psychedelic rock (he's a noted producer in the European psych scene) as well as film soundtracks and experimental minimalism. Both Ulrich and Jonas, however, have the skills of seasoned producers to weave the multitude of influences together in a well-defined sonic aesthetic. The result is a compelling set of melodic electronic music that echoes the past, yet feels fresh."
Dominic Thibault grapples with notions of *[SELF] in thorny, abstract and detached musique concrète terms for Entr’acte. Make sure to clock the pulsating, discordant mass of To *Believe and the cold, eviscerated dimensions of To *Negate. RIYL CoH, Pita, Florian Hecker.
“*[self] is a musique concrète composition based on the concept of ascetic ideals. Its eight movements are inspired by the desert journeys of those prophets in search of purity and simplicity through self-denial. It questions the pertinence of such voluntary pittance in order to obtain redemption.
Composed between July 2013 and February 2015. A string trio version of the piece also exists in which this electronic version is interpreted as an audio score coupled with a graphic score by Paul-Antoine Gauvreau. The string version was premiered in Manchester by Distractfold Ensemble. The electronic version was premiered at the Akousma Douze festival in Montréal.”
Bright, flighty folk-pop from modern day Mali, dispensed by Awesome Tapes from Africa, ‘cos they are
“Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo’s newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali.
It’s not very common to find a female singer performing publicly among the Peulh. But Poulo’s mother’s co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo’s entree into the music world was auspicious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo’s first internationally-distributed record.
On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n’goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shape-shifting layers of rhythm and woody overtones match Poulo’s commanding voice in a jocular yet deliberate dance.
This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other.
Poulo’s conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali’s melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.”
Definitive performance of an 88-minute piece for trio written in 1983, recorded in 2000.
"In 2000, Eberhard Blum (flute, alto flute, bass flute), Nils Vigeland (glockenspiel, vibraphone) and Jan Williams (piano, celesta), Morton Feldman’s close friends and collaborators, came together once more as “The Feldman Soloists” to perform Crippled Symmetry, the trio Feldman composed for them, on the 25th anniversary celebration of June in Buffalo, the festival he founded.
The recording of this concert is now finally available on CD, and is destined to become the reference recording of this work. It is required listening for all fans of Feldman's rich, hypnotic world of enigmatic harmony and mnemonic echo. Mastered by Denis Blackham, and presented in a card package which unfolds to reveal the musicians' "butterfly-like" arrangement on stage. "This turned out to be one of the best performances that we had ever given together. The rare and indescribable ‘magic moment’ of occasion and ambience seems to have inspired us. T
he recording of the concert belongs to my most valued sound documents. When I listened to it for the first time, my immediate reaction was: this performance ought to be available on CD. Now, ten years later, it is.” - Eberhard Blum"
Trust Wiley the Godfather to set grime’s levels in 2017 with his most intense, bruising album for years, even ever?
It’s an unmissable return to root, with a frankly starving Wiley flanked by practically everyone - Frisco, Devlin, Jamakabi, Manga, Footsie, Flowdan, Pres T, Ghetts, Ice Kid, a.o. - all demanding your attention over fierce AF production from a mix of veteran producers - JME, Scratchy, Rude Kid, Maniac, Dot Rotten - and a sharp-shooting yung squad; Darq E Freaker, Predate, Swifta Beater, Morfius, Teeza +++.
At seventeen tracks and just under an hour long, Godfather is quantitatively substantial. And the quality? It’s got that in buckets; a firmest balance of OG grime aggression, gyal tunes and bubbling club trax that lends itself to earbuds, German whips and raves alike.
We’re alllll over the rabid Bang, featuring a barking Ghetts over cutthroat production by Maniac, and likewise the blazing future-shock of Bait Face, crafted by Roll Deep lynchpin, Scratchy, whilst the ‘round-the-block baroque of Like It Or Not sets killer new levels for UK grime/trap, and then you’ve got the dizzy highlight of Laptop, produced by Morfius, and utter gutter business from Wiley, Flowdan and Jamakrabi on Pattern Up Properly, plus foundational business in Birds N Bars, and straight up killers for club and radio in Back With A Banger and the soul flow of U Were Always, Pt.2.
This is the CD that every grime fiend needs - from the freshest cadets to time-served roadmen and lapsed, Volvo-toting elders - if just to prove an argument in years to come that Wiley made and shaped grime like nobody else. And if this actually is his last album (who the fxck knows with him?), then he’s effectively shut down the game, ‘cos the new generation really have to step up to this one.
Essential UK music.
Arch minimalist Thomas Brinkmann presents A Certain Degree of Stasis in two parts of variably “fierce digital textures” and “sustained crystalline calm” in counterpoint audio response to Agnes Lux’s starkly monochrome visual work, which is reproduced on the cover artwork. The work is intended to be played individually, in conjunction, or together with previous releases on the Frozen Reeds label.
Disc 1 tends to the “fierce digital textures” quota with 40 minutes of sustained guitar feedback heard in an ether dream, dissolving into acres of free-floating space like Oren Ambarchi or Keiji Haino caressing a wounded axe in the dying moments of its existence, its life coruscating and calving away before its eyes.
