Inventions (Eluvium/Explosions in the Sky)

Inventions is the new band formed by longtime friends, tourmates, and labelmates Matthew Cooper of Eluvium, and Mark T. Smith of Explosions In The Sky. It began in earnest in 2013 when Cooper invited Smith to collaborate on a song for Eluvium's otherworldly double-album, Nightmare Ending. The track, "Envenom Mettle," was a standout on an album full of them, and just like that a longstanding friendship blossomed into a full-fledged creative partnership. There are plenty of talking points here: The fact that Cooper hasn't been in a “band” of any sort since he was a teenager; no member of Explosions In The Sky has released an album outside of the context of EITS since their inception in the late 90s; and, of course, this is a dream duo for anyone familiar with the unparalleled emotional resonance of Cooper and Smith's respective day jobs. However, thirty seconds into their eponymous debut album, you realize that the esteemed pedigree is irrelevant. Inventions exceeds all expectations by discarding them from the get-go. They have created their own tiny, wondrous corner of the world, one with ever-changing sounds and colors.

More information is available here.

4011 Hits

Watter, "This World" (Grails/ex-Slint)

This World

Watter is a new trio made up of close friends and collaborators whose collective pedigree reads like a desert island list of must-haves in experimental rock musicians. Multi-instrumentalists Zak Riles (Grails) and Tyler Trotter are anchored by legendary drummer Britt Walford (Slint, Evergreen) on six genre-defying pieces of monolithic mood music.

For Riles and Trotter, it's a chance to dig deeper into the sandbox in which Grails have sculpted many mercurial masterpieces in recent years; for Walford, it's the opportunity to play a substantial role in a new active band for the first time in nearly twenty years.

Written, recorded, and produced entirely in the group's collective studios in Louisville, KY, This World is a stunning combination of heady psychedelic rock, vintage cinematic New Age explorations, and sinister Krautrock, performed with seemingly endless stamina. Born out of many late-night jam sessions, many songs also feature fellow Louisville icons – Rachel Grimes (Rachel's) provides several of the album's most sublime moments, and The For Carnation's Todd Cook lays the heavy, bass-driven foundation for the penultimate epic, "Seawater" – as well as a subtle, sinister contribution from legendary King Crimson bassist Tony Levin. This World is the kind of album that inspires renewed wonder in the mysterious powers of Louisville's water supply. It draws impossibly broad inspiration from decades of Eastern and Western folk, rock, ambient, film score, library music, and neoclassical, and masterfully emerges with an ever-enveloping suite perfectly befitting its constantly curious composers.

Out May 15th.

More information is available here.

4634 Hits

Steve Gunn & Mike Gangloff, "Melodies for a Savage Fix"

Steve Gunn and Mike Gangloff (Pelt) combine six-and 12-string guitars with gongs, tanpura, singing bowls, shruti box, and banjo fora gorgeous collection of improvised compositions. The two artists took it pretty far off the beaten path for Melodies for a Savage Fix, sequestering themselves for an overnight session in the remote farmhouse/recording studio of noted roots-music engineer Joseph Dejarnette (Carolina Chocolate Drops, Bruce Greene, Curtis Eller) in the countryside of Floyd County, Virginia.

There in the tiny community of Topeka, miles from the county's one traffic light, they set up an assortment of six- and 12-string guitars, gongs and Indian instruments, plus the banjo Gangloff sometimes plays at monthly square dances at a country store just up the road, and settled in for an intense night of improvisation.

More information is available here.

4794 Hits

Acid Mothers Temple & The Melting Paraiso U.F.O., "Astrorgasm From The Inner Space"

Acid Mothers Temple & The Melting Paraiso U.F.O.'s new album Astrorgasm From The Inner Space features their original vocalist Cotton Casino and is being released in conjunction with their two-month tour of the USA beginning April 23rd at the Mercury Lounge in New York City. Available on CD and deluxe double LP.

As usual, AMT delivers to Important their most scorching tracks. They've included, appropriately since Important is set to issue Grayfolded on triple vinyl, a brand new recording of "Dark Star Blues" with Cotton Casino.  On Astrorgasm From The Inner Space, Acid Mothers Temple look towards their source (the band turns 19 this year) while also evolving towards their next stage.

More information is available here.

