Jefre Cantu-Ledesma, "A Year With 13 Moons"

A master of romantic abstraction, Jefre Cantu–Ledesma is not new to the scene. In fact, he's been releasing a steady stream of music for nearly twenty years. With the brilliant album A Year With 13 Moons, however, the ever–prolific Ledesma appears to be hitting a new high. Or low, depending on how you like to see things. More on that later. First, some background.

Born & raised in Texas, Ledesma's formative artistic years were spent studying painting & sculpture in San Francisco. He began playing & releasing music in 1996 and has developed a steady relationship as a collaborator – he's released notable collaborations with Liz Harris (aka Grouper) as Raum, with Alexis Georgopoulos in his Arp project and with their ensemble The Alps, as well as filmmaker Paul Clipson. Ledesma also founded the influential label, Root Strata, who have released music by Oneohtrix Point Never, Keith Fullerton Whitman, and Grouper, and continue to release new and archival works.

A Year With 13 Moons, a nod to a Rainer Werner Fassbinder film, was recorded at the Headlands Center for the Arts, just across the Golden Gate Bridge from San Francisco – where he and Clipson were artist in residence. It was a time of major transition. As he describes it, "the time at the Headlands was a real gift – of space, time and being cared for. This allowed me to create music in a way I never had before, on a day–in, day–out basis for hours on end. I stopped caring about end results and fell in love with the process. I learned how to let the music create itself in a way, to lead me rather than trying to force it down a path. I would start each session with a simple rhythm, or sound or a guitar riff & see where that led – it was cathartic, freeing and ultimately really transformed my approach to music making. In the end I was left with literally hours & hours of recordings. A Year With 13 Moons was culled from these and formed while traveling the week after I left the residence."

Using a friend’s reel-to-reel tape player, Cantu employed electric guitar, modular synthesizer, drum machine and concrète sounds from his surroundings at the Headlands, recorded while walking to the studio, cooking in the kitchen, talking with friends, the ocean, films he was watching, driving in a car. Everything was record stereo to tape. There is only one track with overdubs – otherwise each take is a true document of an entirely live take.

The result is gorgeous, haunting and sprawling. A companion to his last full-length LP, Love is A Stream, (Type, 2010), 13 Moons is a dense, swirling mass. A bookend to the end of a relationship. To say 13 Moons is comprised of "songs" might not be entirely accurate. They're closer to transmissions from a satellite of love. Opener "The last time I saw your face" sets the tone. A bittersweet goodbye letter that unites guitars and modular synthesizer to widescreen ends over the course of its 8 and half minutes. It works dramatically well as an opening statement, and also as a summary of what he's been doing in recent years. Second track, "In and Out of Love,” on the other hand, seems to represents where Cantu might be going.

Cantu was interested in ways of "conveying memory in music without being sentimental – somehow translating the fog of images, people and places that (he'd) experienced in the last two years into a body of work that could still be ambiguous & leave space for the listener to enter." As such, 13 Moons succeeds. Incisive editing allows hypnotic guitar and drum performances to be interrupted by Modular synth squalls and otherworldly textures –– combining overdriven guitars, avant-garde composition (a la Xenakis) with the informal approach of underground tape weirdos (like Robert Turman, K. Leimer) into a lovely brocade of harmony and dissonance.

Tracks like "Shadows," "Early Autumn" and "The Isar" bring these avant-gardisms to the fore, conjuring early experiments in industrial sound. "A portrait of you at Nico’s grave, Grunewald, Berlin (For B.K.)" might represent the album's loneliest moment, the air moving in hovering cloud formations. It would be perfect to soundtrack a Werner Herzog film. "Body of Moonlight" allows hope, a disappearing presence in the latter stages of 13 Moons, to resurface. It's a feeling Ledesma is very good at. That sense of something very intense at hand, and that fracturing sense of looking down at yourself. It's a feeling nearly impossible to describe. Then again, if words can't convey something, sometimes sound is better.

More information can be found here.