On the other disc he subtly inverts that aesthetic, reducing the lead to a discordant ember flickering below layered drone harmonics pregnant with anticipation for a haunting sound image that only reveals itself through duration.
Its mesmerising, uncompromising stuff.
Debut album of melancholy electronica. Recorded at Valgeir Sigurðsson’s Greenhouse studio in Reykjavik, Iceland (home to his Bedroom Community).
“A ‘soft error’ is computer language for a faulty occurrence in a digital memory system that changes an instruction in a program or a data value. When associated with music making, it’s a name that inevitably suggest the notion, or even celebration, of happenstance and serendipity, and that’s certainly part of the spirit evoked by Mechanism. A largely electronic pairing, Soft Error are otherwise known as Tim and Rupert, both of whom have musical backgrounds in dance music / DJ culture and composition for film, theatre and TV respectively. Soft Error, however, represents a thrilling new artistic beginning rather than being simply another musical ‘project’.
Mechanism offers a fresh and singular brand of musical intrigue by reaching back and forward simultaneously – drawing from the innovative, propulsive thrum of 1970s Krautrock and the grainy textures and tonalities of the BBC Radiophonic Workshop on one hand, the symphonic, futuristic soundscapes of composers like Cliff Martinez, John Carpenter and Jon Hopkins on the other.That said, there is also something wonderfully timeless about the nine, finely wrought essays on Mechanism, across which synthesisers, keyboards and drum machines are deployed for their sonic and emotive possibilities, rather than as a nod to any particular niche or trend. Indeed, Soft Error demonstrate a facility for fashioning both intimate textural detail and strong melody, often in the same song.”
At last, a chance to hear the debut album of motorik jags from Stereolab’s Tim Gane and Joe Dilworth, together with Holger Zapf as the Cavern of Anti-Matter power trio - originally issued on Berlin’s Grautag Records, now reissued on Duophonic.
Revolves a heady rush of references to Bowie’s Chant of the Ever Circling Skeletal Family, Mahogany Brain’s Bloody Hide and Seek in The Rain and Hot Elbow, and the front cover to Heldon 6 shaped into 16 high velocity, high sheen rockets bound to ignite the tastes of classic kosmiche and psych fiends.
Deliciously uncompromising sound design from Gábor Lázár, performing a sort of virtuosic hyper-rave bondage on your ears with Crisis Of Representation; his first release for Shelter Press after a pair of releases with The Death of Rave - including his acclaimed collaboration with Mark Fell, The Neurobiology Of Moral Decision Making - and the ILS album for Lorenzo Senni’s Presto!? before them. If you're into mad sound design, this one comes highly recommended.
Mostly pieced together in 2015, but utilising material made as early as 2011, Crisis Of Representation forms a direct continuation of Lázár’s increasingly incisive composition techniques, offering 7 pieces (+1 bonus on CD) which unknot the same nasal drip motif in myriad permutations of possibility. With that in mind, it’s not difficult to draw an economically short line from his to Mark Fell’s music, but where Fell’s Linn grammar and SoYo accentuation tends to clip itself, Lázár’s compositions ribbon off into unnaturally fluid flights of mercurial, polychromatic acrobatics.
We could imagine that this deeply abstract yet soberly conceived techno sound is antithesis to casual listening. But, if you’re game enough to follow Gábor into the wormhole, and have the head for intense, elusive sonics, then you’ll be embraced by a unquantifiably psychedelic experience quite unlike any other, where notions of “proper” musical convention are upended and rhythm, pitch and tone become fused by your head into scintillating psychoacoustic formations of perpetual tension and amorphous resolution.
A Winged Victory For The Sullen, the otherworldly collaboration between Adam Bryanbaum Wiltzie and Dustin O’Halloran, commence the New Year with their third full-length.
"Adam Bryanbaum Wiltzie and Dustin O'Halloran first met the director Jalil Lespert after he had discovered A Winged Victory For The Sullen on a music search online. After listening to their music, he immediately knew: "it was the sound of my new film". With an excellent cast of France’s finest actors Romain Duris, Charlotte Le Bon, and the director himself, plus a script filled with tension, sexuality and darkness, they knew there was a lot of musical territory to mine. It was agreed that they wanted to explore more analogue electronique experiments as well as working with a large string ensemble, to create something that felt very modern and still cinematic.
“Despite A Winged Victory For The Sullen being associated with film score type music, trying to survive the process of creating the modern film score is not for people with fragile egos. It requires those who arethe most responsive to change. The director and the film presented a new set of challenges, so we decided to stop thinking about cinema as an object, and moved closer to using the film’s images as triggers for experiences. The more we were able to let go, and see the music as something that happens, like a process – not a quality, the more we were able to reach a place that sounded like us. It was as if we were making our first record all over again, except being filtered through another language littered with dead metaphors”, the duo elaborate.
The recording sessions began with their long time sound collaborator Francesco Donadello in the form of some modular synth sessions in Berlin. Dustin and Adam began working from the script in their own studios, and after filming commenced they continued to create music that could be used for first edits of the film – each day getting new scenes that triggered ideas that would become the base of the film score. Over the course of the next few months the two slowly crafted the music with weekly discussion from their studio to the editing room.