5615 Hits

Brock van Wey, "Home"

home cover art

It's been nearly 5 years since Brock's highly acclaimed White Clouds Drift On And On debuted on Echospace earning a plethora of critical acclaim including many coveted top albums of the year list from RA to The Wire.  Brock returns in beautiful form with what he's said to us is his most personal and self-defining moment in his fruitful musical career. This album, however, strikes on a very different chord from the last: rather than find contentment in repeating himself, he's sculpted a unique sound slightly out of focus from his previous work, a sound one could only say is like drifting in and out of consciousness. A place where early LSD experiments reveal third dimensions of the mind and evoke emotions so powerful they haunt you forever.

Here we see Brock's true dedication to vision, maturity and growth, the reason why so many people have gravitated to his heart-tugging productions. On Home, he paints a near 3-hour exploration so beautiful and hypnotic the listener feels as if only moments passed by, a second to forever. This is a welcome return to form in the one place Brock refers to as "Home": here on Echospace. If Burial were to meet Eno in the studio of a BBC radio workshop session with Tape masters sent to Steve Roach for further deconstruction, this might be the unique result, residing somewhere in the ether. Brock has truly blown us away yet again with another stunning masterpiece.

More information is available here.

4927 Hits

Dalhous, "Visibility Is A Trap"

Visibility Is A Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix of "He Was Human And Belonged With Humans."

The EP heralds the arrival of the Edinburgh-based project's sophomore album, Will To Be Well, due out on Blackest Ever Black in early Summer 2014.

Dalhous first announced its existence in 2012 with the Mitchell Heisman 10", and last year released its debut full-length: An Ambassador For Laing.  Both Visibility Is A Trap and the upcoming Will To Be Well LP reflect writer-producer Marc Dall's continued interest in the language and imagery of self-help, R.D. Laing and the anti-psychiatry movement.

Though recorded after Will To Be Well, the tracks on Visibility Is A Trap at first appear to have more in common with the blue ethereal drift of Ambassador.  While "Information Is Forever" and "A Change Of Attitude" are firmly in the ambient mode, "Active Discovering" fizzes with arpeggiated energy, and a battery of percussion disrupts the calm surface of "Sight Of Hirta."  Something is up.  Things are not as they seem.

The Regis remix of Ambassador highlight "He Was A Human And Belonged With Humans" finds Karl O'Connor in unusually pensive mood.  In fact, it's fair to say that this near-beatless, dubwise version is unlike anything he has put his name to before.  Discarding the rhythmic skeleton of Dalhous's original, he gives the weeping saxophone more space to roam and resonate, adding off-beat, sleep-deprived keys, murmured vocal fragments and swells of sub-bass pressure.  It could be construed as a love letter to his former home in West Berlin; certainly it evokes and effortlessly updates the drugsick grandeur of later Neubauten or Low side 2.

More information can be found here.

5111 Hits

Millie & Andrea, "Drop the Vowels"


Millie & Andrea are Miles Whittaker (Demdike Stare) and Andy Stott, fellow labelmates at Modern Love who collaborated on an occasional series of 12" releases between 2008 and 2010.  It's been four years since we last heard from them, but they now return with Drop The Vowels, their debut album.  Produced fast and loose through late 2013 / early 2014, it's an album that recalls the strict and stripped funk of Anthony Shakir as much as it does Leila's incredible debut Like Weather, eschewing the dark aesthetic both producers are best known for in favor of something much more visceral.  It's an album borne from a love of both pop and club music, made to evoke an adrenalized, hedonistic, as well as emotional, response.

Opener "GIF RIFF" brings to life a Gamelan edit stripped bare before the over-compressed "Stay Ugly" breaks out with a tumbling, broken arrangement situated somewhere between Richard D. James and Jai Paul. "Temper Tantrum" and "Spectral Source" follow, versions of tracks originally released on the second and third Daphne EPs respectively, the former a rugged rave anthem tempered by blue strings, the latter a proper dancefloor destroyer recalling Shake's mighty "Madmen." "Corrosive" flits between a fillibrating, arpeggiated steppers rhythm and a brutal jungle breakdown, while "Drop The Vowels" further explores and strips bare bass & drums before the slow but jacking warehouse killer "Back Down" provides pure percussive abandon.  "Quay" ends the set with something quieter, a sublime coda made entirely from field recordings.

More information is available here.