4265 Hits

Simon Crab (ex-Bourbonese Qualk), "After America"

After America is the first solo album by Simon Crab - most well-known as the founder and front-man of the group Bourbonese Qualk (1979-2003). The album contains 20 new tracks recorded from 2010-2014 at various locations in the UK and featuring contributions from Geoff Leigh (Henry Cow, ExWiseHeads) and Dave Smith (Guapo).

"An audio tapestry, After America is a tonal epic poem of moods and texture that narrates an intense emotional journey. Instrumental melodies from horn, wind, drum kits, acoustic and electric guitar and even Gamelan percussive arrangements verge on orchestral as they relate tumultuous tales and respite in oasis' of calm. At moments, the instrumentals are pierced by Industrial-strength synths and machine drums; other moments are cocooned in shimmering electronics that echo Basic Channel at their most sublime; and still others are haunted by misty ambientdrone. Instrumental bard, Simon Crab seamlessly blends otherwise disparate textures into a cohesive narrative while dragging the music (and listener) through a "hall of mirrors" that flirt with psychedelics. Rather than push his sounds through exaggerations, Crab accentuates and emphasizes using real-time audio synthesis, Supercollider, to instill a distinctly 'other' quality. What might have passed as improvised, minimal folk, or traditional/ethno/post­jazz is actually a kind of 'cyborg­music,' a surprisingly harmonious blend of natural and synthetic. After America heralds the end of a colonial Empire that flails in a Brave New World where ideas and change fire across the globe and the speed of thought. In the way that a masterfully woven tapestry depicts tales, so too does After America, taking you on an Odyssey with each listen.

Simon Crab has been a music maker since the late '70s, where he founded Bourbonese Qualk, as well as Sunseaster, an experimental/improvised­/electro­acoustic noise project. Crab also learned traditional African and Middle Eastern music and is a member of London's Gamelan orchestra."

-Ibrahim Khider, Toronto, 2014

More information can be found here and here.

4180 Hits

Noveller, "Fantastic Planet"

Fantastic Planet is the soaring, evocative new album from Noveller, the solo instrumental venture of Austin-based composer and filmmaker Sarah Lipstate. The LP is a journey through eclectic sonic terrain, blending rich waves of synth with soaring cinematic guitar lines, guiding the listener through Noveller's most diverse and compelling release to date.

Originally self-defined as an electric guitar project, Lipstate began recording under the name Noveller (pronounced "know-veller") in 2005 whilst living and studying in Texas. She uprooted to Brooklyn and subsequently made waves on New York's live scene and internationally, sharing the stage with the likes of Six Organs of Admittance, St. Vincent, Xiu Xiu, the Jesus Lizard, U.S. Girls, Aidan Baker and Emeralds, whilst capturing the attention of NPR, The Village Voice, Time Out New York and The Wall Street Journal.

Noveller's prolific output has seen her release albums via No Fun Productions and her own imprint, Saffron Recordings, including the Desert Fires LP and the critically acclaimed Glacial Glow. She also released a split LP with unFact (David Wm. Sims of the Jesus Lizard) and has collaborated with several renowned musicians, including live improvised duo performances with Carla Bozulich (Evangelista, The Geraldine Fibbers), Lee Ranaldo (Sonic Youth), and JG Thirlwell (Foetus, Manorexia). She has previously performed as a member of Cold Cave, Parts & Labor, and One Umbrella.

Upon returning to Texas, Lipstate developed her signature cinematic soundscapes further, and it was here she completed her spectacular new release Fantastic Planet. It is an album largely steeped in place, both real and fantastical, and influenced by Lipstate's various interchanges and relocations, physical and emotional.

Noveller takes the elements of rhythm and synth textures introduced in her previous album No Dreams and expands them to a new level of prominence through her guitar work on Fantastic Planet. From the dark beat propelling "Pulse Point" to the distorted synth on post-punk track "Rubicon," Lipstate pushes her sound in new directions that complement and elevate her intoxicating filmic soundscapes.

More information can be found here.