The final sessions to what is now the score of Iris were recorded with a 40-piece string orchestra at Magyar Radio in Budapest.Upon label founder Robert Raths' request the over sixty minutes of material were then edited down to a concise album listen at forty-one minutes with a physical release set for January 13, 2017. The digital bonus track edition includes two solo pieces by Adam Bryanbaum Wiltzie entitled The Endless Battle Of The Maudlin Ballade Part 2 and The Endless Battle Of The Maudlin Ballade Part 3, as well as tracks by Petite Noir, dOP, DJ Pone and The Shoes which feature in the film. The artwork was created by Berlin based illustrator Stephanie F. Scholz who also created the iconic cover for Nils Frahm's Music for
The Motion Picture Victoria."
"The best ambient album i've heard in an ice age, an album of terrifying, desolate and all-enveloping beauty" David Stubbs, Melody Maker, 1997
Biosphere's 'Substrata' is a rarely topped pinnacle of the '90s ambient canon. On its 18th birthday, the album's producer Geir Jenssen's Biophon label treats it to a subtle facelift at Pole's mastering desk, reanimating the still-mindblowing likes of 'Sphere Of No-Form' in all their captivating and frost-bitten wonder.
As far as end-of-the-world isolationist music and sound design goes, this album remains one of the most affective we've ever heard. Essential listening for fans of the cold, life-affirming music of Thomas Köner, Mika Vainio, or Deathprod.
Gideon Wolf offers a trip to the staggering wilds of Scotland’s NW Highlands on this beautiful, bespoke edition for Fluid Audio's Facture label. If you're into Richard Skelton, Max Richter, Rachel's etc - you'll love this.
Intended to be taken from the comfort of your armchair, the windswept strings and neo-classical gestures of Year Zero capture the almost ineffable beauty of that region’s dramatic topography and timeless nature.
Gideon Wolf enlists a multi-instrumentalist ensemble to assist him for this set of rich, melodic drone pieces with incredibly detailed packaging to boot.
Experimental suite of monochord songs intended to push new players to pick up the six string and have-a-go. Stars various members of Glasgow’s indie firm
“Chord changes are a luxury made possible by technical competence.
Back in 1977 when I picked up a guitar the first chord I learnt was E minor. I could’ve stopped there and written this album. All I needed was a capo and some lyrics. But, tethered by notions of song craft and aspirations of virtuosity I learnt to play the instrument with greater complexity. Now middle-aged, I would like to think myself able to transcend such considerations.
The first song you hear on this record is in E minor. In fact, it is E minor and nothing else. The next song is F minor - made possible by placing the capo on the first fret and forming the same shape with my fingers one fret up. The song after that is F sharp minor. You see a pattern. It’s a series all the way to the 12th fret and full circle back to E minor, except one octave up. It’s high concept, low technique. fleshed out with vocal melodies and added instrumental flourishes from friends and family.
Learning E minor at the same time as me was Pete Aves. We were the guitarists of pre-teen acoustic punk band The Rejects. Subsequently he has worked with Petula Clark, Lee Hazlewood, Jarvis Cocker, the Royal Liverpool Philharmonic Orchestra and the High Llamas. Now he’s back working with me.
Madeleine Hynes was one quarter of the avant primitivist Leather Mole.
Frances McKee is still one half of the legendary Glasgow band The Vaselines.
Andrew Paine is a Glass Redux recording artiste and bassist for The Flexibles.
Classically trained violinist Jane Sayer has produced techno records as Johann Sebastian Barking.
Sorley Youngs is the singer and guitarist of The Flexibles.
Guest appearances aside, this remains a collection of songs that can be covered by anyone within hours of picking up a guitar. Liberated from dexterity, all that is required is the holding down of two fingers and a steady strum. At the core of each is one chord. The rest is scenery. Richard Youngs 2016”
Nick Cave & Warren Ellis present a suitably epic, wondrous soundtrack suite for Mars, a fictional TV series telling the story of the first astronaut crew on a mission to Mars in 2033.
The follow-up to Cave and Ellis’ score for the Hell or High Water approaches that most classic Martian muse thru varying strategies ranging from their atypical doomy croon to sweeping string panoramas, sparkling keys and pensive electronic minimalism, with room left for unexpected turns of noisy drums and distorted textures recalling shades of Scott Walker’s The Childhood Of A Leader soundtrack.
The union between two august figureheads of UK electronic experimentation continues as Eno’s latest long player for Warp waves in the New Year.
Since singing to Warp back in 2010, Eno’s musical output has taken on many shades, from the highlife instigations of his work with Karl Hyde to the occasional deviations into dubstep and techno with Rick Holland. Reflection continues Eno’s return to focussing on ambient music, casting aside some of the conceptual aspirations (and the sea shanties) that featured on his last Warp long-player, The Ship, in favour of one near-hour generative composition.