4965 Hits

"The Sound of Siam Volume 2 - Molam & Luk Thung Isan from North-East Thailand 1970 - 1982"

VARIOUS - Sound Of Siam Vol 2: Molam & Luk Thung Isan From North East Thailand 1970-1982

Out on May 26, 2014:

Soundway's second foray into South East Asia is focused on North-East Thailand, the epicenter of Molam and Luk Thung Isan music. Hypnotic phin & khaen riffs, pulsing, electrified country rhythms and heartfelt vocals punctuate another journey into the lesser known reaches of 1970s Thai music.

The first volume of The Sound of Siam, released in 2011, was the first introduction for many to the artistry and innovations of modern Thai music. One of the most popular compilations on Soundway Records the music even made it onto the big screen with "Mae Jom Ka Lon" by Dao Bandon featured on the soundtrack of The Hangover Part II.  In an interview with LA Times, Mick Jagger spoke of discovering the collection that "some nutter put together" after hearing the riff from Jumpin' Jack Flash on one of the tracks from the compilation.

In this second volume of The Sound of Siam, the focus is firmly on the music the sounds of northeast Thailand, or Isan, and attempts to show how a genre evolved and developed from essentially an acoustic tradition with specific geographic roots, to one that started to incorporate other instruments and influences that reached out to the Isan diaspora around the country.

The term "molam" is actually two separate words pushed together: Mo meaning "expert" or "doctor" and lam meaning "to sing." Hence the literal translation means "singing expert." Many molam records have extended intros that allow a vocalist to establish the theme of the song, as well as flex their improvisational muscles.

Luk thung (literally "song of the countryside")is a much broader, rural style that had a bigger impact nationally. Artists like Saksiam Petchompu began fusing this style with molam, a move which propelled him to national fame. You can hear the influence of western funk, as well as Thai arrangements, on the luk thung Isan (as the hybrid became known) smash "Jeb Jin Jeb Jai" included here.

The Sound of Siam 2 - Molam & Luk Thung Isan from North-East Thailand 1970 - 1979 features 19 tracks, many appearing outside of Thailand for the first time. Both CD and double LP & is accompanied with detailed liner notes written by compilers Chris Menist and Maft Sai.

More information can be found here.

6839 Hits

FREE Denovali Swingfest London sampler


Denovali Swingfest London 2014 starts on April 18th. We've just compiled a free download sampler for this year's event. 15 tracks of the 11 artists performing at the festival. Their sets will as always be as long as a proper club show (around an hour).

More information on both the event and the sampler can be found here.

Denovali Swingfest 2014 London (Festival Sampler)



from The Unified Field (Denovali Records)

02. ULRICH SCHNAUSS - A Ritual in Time and Death

from A Long Way To Fall (Scripted Realities / Domino)


from Night Walks (Tru Thoughts / Denovali Records)

04. ANNA VON HAUSSWOLFF - Mountains Crave

05. ANNA VON HAUSSWOLFF - Epitaph of Theodor

from Ceremony (City Slang / Kning Disk / Other Music Recording Co.)

06. ORIGAMIBIRO - Odham's Standard

from Odham's Standard (Denovali Records)


from Excavation (Tri Angle)

08. PORTER RICKS - Nautical Dub

from Biokinetics (Type)

09. WITXES - Through Abraxas III

from A Fabric of Beliefs (Denovali Records)

10. PETRELS - Giulio's Throat

11. PETRELS - Canute

from Onkalo & Haeligewielle (Denovali Records)

12. ORIGAMIBIRO - Ada Deane

from Odham's Standard (Denovali Records)


from The Unified Field (Denovali Records)

14. JOHN LEMKE - Ivory Nights

from People Do (Denovali Records)

15. THOMAS KÖNER - Nuuk (Air)

from Nuuk (Mille Plateux)


4998 Hits

Big Blood, "Fight For Your Dinner, Vol. I"

Big Blood - Fight for Your Dinner Vol. I cover art

Big Blood – Fight for Your Dinner Vol. I – CD-R/Cassette (coming Soon) DTTR 041

Recordings from 1986-2014, Songs from comps, old family recordings,

alternate versions, new and unreleased songs all under one roof.

Hand made and screen printed. (17 songs, 53 minutes)

More information can be found here.

5681 Hits

Three Richard Skelton vault releases

Form Themselves Into Streams cover art

Form Themselves Into Streams

Fourth in the Archival Series of Richard Skelton’s work, Form Themselves Into Streams was originally conceived and recorded during 2007 and 2008, at the same time as his Marking Time album.