"Some artists traverse boundaries. Sarah Lipstate's work seems to come from a world where they never existed. Her color-rich visual art has a mournful literary quality to it; her short films trigger collisions of emotional crosscurrents; and her instrumental music, which she makes under the name Noveller (emphasis on the middle syllable), seems to call to attention all senses at once, to the point where even the word music seems somehow limiting." - Time Out NY

"...simultaneously soothing and mind-wrecking noise, along with a compositional depth that most loud-for-the-hell-of-it guitar droners never reach." - NY Press

"...hypnotic, rich-textured electric guitar works." - New York Times

"Sarah Lipstate creates miniature musical worlds, places that you feel like you'll never leave long as the record is playing." - Pitchfork

3788 Hits

James Blackshaw, "Summoning Suns"

Summoning Suns is James Blackshaw's tenth studio album and the first recording to feature his voice and lyrics. Drawing inspiration from '60s and '70s singer-songwriters, baroque/orchestral pop and folk music, while still sounding contemporary, Summoning Suns is Blackshaw's foray into more traditional forms of songcraft.

Blackshaw sings in a gentle but assured voice  while his words combine his personal experiences, neuroses and fantasy through many layers of abstraction, poeticism and dark humour.

While the deft fingerpicking acoustic guitar style of Blackshaw's previous recordings is still a prominent part of the sound, the songs are lushly and intricately arranged for drums, bass, piano, violin, flute and pedal steel guitar and features contributions from Simon Scott (Slowdive), Annie Nilsson and Japanese musicians Mori Wa Ikiteiru and Kaoru Noda (with whom he duets in Japanese on one song).

Summoning Suns will be released in the US on Important Records on February 17th.  More information can currently be found here.


5558 Hits

Sean McCann, "Ten Impressions for Piano and Strings"

Realized over a four-year period, Sean McCann's Ten Impressions for Piano & Strings is a document of transition and maturation. Slow-moving cloud forms over corporeal landscapes, these impressions whisper of McCann's imminent & decisive lean towards classical & avant-garde musics, culminating in 2013's Music for Private Ensemble on his own imprint, Recital. Less a final statement on ambient music, more a meditation on change, discovery and process.

More information can be found here.

Ten Impressions for Piano & Strings by Sean McCann.  Vinyl LP.

4603 Hits

Jan St. Werner, "Miscontinuum Album"

Miscontinuum Album documents an impressive new work by seminal electronic musician Jan St. Werner, whose innovations with Mouse on Mars and Microstoria are well-documented. Over a period of approximately four years, Miscontinuum has been developed and refined as an operatic live performance in Munich, as well as a radio play. This recorded incarnation of the work is the third entry in Werner's lauded Fiepblatter series, and features contributions by Dylan Carlson (Earth), Markus Popp (Oval), Kathy Alberici, and Taigen Kawabe (Bo Ningen). It is a challenging listen not compromised for casual music consumption habits, but with time and close listening, it yields vast rewards. Miscontinuum Album is a radical convergence of sound exploration and storytelling that has few precedents.

The central concept of Miscontinuum explores misconceptions of time and memory, inspired by unique acoustic phenomena derived digital phasing and musical time-stretching techniques. There is an aura of doom that pervades the work. Much of the album's evocative nature comes from the interplay of Werner's electronics with Alberici and Kawabe's voices and the contrast between those organic and inorganic elements. Popp, a longtime collaborator with Werner in Microstoria, wrote the libretti, which is presented in five distinct scenes and recited redolently by Carlson. The surreal plot involves a progressive distinction of time as a force rather than a structuring system, and an individual who can shift consciously between states within that force. The high concepts and unusual creative partners combine for an album that is uncommonly emotionally resonant.

Miscontinuum was first performed as a part of Werner's Asymmetric Studio series in Munich on June 18th, 2013, and also featured video by Werner and Karl Kliem and stage design by Christina del Yelmo & Sonia Gomez Villar. It was broadcast by Bayerischer Rundfunk public radio ten days later. The striking visual elements, flowing dresses and impressionistic masses of color, make appearances on the album's art, and will be presented in new forms in the coming months. The first revised version of the Miscontinuum, featuring live video by Zoya Bassi, will premiere at the St Luke's Church in London on Feb 8th 2015 and is the first in a series of more shows to come in 2015.

More information can be found here.

Miscontinuum Album (Fiepblatter Catalogue #3) by Jan St. Werner.  Vinyl Double LP, CD.