In contrast to the rather murky self-portrait that adorns the cover art, there is a glistening clarity present throughout Reflection, a becalming exercise in classicist ambient exploration that feels wholly satisfying through its 54-minute duration
The PAN label's premier purveyors of “chamber doom” return with a new cycle for longtime alibis, Antifrost, following their acclaimed folk trilogy of LPs between 2014-15, and the still-resonating tones of Som Sakrifis (2013) for PAN.
If you’ve encountered any of the aforementioned, you will have a very good idea of what to hope for in the 3-part Pèkisyon Funebri; namely a majestic sense of struggle against the flattening feeling of despair and fatigue that haunts our times.
This is music which appears to carry the weight of the world on its shoulders whilst wielding a cello and bow in its heavy limbs, dredging the psyche for signs of life which are found and coaxed from their holes to emerge as churning low-end gestures who reinforce their dual resonant frequencies in slow, wide vortices aimed at centring and quaking your thorax.
Subterranean in their prostration but sidereal in hope against the frustrations that we can only imagine must be felt in Greece right now, Pèkisyon Funebri is a masterful reminder that even at the lowest ebbs there is solace and resilience to be found if one remains faithful to the search.
Gorgeous solo harp recordings of pieces by John Cage, Hans Otte and Lou Harrison from Gabriele Emde, who debuts with the most excellent Edition RZ label in the same week as their debut from Clara Iannotta. This is the sort of album you came here to look for… Warmest recommendation!
“Gabriele Emde-Hauffe was born in 1953 in Darmstadt, Germany. She received a humanistic education at a local grammar school in Darmstadt and started studying the harp after her A-levels, first in Darmstadt and finishing in Cologne. Conducted by Péter Eötvös, she worked out modern chamber music and modern improvisation by J. G. Fritsch and Vinko Globokar. Passing her exams in 1980 and 1981, she continued her studies of musical science at Cologne University, based on her thesis, "The Harp between Myth and Reality." From 1981 to 1983 she was a member of Die Junge Deutsche Philharmonie and Ensemble Modern, and collaborated on productions of contemporary music with Ensemble-Köln and Ensemble 13, as well as the NDR-Sinfonieorchester Hamburg. She has performed the solo harp at various international festivals, among them many premieres and international radio, TV, and record productions. At the invitation of the Goethe-Institut, she toured North America in 1982, presenting Walter Zimmermann's works, and also performed in South Korea; her career as a performer has included performances of contemporary music by Berio, Boulez, Cage, Globokar, N. A. Huber, Schönberg, Stockhausen, Webern, I. Yun, B. A. Zimmermann, and W. Zimmermann. Until 1992 she taught harp classes in Cologne and Düsseldorf. Since 1991 she has been teaching her private harp class in Darmstadt. This CD contains recordings from 1985-'87 of pieces by John Cage, Hans Otte, and Lou Harrison.”
This 1997 release by the great Edition RZ label documents a pair of site specific performances by Akio Suzuki, a Japanese musician, inventor, instrument builder and shaman, recorded on the volcanic northern coast of Takano, Kyoto.
They first part is a durational piece, 53 minutes in length, the other is 6 minutes long, and composed/performed 3 days later in late October, 1997. In both pieces the sound of wind “breathes” in and out by caves, accompanied by the distant chirrup of crickets from the meadows above and the sparse presence of shrill whistles, rubbed glass tones and softly blown bamboo pipes, really not a lot else.
In a sense it’s an exercise in listening to nature in its unprocessed, natural state, and zen-like, meditative in effect; providing rarified time and space for contemplation.
This is one of the few instances of Korean Classical Court music that we’ve stocked, and every time it stops us in our tracks. To our native western sensibilities the music is captivatingly slow and dissonant, and with a measured, stately quality of its own. These recordings of compositions made in the 15th century are totally fascinating, maybe an acquired taste, but arresting any way you hear them.
"Yŏmillak is the most extended piece of orchestral court music surviving in Korea and it has for many centuries been used for royal processions and at banquets. Yŏmillak is the piece notated in the oldest surviving Korean score - a score contained in the Annals of Sejong, written in 1454.
The piece originally consisted of ten movements, but three were discarded over time, leaving just the seven movements heard here, and different variants evolved, distinguished in terms of orchestration and size; two of the later (19th century) versions, Kyŏngnokmugang Chigok and T'aep Yŏngch'un Chigok are contained here. The final piece, Sŏilhwa Chigok, is an additional orchestral suite."
One of only two CDs to bear his name at the top, Edition RZ’s Michael Von Biel collection presents a hardcore haul from the nebulous 1960s avant garde, including one blinding, 13 minute piece of electronic composition commissioned from Von Biel by Karlheinz Stockhausen - his tutor at Darmstadt - which resulted in him repeatedly breaking the sliders on the desk during its creation! No messing, it’s worth it for that one alone - you won’t find it anywhere else! (just checked youtube and discogs) - but his patent taste for noisy dynamics and twist on convention elsewhere on the CD also make this a bit of a must, if you’re into that kind of thing.