The album was revisited in late 2013, during which some new elements were added. Originally conceived as one long recording, there are now five distinct, yet connected, pieces.

1. Carr (06.32)

2. Burn (04.35)

3. The Black Water (07.18)

4. Burning (06.28)

5. The Black Dub (07.58)

Total Running Time : 33m 23s

Ridgelines (Volume One) cover art

Ridgelines (Volume One)

Recordings made for two hills: 'Black Combe' in Cumbria, UK, and 'Ceapaigh an Bhaile' (Anglicised as 'Cappanawalla') in County Clare, Ireland.

Ridgelines (Volume One) consolidates two previous releases, Black Combe (2011) and Ridgelines (2012). It adds three previously unreleased versions of "Cappanawalla."

1. Black Combe (26:11)

2. Cappanawalla (05:18)

3. Cappanawalla (05:49)

4. Cappanawalla (12:47)

5. Black Combe (15:40)

6. Cappanawalla (15:16)

Total Running Time : 1.3hrs

Dyad cover art


Originally released as a limited edition 'bonus disc' on the 9th of February, 2010, to accompany the reissue of Crow Autumn on Tompkins Square Records.

First released as Dyad (SRL19) as part of the *Skura boxed collection, on the 2nd of February, 2011.

1. A Broken Consort - Severance (05:20)

2. Saddleback - Gerroa Thursday (Richard Skelton Version) (06:14)

3. Heidika - Limn (Original Version) (03:10)

4. The Shape Leaves (Early Version) (06:53)

5. Heidika - Limn (Reworked) (03:15)

6. Machinefabriek & Richard Skelton - Daas (07:42)

Total Running Time : 32m 34s


More information can be found here.


5124 Hits

Ron Morelli, "Periscope Blues"

Comprised of eight tracks in 30 min, Periscope Blues is the culmination of a mission gone wrong. Music for the stranded, the lost, those backed into a corner with nowhere to go, or maybe a reflection of sad individuals panicking on a tropical vacation gone awry.

Somber yet very tense drifting off radar machine electronics that feel like a blistering sun beating down on decaying beach remains as time crawls on. That or the equivalent to working the grill summers at Jones Beach and stealing from the register just to get a little more...

More information can be found here.

5072 Hits

The Body, "I Shall Die Here"


I Shall Die Here is the fourth full-length album by The Body. Sharing their moribund vision for I Shall Die Here with Bobby Krlic (aka The Haxan Cloak), the tried and true sound of The Body is cut to pieces, mutilated by process and re-animated in a spectral state by the newly minted partnership.

The Body's brutal musical approach, engraved by drummer Lee Buford's colossal beats and Chip King's mad howl and bass-bladed guitar dirge, becomes something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow.

According to the band themselves, they sought to create something wholly experimental with I Shall Die Here. In the course of its creation and recreation, they have attained that rare artistic goal: an album with few precedents and a paradigm shift richly realized. Bobby Krlic's downcast electronic visions laces seamlessly into The Body's already volatile mix of fissured doom metal and fused verbal spaces. The onset of a new music emerges with I Shall Die Here, and in its shifts, shadows, and reeling voices, the darkest possible formulation of electronic music has been realized.

More information can be found here.

4289 Hits

Kyle Bobby Dunn, "Kyle Bobby Dunn and the Infinite Sadness"


Based in Montreal, Kyle Bobby Dunn has been producing elegant and refined works of ambient minimalism for the better part of a decade. His two lengthy and critically lauded collections for the Low Point label, A Young Person’s Guide… and Bring Me the Head of…, established him as a force to be reckoned with in the current epoch of drone/ambient music. Indeed, he is a rare artist whose compositions offer listeners wonder, sadness and pathos in equal measure, and are executed with a precision and effortlessness that eludes most musicians working in the genre.

With Kyle Bobby Dunn and the Infinite Sadness, he has produced what is undoubtedly his most focused and emotionally charged work thus far, a rich, expansive collection of slowly unfurling beauty that stretches out over the course of more than two hours. Dunn's trademark guitar swells and slow-moving loops are present here, but feel clearer and with a renewed sense of purpose and poise. He recorded source material for the album in various Canadian towns, including Belleville and Dorset, and processed and arranged the recordings at L'auberge de Dunn Studios in Montreal while, in his own words, "reflecting heavily on the gorgeous feet of a certain French woman and binging on strong beers and cheese."