3845 Hits

Sarah Davachi, "Barons Court"

Barons Court is the debut full-length album by Canadian electroacoustic composer Sarah Davachi, following short-run releases on Important Records' Cassauna imprint and Full Spectrum.

Trained at Mills College, Davachi's work marries an academic approach to synthesis and live instrumentation with a preternatural attunement to timbre, pacing, and atmosphere. While the record employs a number of vintage and legendary synthesizers, including Buchla's 200 and Music Easel, an EMS Synthi, and Sequential Circuit's Prophet 5, Davachi's approach to her craft here is much more in line with the longform textural minimalism of Eliane Radigue than it is with the hyper-dense modular pyrotechnics of the majority of her synthesist contemporaries.

Three of the album's five compositions feature acoustic instrumentation (cello, flue, harmonium, oboe, and viola, played by Davachi and others) which is situated alongside a battery of keyboards and synths and emphasizes the composerly aspect of her work. "Heliotrope" slowly billows into being with a low, keeling drone that is gradually married to an assortment of sympathetic, aurally complex sounds to yield a rich fantasia of beat frequencies and overtones. Later, "Wood Green" opens almost inaudibly, with lovely eddies of subtly modulating synth clouds evolving effortlessly into something much larger, as comforting and familiar as it is expansive. In an era in which the synthesizer inarguably dominates the topography of experimental music, Davachi's work stands alone - distinctive, patient, and beautiful.

More information can be found here.


3556 Hits

Bal Paré, "Early Recordings"

Medical Records presents a hand-picked selection of the early recordings of Germany's Bal Paré.

The band started as Jeanette & das Land Z in 1981 with a 7“ on Konkurrenz Rec./ Phonogram which included two cover versions (a piece from a weird science fiction TV series soundtrack and a sixties Grand Prix Eurovision number one hit). The 7” became an underground hit.

The band then changed their name to Bal Paré and begin recording independently.  The band name was based on the song "Es war beim Bal Pare" from the German chansonette Hildegard Knef, which was a musical influence beside bands like Kraftwerk, Depeche Mode, Erasure, Yazoo, etc.

The first Bal Paré LP, Hamburg-Paris-Catania, was released in 1982 on Konkurrenz Records. Since they had a large fanbase in Sweden, the second release (Metamorphose) came out in Stockholm on the Krautrock label.

Shortly after, the band experienced a major line-up upheaval.  There were many tracks produced during this time that ended up unreleased. Much of the material from this selection of tracks were culled from those unreleased sessions (which were later collected on the “Best of” CD-only release in 1996 on Tatra Records).

The original two LPs are long out-of-print and demand very high prices on the collectors market. This is the first time this collection has been reissued on vinyl.

The opening track "Rien" is a perfect display of what synth pop is modeled after: rich lead synth textures, male/female interplayed vocals, and electronic percussion. Though the entire record flows with ease and captivates the listener from beginning to end, other stand-out tracks include "Palais d’Amour," "Die Idioten," and "Meilleur Du Monde." This collection is absolutely crucial for fans of early new wave such as Deux, Moderne, Performance and other similar acts of the genre.

The tracks have been lovingly restored by Matthias Schuster.

More information can be found here.

Early Recordings (MR-040) cover art

3815 Hits

Maurizio Bianchi, "Untitled 1980/Untitled 2013"

Active since 1979, Maurizio Bianchi is an Italian pioneer of noise and industrial music.

Untitled 1980 was originally released in 1980 on cassette in Japan. This release marks the first re-issue of this work and pairs it with a 2013 re-working of the original material into four entirely new compositions.

This work was created using only a single semi-modular, monophonic synthesizer or, as Maurizio says:

"Originally composed in October 1980 simply by using a synthesizer KORG MS20, but with so much imagination.  Dedicated to technological sophistication."

More information can be found here.

4100 Hits

Francisco Lopez, "Untitled #274"

Untitled #274 was composed by Francisco Lopez and and performed by Kasper T. Toeplitz at GRM Studios in Paris, France.

Francisco Lopez is internationally recognized as one of the major figures of the sound art and experimental music. For more than thirty years, he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion.