“2004 release. Michael von Biel's musical production at the beginning of the 1960s was clearly marked by the expansion of the musical material. "Quartet No. 1" (1962) and even more, "Quartet No. 2" (1963) are noise compositions whose expressiveness rests essentially on the discovery of new sonic possibilities and performance techniques. Bowing with excessive pressure, playing behind the bridge, leading the bow in a diagonal direction, hitting the tip of the bow on the body of the instrument -- these are the techniques with which the sound of the strings enters into the realm of noise. Whereas in the first quartet, the areas of musical sound and instrumental noise are still largely set off against one another, in the second quartet, the concept of a music based solely on noise is realized without compromise. Both of the compositions Quartet with Accompaniment for string quartet and cello (1965) and "Jagdstück" ("Hunting Piece") for 2 trumpets, 2 trombones, 2 horns, 2 tenor tubas, contrabass, tape, e-guitars and electronically amplified barbecue grills (1966) are based on the contrast of divergent sound worlds. Before attending the composition courses of Karlheinz Stockhausen in Darmstadt for three years in a row starting in 1961, von Biel studied one year with Morton Feldman in New York where he met David Tudor and John Cage. Earlier than for most European composers, approaches in aesthetic thinking which couldn't have been more different from one another collided in his consciousness, and this occurred at a point in time when their music-historical consequence could not yet be foreseen.”
Italian ambient maestro Gigi Masin wins our hearts again with this sublime, impressionistic soundtrack to Il Silenzio Dei Tuoi Passi (The Silence of your Steps), Stefano Gentile’s photo book focussed on Venice at night.
Venezia is certain to strike a chord with anyone lucky enough to have visited the city, and even if you haven’t, it’s a beautifully evocative package, marrying Masin’s balmy drift of solo keys and chiffon synth pads with absorbing imagery of the city’s narrow ginnels and, all softly lit by lone street lamps that mirror the music’s plays of light and shadow.
Unfortunately our Italian is beyond mediocre, so we can’t really tell you much about the liner notes, but the symbiotic images and music convey far more than we could ever spell out here.
Angular, difficult experiments in new composition, symbolically framed around subconscious repression and the flux of fantasy and reality. Yeah, it’s not easy listening, but there are some fantastic, clattering and delirious ideas contained within.
“Edition RZ presents a performance of French composer Clara Maïda's work In Corpore Vili. Performers (Studios): Ensemble Resonanz, Kammerensemble Neue Musik Berlin, Ensemble Orchestral Contemporain, Arditti String Quartet, Heather O'Donnel (Elektronisches Studio der Technischen Universität Berlin; Studio für Elektroakustische Musik der Akademie der Künste, Berlin.
"During the first years of my compositional research, my goal was to mark out, in my music, the flux of the psychic energy at work in the unconscious and its underlying structure. At the time, I was going through an analytical process favoring access to this unconscious activity, and my readings in the field of psychoanalysis were helping me in the effort to elaborate a musical thinking likely to account for this psychic complexity, which only appears through unintentional acts and words, or in fantasies and dreams. A whole structural and formal model for a potential music was emerging then, since only the plasticity of the world of sound seemed to be able to suggest this mobility and instability, which endlessly alter the configurations of the components of the unconscious." --Clara Maïda”
Haunting chamber invocation by the Austrian organist, composer and academic; written for flute, voice, percussion and viola. The quietly minimal, single, 50-minute piece is intended for reflection and altered, heightened states of sonic perception. RIYL Jakob Ullmann.
“Through concentration on listening or concentration on what we are listening to we can enter a state of simplicity of mind which is a state of the highest inner clarity or inner silence. In other words:when concentrating on the flow of music we can reach an inner state: The inner silence which is the simultaneity of stasis and flow. This paradoxical situation poses the question: Is the flow of music passing us, is music flowing through us thus evoking this inner stasis or is it not a state at all what we experience: should we not most seriously take into consideration the possibility that it is us who are flowing through the sound?”
Editions RZ collect ten early works by the late Morton Feldman (1926 - 87).
They're largely his shorter pieces, spanning compositions made between 1952 and 1959 alongside esteemed peers including David Tudor, Cornelius Cardew, John Tilbury, and János Négyesy. ""In his compositions for piano, which make up a central part of his oeuvre and in which all of his experience is accumulated, it is the play of Feldman's hand whose touch is intended precisely for the 'untouchableness' of sound. The clear character of the 'attack' thus displays the paradox of such playing: it is just as much about concealing the idiosyncrasy of the piano sound, the precise point of attack while, at the same time, the structure and tension of those sounds are formed by the hand." --Stefan Schadler.
Typically nice RZ packaging. Includes the following works: "Piano Three Hands" (1957, performed by Feldman & Tilbury); "Intermission 5" (1952, performed by Feldman); "Vertical Thoughts 2" (1963, performed by Janos Negyesy: violin & Cardew: piano), "Extensions 3" (1952, performed by Feldman); "Four Instruments, 1975" (1979); "Intermission 5" (1952, performed by Tudor), "Piano Piece 1956 A" (1956, performed by Tudor); "Piano Piece 1956 B" (1959, performed by Tudor); "Intersection 3" (1953, performed by Tudor); "Instruments 1, 1974" (1975, 24 minute piece performed by Eberhard Blum: flute, Nora Post: oboe, Garrett List: Posaune, Joseph Kubera: celesta, Jan Williams: drums)."