From the opening salvo, "Ouverture de Peter Hodge Transport," Dunn establishes a haunting, lovelorn trajectory that is developed through pieces such as the strikingly beautiful "Boring Foothills of Foot Fetishville" and the poignant closer "And the Day is Dunn and I Can Only Think of You," titles which exhibit well his trademark sense of (black) humor. A powerful statement and what is at once the artist's most complex, complete and accessible album to date, we’re pleased and honored to present "Kyle Bobby Dunn and the Infinite Sadness."

More informational is available here.

5480 Hits

Swans, "To Be Kind"


Young God Records is delighted to announce the release of a new album, To Be Kind, out on May 13, 2014. The album will be released on Young God Records (North America) and Mute in the rest of the world.


Hello There,

We (Swans) have recently completed our new album. It is called To Be Kind. The release date is set for May 13, 2014. It will be available as a triple vinyl album, a double CD, and a 2XCD Deluxe Edition that will include a live DVD. It will also be available digitally.

The album was produced by me, and it was recorded by the venerable John Congleton at Sonic Ranch, outside El Paso Texas, and further recordings and mixing were accomplished at John's studio in Dallas, Texas. We commenced rehearsals as Sonic Ranch in early October 2013, began recording soon thereafter, then completed the process of mixing with John in Dallas by mid December 2013.

A good portion of the material for this album was developed live during the Swans tours of 2012/13. Much of the music was otherwise conjured in the studio environment.

The recordings and entire process of this album were generously and perhaps vaingloriously funded by Swans supporters through our auspices at via the release of a special, handmade 2xCD live album entitled Not Here / Not Now.

The Swans are: Michael Gira, Norman Westberg, Christoph Hahn, Phil Puleo, Thor Harris, Christopher Pravdica.

Special Guests for this record include: Little Annie (Annie sang a duet with me on the song "Some Things We Do," the strings for which were ecstatically arranged and played by Julia Kent); St. Vincent  (Annie Clark sang numerous, multi-tracked vocals throughout the record); Cold Specks (Al contributed numerous multi-tracked vocals to the song "Bring the Sun"); Bill Rieflin (honorary Swan Bill played instruments ranging from additional drums, to synthesizers, to piano, to electric guitar and so on. He has been a frequent contributor to Swans and Angels of Light and is currently playing with King Crimson).

4637 Hits

Ben Frost, "A U R O R A"

A U R O R A cover art

Mute is delighted to announce the release of Ben Frost’s next record A U R O R A, out on May 26, 2014. This is Frost's highly anticipated fifth solo release, his first since the widely acclaimed BY THE THROAT from 2009.

These lean, athletic visions seem to stand testament to a kind of survival – a proof of life. Muscular shapes maintained only to a level of functioning physical survival, of necessity, and no further; filthy, uncivilized, caked in sweat, and battery acid.

Starved of all the adornments of its predecessor; wholly absent of guitar, of piano, of string instruments and natural wooden intimacy, A U R O R A offers a defiant new world of fiercely synthetic shapes and galactic interference, pummeling skins and pure metals.

Performed by Ben Frost with Greg Fox (ex-Liturgy), Shahzad Ismaily and Thor Harris (SWANS) and largely written in Eastern DR Congo, A U R O R A aims directly, through its monolithic construction, at blinding luminescent alchemy; not with benign heavenly beauty but through decimating magnetic force.

This is no pristine vision of digital music; but an offering of interrupted future time, where emergency flares illuminate ruined nightclubs and the faith of the dancefloor rests in a diesel-powered generator spewing forth its own extinction, eating rancid fuel so loudly it threatens to overrun the very music it is powering.

And so, is the ongoing evolution of Frost's music, conceived as equally the observer, as the catalyst in this music, and harbinger of the idea that so often we think of beauty when in fact we should be thinking of destruction. The result, mixed in Reykjavík with Bedroom Community head Valgeir Sigurðsson, is a machined musical surface, evolved and refined, yet irrevocably damaged.

Curiously, darkness is expelled to the muddy sedge and a confusing irradiant glow permeates A U R O R A, where everything once wounded, remains fiercely animate and luminescent with charged destruction.

More information is available here.