Kasper T. Toeplitz has worked with academic research organizations, such as GMEM, GRM, IRCAM, and Radio-France, as well as with experimental musicians, such as Éliane Radigue, Zbigniew Karkowski, Dror Feiler, Tetsuo Furudate, Phill Niblock and Art Zoyd.  Citing Giacinto Scelsi and Iannis Xenakis as influences, his early work was mostly written for traditional instruments.

More information can be found here.

4000 Hits

Aaron Dilloway & Jason Lescalleet, "Popeth"

It is with great pride and pleasure that Glistening Examples announces the newest collaborative efforts of Aaron Dilloway and Jason Lescalleet.

Recorded at Tarker Mills in February 2014 then mixed and mastered at Glistening Labs, this 38 minute LP was carved deeply into 150 grams of virgin vinyl via Direct Metal Mastering at GZ Media in the Czech Republic.

More information can be found here.  Also of note, Jason has started a subscription series for his ongoing This Is What I Do project.

Popeth cover art

14487 Hits

Klara Lewis, "Msuic"

Following on from her highly acclaimed Ett LP on Editions Mego, Klara Lewis presents 4 new works which further her signature explorations of field recordings, electronics, rhythm, sound and atmosphere. Here Lewis exemplifies her uncanny ability to harness the world outside in order to reconstruct and re-present this as amorphous musical matter. These 4 new tracks exude a certain ambiguity where standard signposts such as rhythm, ambience, texture, light and dark remain as elusive as they are present. Whilst bypassing passive or photographic representation of the source material these works withhold a strong emotional quality resulting in a confident and at times brutal musical manifestation. As suggested by the title, Msuic resides in a zone at once familiar and slightly off-kilter, a world of Lewis' devising in which the listener is warmly encouraged to enter and explore. Msuic is another superb collection of music as fantastic matter.

More information is available here.

Image of Klara Lewis -

14135 Hits

Else Marie Pade, "Electronic Works 1958-1995"

Else Marie Pade's Electronic Works 1958-1995 is a heavy-duty three-LP set which was restored, mastered and cut at Dubplates in Berlin under the watchful ears of curator Jacob Kirkegaard. These monumental works are presented, for the first time, pressed on audiophile grade heavy duty vinyl where they belong. Audiophile grade 3LP is pressed in an edition of 500 copies.

"The sounds outside became concrete music, and in the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music." Else Marie Pade

Else Marie Pade (born 1924 in Aarhus, Denmark; currently living in Copenhagen) is a precious golden gem in the world of contemporary electro-acoustic music. She is a true pioneer of Musique Concrete and electronic music recorded on tape. She is Denmark's first lady of electronic music and her piece "Syc Cirkler" (Seven Circles) became Denmark's first electronic piece to be performed on the radio.

EMP's search for sound began in early childhood when she was isolated in her bed for long periods of time due to illness. There she would lie and listen to the sounds around her just as she did years later when she was imprisoned for spying on Nazi compounds in Arhus. Once released from prison she became a piano student at the Royal Danish Conservatory in Copenhagen but chose to instead pursue the nuances of her inner sound world after hearing Pierre Schaeffer in 1952. She began studying with him not too soon thereafter. Her first electronic composition premiered in 1955.

More information can be found here.

14781 Hits

Else Marie Pade & Jacob Kirkegaard, "Svaevninger"

Gorgeous electronic collaboration between Jacob Kirkegaard and Else Marie Pade. Urgent CD reissue of the sold out LP edition. This CD includes a beautiful 15 minute bonus track not included on the LP release.

Else Marie Pade (born December 2, 1924 in Aarhus) is a Danish composer who pioneered electronic and concrete music in Denmark beginning in 1954. Pade was active in the resistance movement during the Second World War, and was interned at the Frøslev prison camp from 1944 till the end of the war. An archival collection of Else Marie Pade's electronic work is now available on Important Records.

Danish artist Jacob Kirkegaard's works are focused on scientific and aesthetic aspects of sonic perception. He explores acoustic spaces and phenomena that usually remain imperceptible to the immediate ear. Kirkegaard's installations, compositions & photographs are created from within a variety of environments such as subterranean geyser vibrations, empty rooms in Chernobyl, a rotating TV tower, and even sounds from the human inner ear itself.