"Giuliano d'Angiolini is a positively unique figure in contemporary music. His profound, well-conceived and stubborn take on music has led him to what he calls "impersonal" music -- music that has fully abandoned the idea of development or form. Through successive states of presentation, which aim to elucidate, d'Angiolini wanted to "leave place in sound so that music could become less voluntary." This led him to favor the surface and present an approach that was by no means superficial: the surface as the immediacy in the propositional content of sound and the present as the very surface of the criterion of time. In his work, musical process and material are but one and are completely laid bare. What we are to hear is non-discursive, deliberately lacking formal organization. We are even free to turn away and come back of our own will -- as if the composer wanted to make positive use of the negative metamorphosis of today's urban listeners, listeners who are constantly assailed with stimuli." --Gérard Pesson”
Debut solo release of intimately compelling avant-garde minimalism from Michael Reudenbach, collecting nigh on two decades of distinguished works which may well pique interest from fans of Jakob Ullmann, Morton Feldman or John Cage
Strings, keys, woodwind, vocals and small percussion sounds form the acoustic foundations of these 12 hugely spacious pieces, running to just over two hours between them and commonly bound by a rigorous exploration of the spaces between the notes, and their carefully placed, barely-there presence within the arrangement.
Signposts are fascinatingly few and far between here, leaving his soundfield wide open to exploration and resonant reflection.
“"it has become taken for granted that nothing concerned with art is self-evident any more, neither in it nor in its relationship with the whole - not even its right to exist." it is with these words that adorno begins his "aesthetic theory". "
Instrumental compositions by "post-minimalist" John McGuire who took classes with Karlheinz Stockhausen and Gottfried Michael Koenig, among others.
"Each of the compositions of American composer John McGuire describes, in its own way, a multi-dimensional sonic space which the listener can take in from various vantage points and, in so doing, experience the very same sound in different guises. Disc 1 - 1. Cadence Music for 21 instruments (1982-85, Ensemble Modern, Director: Ernest Bour) 2. Exchanges for string quartet and soprano (1998-2002, Julia Rempe, soprano; Pellegrini-Quartett); Disc 2 - 1. Decay for eight horns (1967-70, musikFabrik: Christine Chapman) 2. Frieze for four pianos (1969-74, musikFabrik)3. Music for horns, pianos and cymbals (1981, musikFabrik)"
The followup to Light In The Attic’s game-changing I Am The Center box set, "The Microcosm: Visionary Music Of Continental Europe 1970-1986" was 3 years in the making and is the first major overview of key works from cosmically-taped in artists needing little introduction — Vangelis, Ariel Kalma, Gigi Masin, Roedelius, Ash Ra Tempel, and Popol Vuh - plus unknown masterpieces by criminally overlooked heroes like Bernard Xolotl, Robert Julian Horky and Enno Velthuys...
"Whereas I Am The Center called for a reconsideration of an entire maligned genre, The Microcosm requests nothing more than an open mind to consider this ambient, new age, neuzeit, prog, krautrock, cosmic, holistic stuff, whatever one calls it — as a pulsating movement unto itself, a mirror refracting the American new age scene in unexpected, electrifying ways, proving beyond a shadow of a doubt the universality of the timeless quest to express “the Ineffable” through music.
Drawing from major label budgets and homemade cassette distributed circumstances alike, The Microcosmdemonstrates a depth of peace profound to behold, and clearly expands the boundaries. Lovingly conceived and lavishly presented by producer Douglas Mcgowan (Yoga Records) and liner notes contributor Jason Patrick Woodbury (Pitchfork, Aquarium Drunkard), The Microcosm features stunning cover paintings by Étienne Trouvelot, and labels by Finnish savant Aleksanda Ionowa."
Impossibly rare, recent NWW vinyl releases compiled on CD for first time. Housed in deluxe 6-panel digicase
“Available for the first time since being issued privately as a limited vinyl, United Dirter present the CD issue of this ultra-rare 2014 two track LP, The Great Ecstasy Of The Basic Corrupt. The additional track "Circles Of Confusion" comes from the equally rare Silver Bromide LP (2013). Indulge yourself in these three immersive, ocean deep and intensely powerful tracks of sinister whimsy for the wretched. Yet another classic from the timeless and ever evolving Nurse With Wound.”
Quite unbelievably, after nearly 40 years of silence and with the help of Important Records and the permission of his estate, Harry Bertoia's hugely collectable and inspiring Sonambient label has been resurrected in order to start releasing his unheard recordings from the recently preserved archive of 1/4" tapes.
Few boxsets have landed heavier on our listening lives than Harry Bertoia’s 11xCD Sonambient Complete Collection (now thankfully available again), which was issued earlier this year to resounding acclaim. For the uninformed, Bertoia was a world-renowned sculptor-cum-sound artist best known for his industrial design work, but also responsible for a series of elemental, near-sacred, long-form recordings of resonant metal rod sculptures and gongs and their incredibly lush harmonic overtones. Now, for the first time in 40 years, we’re offered a first glimpse at previously unheard Sonambient recordings, all direct analog transferred to vinyl just as the artist originally intended for us to hear them, resulting in a completely immersive experience.