4604 Hits

Glenn Jones, "Welcomed Wherever I Go"

Glenn Jones has emerged as a clear leader in the new wave of American Primitive music for solo acoustic guitar. Many have mentioned his friendship with the late John Fahey, the genre's progenitor and demigod, but Glenn's music is truly all his own. His pensive sentimentality and playful spirit, not to mention his innovative technique, have become just as ingrained into the style’s DNA as any hallmarks of the original Takoma school. Welcomed Wherever I Go is a collection of live numbers, one featuring fellow guitarist Cian Nugent, and one forgotten tune recorded, speculatively, during the 2007 sessions for Jack Rose's Dr. Ragtime and His Pals.

"Island III" and "Against My Ruin" were both originally recorded for Glenn's 2007 album Against Which the Sea Continually Beats, and were subsequently played live as a medley. The recording that appears on Welcomed Wherever I Go was recorded in December of 2011 at the well-loved and now shuttered Brooklyn club Zebulon.  "From A Lost Session" was a recording lost to time until Glenn discovered an unmarked CD-R in his archives, presumably during that classic session with Jack Rose. It is a particularly meditative track for Glenn, in a minor key with an incessant pedal tone not unlike Rose's pieces of the same era. The entire b-side of the release is occupied by a live take of "The Orca Grande Cement Factory at Victorville," a duet with similarly innovative guitarist Cian Nugent. Glenn will only play the song live in duet settings where the second musician has little to no preparation or coaching, letting them add to his instrumental musings, ignore them, or destroy them completely. Nugent's interpretation leans more toward the former.

Welcomed Wherever I Go is being released in a limited edition, vinyl-only format for Record Store Day 2014. Glenn will be doing limited touring in 2014, mostly in support of a new biography on John Fahey by Steve Lowenthal.

More information is available here.

5038 Hits

New Batch of Opal Tapes for April

In typically cryptic fashion, no information is provided about any of them...but here they are!

Alley Catss & S Olbricht

Ford Foster & William Watts

James Place


Austin Cesear & Stefen Jós

Samples and (somewhat) more information can be found here.

4785 Hits

Jason Lescalleet, "Much To My Demise" LP

Kye is proud to present Much To My Demise, the brand new solo LP by Jason Lescalleet. Since establishing himself as a preeminent voice in contemporary electro-acoustic study, Jason Lescalleet has, through his solo work and in collaboration, exploded the notion of what is possible within the realm of tape-based music. His recorded catalog acknowledges a diversity of application, from lo-fi reel-to-reel soundscaping and work for hand-held cassette machines, on through to digital sampling and computer generated composition. Lescalleet's live actions further expand his ouevre to include work with video, dance, performance art and multi-media concerns.

In recent years Lescalleet's work has done much to explore the theme of loss and decay as sound - Another Example Of Parkinson's Law (2001), "Ineinandergreifen" and "Untitled (from 2002's Mattresslessness) and The Pilgrim (2006) all hold the concept of senescence at heart. Much To My Demise carries the motif of decomposition further still.

Recorded and constructed solely with analog sources, Much To My Demise showcases the result of a three-month process in which pre-recorded reels of tape were transported outdoors, buried in soil and encouraged to corrode. The reels were then excavated, and their resultant signals transferred and edited to form an apparitional triptych of faded gesture and mood.  Much To My Demise shows Lescalleet at a new creative peak, crafting a music that is equal parts comforting and haunting, and allowing us access to secret world of sound hidden in plain sight.

More information can be found here.

6660 Hits

Christopher Bissonnette, "Essays in Idleness"

The third album from Canadian composer Christopher Bissonnette sees him expanding his palette by narrowing his sound sources to a self-built analog synthesizer. Eschewing the whiplash and/or everything including the kitchen sink style of assembly so common among current analog aficionados, Bissonnette instead applies his signature compositional style of using long held tones and sweeping drones that alternate between, and fuse, pure tonal transcendence and patient, sparkling melodies that slowly reveal themselves.

Essays in Idleness was born from a desire for a more tactile approach to sound generation. With a limited number of sound sources, the process encouraged more focused examination of the available range of choices.

The album is a series of experiments subsequent to a period of deep reflection on my working process. This sequence of tracks is the culmination of two years of intense exploration with the intention of allowing the medium to have a more profound affect on the outcome, the methodology allowing chance, risk and error to play a greater role.

Some of the studies focus on a generative process, allowing the composition to build upon itself, while others are constructed from more complex textures and compositional fragments that shift and modulate organically." -Christopher Bissonnette


Out April 7th, 2014.  More information is available here.

4371 Hits