Based in Berlin, Germany, Kirkegaard is a graduate of the Academy for Media Arts in Cologne. Since 1995, Kirkegaard has presented his works at galleries, museums, venues & conferences throughout the world. His sound works are primarily released by the British record label Touch and he is a member of the sound art collective freq_out.

"For all the scientific rigour to Kirkegaard's research into the sonic possibilities of various materials, his work reveals an underlying fascination for the mysteries and myths embedded in them. His work channels an access to an inner world." Anne Hilde Neset, The Wire, 07/09

Despite an age difference of 51 years, Else Marie Pade and Jacob Kirkegaard speak a similar musical language and are prominent listeners and communicators of sounds that we tend to overhear. For the first time these two pioneers are collaborating on a new work: SVÆVNINGER investigates the variations that one can hear when sound waves collide. Both artists have previously worked on this phenomenon; Jacob Kirkegaard in his work Labyrinthitis (2007) and Else Marie Pade in her work "Faust Suite" (1962). For their new joint piece SVÆVINGER, they remixed some of Pade's early (and hitherto unreleased) sound experiments with some of Kirkegaard's recordings from his own ear, thus leading the audience straight into the undiscovered labyrinths of their own hearing.

More information can be found here.

16010 Hits

Janek Schaefer, "Unfolding Luxury Beyond the City of Dreams"

Unfolding Luxury beyond the City of Dreams cover art

White Lights of Divine Darkness (for Sir John Tavener) 7:34

"By chance I composed this for my brother-in-law the day he passed away. In recent years he had seen the white lights of heavens gate, but returned, and became fascinated by what he called God’s divine darkness in this lifetime."

Unfolding Honey 6:06

"A track from my exhibition soundtrack 'Future Beauty, 30 years of Japanese fashion' held at The Barbican Gallery, London. The exhibition featured some amazing folded garments by Issey Miyake, that inspired the unfurling fabric feeling of the composition."

Luxury 3:00

"An orchestral drone piece featuring an old French lady singing to her cats with an extra celestial chorus."

Skyline Ascending 3:28

"A Carpenters LP piano loop is layered again and again over a high sky recording, which was recorded using a helium balloon floating in the clouds over the city, with raindrops."

Coda (for Sir John Dankworth) 5:00

"In my early teens, I used to attend week long music camps, in tents, within the grounds of Sir John Dankworth's home with Cleo Laine. I used to know them, and composed this piece with one of their vinyls on the day I heard he died. The installation premiered at the Sydney Cooper Gallery in Canterbury, broadcasting a 3-channel version to six '50s radios."

The City of Dreams 8:28

"Theme tune for the opening of 'The Mill: City of Dreams' a site-specific theatre production in a deserted mill in Bradford. Piano motif recorded live with my twin-arm turntable, additional overlays recorded with Mark Robinson on his old family piano."

Beyond 6:30

"The Carpenters return, sliding piano loops through recordings made in Grand Central Station at closing time when the vast hall was deserted, and the full majesty of the acoustic space could be appreciated. Stilettos pass by forming polyrhythms, as the last train announces its departure..."

More information can be found here.


14289 Hits

Janek Schaefer, "Inner Space Memorial in Wonderland"

Inner Space Memorial in Wonderland cover art

Inner Space Memorial [for J.G.Ballard] 20:57

"Over the years, I have produced a number of works in praise of the ideas of J.G Ballard. He lived just over the river from my home. While reading his autobiography in 2009, I was wandering how to go and say hello, but found out I was too late. I produced a monument in honour of him called the 'Inner Space Memorial,' part of my Retrospective at the Bluecoat in Liverpool. A pair of speaker cones were turned around to play back into the void of their cabinets. An epitaph for a great mind."

Wonderland 20:00

"'Wonderland' is the finale of my exhibition soundtrack to "Asleep at the wheel...". A work that questions where our culture is heading further down the highway ahead. A single majestic daydream that drives you forwards as reality undertakes you. Location recordings were made in the middle of the night on a footbridge over the M3, at the end of Ballard's street. I was fascinated to work out that while he was writing Crash and Concrete Island, the six lane motorway was being built right past the front of his home. Ideal music for when you need to stay awake on the road!"