The two pieces here were selected both for their minimal, meditative and lush harmonic qualities, displaying another approach to performance via slow washes of shimmering metallic rods with sublime harmonics hovering overhead, making audible measurements of the length and purity of Bertoia's metal sculptures. These new tracts of recursive billow and bat-baffling sonics are among the quietest and spacious examples of Sonambient aesthetics when compared with its more cacophonous iterations.
In the A-side’s Clear Sounds Harry Bertoia coaxes slow, elemental washes of lingering, hi-line zing and low, wide surges of abyssal darkness that threaten to consume all above it, leaving us rapt at the centre of it all as though in the middle of some computer generated cybernetic scape, when, in fact, it’s entirely, bewilderingly a completely acoustic recording.
Likewise Oreste Bertoia’s B-side, Perfetta, where Harry’s brother feels out a more nuanced, vertiginous side of keening spectral complexity that’s leaving us dangerously light-headed right now.
It may be their likeness to the everyday sounds of worksites, industry or trams, or conversely the way in which they recall some of our favourite ambient and drone records by Thomas Köner, Eliane Radigue, Dave Burraston or Mika Vainio, but either way, these recordings are nothing short of incredible, life-affirming messages from the echoplex.
Truly remarkable that Sonambient is a going concern again, much respect to Important and the Harry Bertoia Estate for making it happen.
Sterling, synth-heavy soca mutations from Trinidad & Tobago, 1984! A far ahead-of-its-time fusion of calypso/soca and disco rhythms with electronic instruments. Somewhere in orbit between Claude Rodap and Francis Bebey. Includes unmissable zingers in the irresistible bounce of Let’s Get Together and D’Hardest. Highly recommended!
“Shadow is a man of understated magnitude. A truly enigmatic artist, he first emerged in Trinidad and Tobago during the 1970s, becoming a part of the tapestry of Caribbean music and reinvigorating calypso at the time. Calypso, the indigenous folk music of Trinidad and Tobago, has roots in West African kaiso rhythms, French Creole influences, and the hardships endured by the African slaves brought to Trinbago, whose descendants still use it as a tool for satire, self-expression, and social commentary. Calypso has also given birth to several other music genres, including soca, with its uptempo beats and festival context. Shadow effortlessly moves between both.
Shadow came from a humble but musical family and started writing songs as a youth while tending cattle in the fields. To his family’s initial chagrin he chose calypso over church music but his talent and drive were undeniable. In the early days of his career Shadow’s style was cramped when working with some of the more conservative music arrangers who felt that calypso and soca should fit a mould. But after a while Shadow teamed up with more innovative arrangers, including Arthur “Art”de Coteau, who followed their and Shadow's intuitions resulting in a long line of hits.
Sweet Sweet Dreams was recorded at the legendary SHARC studios, located on a hill in Chaguaramas (near Port of Spain) and despite a fantastic sound and monster Soca-boogie tunes like “Lets get it together”, “Lets Make it Up” and “Way, Way Out” the album was a commercial flop, probably due to the fact that it didn’t sound like anything else coming out of Trinidad & Tobago at the time: It fused a range of different rhythms and new sounds, primarily heavy synth riffs.
Shadow took the album’s lack of success in his stride with usual aplomb:
“When I did Sweet Dreams I expect something could happen. But nothing big happen because I have no big market and no distribution and all this thing now. So I just cool myself and move on to another song. I wasn’t doing just one song. I used to always have plenty songs at the one time. And be writing music”.
What Shadow didn’t realise back then was that the proto-electronic cocktail he had mixed in 1984 would only find the recognition it deserved three decades later. Life has swung full circle: Sweet Sweet Dreams has come true and been elevated to holy grail status becoming one of the most sought-after Caribbean disco records in existence. Asked about this turn around Shadow mused “I’m trying to understand that part. A lot of people ask me for it over a few years now. But I never give anybody it. That music wasn’t for then. It’s for now”.”
Marking up five years in the game, White Peach throw down 28 original instrumentals from the grime new school, smartly given context in a scything mix by Score5 on the bonus disc.
It’s the first time for most of these cuts on CD, spanning the breadth of White Peach’s remit from bellicose to blunted, aggy to sweetlad, with highlights on Disc 1 including Lington’s fierce Bounty, the body-checking turbulence of Shudan by Arctic Garms, and a bullet-riddled bruxist spesh from Impey, running amok on Youngster’s Bongo; whilst highlights from the 2nd disc touch down from Sorrow’s highly-strung Skengman Tantrum, the razor-sharpened electro prod of Kahn & Neek’s Bongo remix, a mauling Trends mix of Zha’s Southampton Lengman, and a canny inclusion of Youngstar’s grime cornerstone, Pulse X.
All new, unheard material culled from a 3 hour live PA in Hawaii.
“An epic affair of gentle soundscapes and field recordings, all captured and recorded on the mystical, "Road To Hana" in the land of the low lying clouds, Maui, Hawaii. A near hour long transmission (culled from a near 3 hour live performance) of sonic immersion, sub-aquatic bass, spiralling atmospherics and dubbed out harmonics tugging right at the heart strings, leaving one in a state of acidic dreams... A true exploration of the most mystical of lands... We'll meet you there. “
Corking Volume 1 (where is Volume. 2?!?!) of obscure Khmer Folk and Pop Music dug out by the Cambodian Cassette Archives. Sounds range from Ariel Pink’s sweetest fantasies to Darkie’s ecstatic folk disco bangers and the heroic gamer themes of Golden Dragon Band’s Golden Draagon ST and jaw-dropping echo chamber experiments. Trust: you’ve never heard anything quite like it!
"Cambodian Cassette Archives is an unbelievable collection of dynamic Cambodian music recorded between the 1960s and the 1990s, both in Cambodia and in the United States. A truly Khmer blend of folk and pop stylings - cha-cha psychedelia, phase-shifting rock, sultry circle dance standards, pulsing Cambodian new wave, haunted ballads, musical comedy sketches, easy-listening numbers and raw instrumental grooves presented in an eclectic variety of production techniques. Male and female vocalists share the spotlight, embellished by roller rink organ solos, raunchy guitar leads and midi defying synthesizers. Culled from over 150 ageing cassettes found at the asian branch of the Oakland public library in California, these recordings showcase a pre and post holocaust Cambodian musical lineage that can't be ignored."
Just shy of two hours of chasmic ambience and opiated throb by Echospace’s Stephen Hitchell a.k.a. Variant. Two years in the making.
“Over 2 years in the making and 10 years of synth programming and development, Variant's "Aurora's Dream" is reawakened. The inspiration stems from a new method of seeing and hearing thru re-synthesized harmonic tables and new algorithmic structures creating an analogue ocean of unexplored sounds. In search of sonic slivers beneath the surface, variant taps into something that breaks the mold; where the culmination of light and sound can reveal a new panoramic world. Painstakingly developed sound design, paying close attention to every finite detail, the original is revisited in search of sonic existence within the mind, capturing the essence of brain waves thru sound -- vibrational healing.
With Light, apparitions appear and disappear. Just as sound can interrupt and influence a dream. One lamp can light a hundred thousand lamps in the darkness. These ideas combined are the reveries into the reawakening of aurora's dream. Epiphanies towards enlightenment. Foreboding, yet distorted. Ominous, but inviting.. not for the faint of heart."
Immersive hour-long drift by Echospace’s Stephen Hitchell a.k.a. Variant: meshing fire-pit field recordings and modular synths in a heady atmospheric pressure system.
“Variant's albums invoke various celestial phenomena ranging from comets, to stars, to the aurora borealis. The cosmic preoccupation plays out in the music too, which ranges from warm analog space ambient infused with field recordings to more rhythmically active synthesizer loops and drones.
Pyralis is a collaboration, inspired by coniferous Michigan, lost in the flames on a dreamy starlit night, it was quite majestic. Live recordings took place last fall for a small bonfire event on the night of the harvest moon, limited to a small amount of people to contact the spirits.”
For 60 minutes, Echospace’s Rod Modell and Stephen Hitchell a.k.a. CV313 tap into channels of haptic paranormal communications thru a vintage trident desk, all hands on board for a tactile diffusion of bass in unfathomable space.
Project yourself floating over Shibuya like the departed spirit of the character in Enter The Void…
“Hypnagogia is a word that describes the experience of transitioning from wakefulness into deep sleep. Mental phenomena that occur during this "threshold consciousness phase” include lucid thought, lucid dreaming, hallucinations, and sleep paralysis.
“Shibuya Hypnagogia” is a 61-minute generative-music composition designed to induce the shift from full awareness into a state of deep delta. An alien transmission from the threshold of perception. A tool for introducing shifting gradients of consciousness. Trans-dimensional voices drift in and out over an ocean of gentle sonic-cascades. Sonic lifeforms hover weightlessly in your listening space. Sounds of ghosts in the wires. Nocturnal field recordings from Tokyo (Shibuya / Shinjuku) combine with prototype generative-music composition software to form this otherworldly audio landscape.
Mastering curves optimized for low-level playback. Tokyo recordings captured via Sound Devices 702 + Core Sound High End Binaural Microphones (DPA 4060 capsules). Mixed in real-time to a Tandberg TD20A recorder.”
Alchemy-remastered edition of an Echospace classic, newly available on CD with Lindsay Todd’s excellent artwork.
At long last, Echospace's CV313 project, 'Dimensional Space' finally sees the light of day on CD. So the story goes, the original masters recorded 1996-2010 were submerged underwater due to a flood in the duo's home studio, with many reels never recovered.
The ones they did manage to salvage have been painstakingly restored to form CV313's debut album proper. The original material comprises eight nebulous pieces of perfectly detached dub techno intended for healing, meditative purposes. The average length of each piece is 10 minutes, allowing the duo plenty time to feel out fathomless bottom end and vaulted reverb structures, bobbing on slow churning ocean of dub noise.