More information can be found here.

13949 Hits

Black to Comm

Hamburg's Marc Richter has been busy since his last Type appearance (2009's genre-bending and critically acclaimed Alphabet 1968).  Aside from helming the prolific Dekorder imprint, he's put out a number of musical curios, including 2012's excellent film soundtrack EARTH.  Now Richter is back with Alphabet 1968's proper followup, a sprawling double album pieced together with crumbling samples, vocal snippets and an arsenal of noise generators and filters.

Richter's material has always been characterized by an air of surrealism, but it's never been more obvious than on the pulsing, chattering opener "Human Gidrah" or in the delirious fractured pop of "Hands."  There are real songs in hidden somewhere, but disintegrated by Richter's sound manipulation techniques and dissolved into soupy extended drone marathons. The centerpiece is undoubtedly "Is Nowhere," which builds slowly over 20 minutes with rumbling organ sounds and buzzing filters, never budging your attention for a second.

Black To Comm is a deeper, more challenging record than its predecessor, but one which repays the patient listener. Richter's dusty, unique sound has never sounded more well-honed and pointed, and it's a patchwork of ideas and fragments that only improves over time.

More information can be found here.



14109 Hits

Tarcar, "Mince Glace"

“We are what we pretend to be, so we must be careful what we pretend to be.”

A modern-day revenge tragedy in six parts. Symmetrical, finespun, almost courtly; but quick-tempered with it, and far from blood-shy.

A picture emerges: domestic disturbances, pissing on the compost heap, noise complaints from hateful neighbours. Sulking, pouting, goading – a hierarchy of needs. Cold leaves and Christmas. Body-clocks betrayed. Staying up late to collect bottles to smash in the carpark across the road. Marijuana and make-believe. Cracking this thin ice with deft stomping aplomb.

Due out December 15, 2014, in an edition of 300. Recommended if you carry a torch for AC Marias, Brenda Ray, General Strike, The Poems, Robert Storey or other such angels of shut-in dub dysfunction.

More information can be found here.

Mince Glace by Tarcar.  Vinyl 12

14511 Hits

Andy Stott, "Faith in Strangers"

Faith In Strangers was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year.  Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it's a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime.

The first two tracks recorded during these early sessions bookend the release, the opener "Time Away’"featuring Euphonium played by Kim Holly Thorpe, and last track "Missing," a contribution by Stott’s occasional vocal collaborator Alison Skidmore, who also appeared on 2012's Luxury Problems.  Between these two points, Faith In Strangers heads off from the sparse and infected "Violence" to the broken, downcast pop of "On Oath" and the motorik, driving melancholy of "Science & Industry" – three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity.  Things take a sharp turn with "No Surrender"- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while "How It Was" refracts sweaty Warehouse signatures and "Damage" finds the sweet spot between RZA's classic Ghost Dog and Terror Danjah at his most brutal.  Faith in Strangers is next and offers perhaps the most beautiful and open track here: its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott's mixing desk.  It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott's career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

More information can be found here.


4022 Hits

Loscil, "Sea Island"

Sea Island is a collection of new material composed and recorded over the past two years. While many of these compositions were performed live extensively prior to recording, others were constructed in the studio and are being heard for the first time here.  Musically, the album represents a range of compositional approaches.  Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground.  Certain tracks on Sea Island such as album opener "Ahull" make rhythm their focus by exploring subtle polyrhythms and investigating colliding moments of repetition and variation.

Though staunchly electronic at its core, instruments such as vibraphone and piano make appearances, and layers of live musicality, improvisation and detail appear in the looped and layered beds of manipulated sound recordings.  A varied cast of players appear in the loscil ensemble, some familiar collaborators from the past such as Jason Zumpano on rhodes and Josh Lindstrom on vibraphone, and others new to the mix such as Fieldhead's Elaine Reynolds who provides layered violin on "Catalina 1943," and Ashley Pitre contributing vocals on Bleeding Ink.  Seattle pianist Kelly Wyse, who collaborated with loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks "Sea Island Murders" and "En Masse."

More information can be found here.

4075 Hits