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Pita, "Get In"

Get In cover art

Twelve years have passed since Editions Mego boss Peter Rehberg released his last full length release Get Off on the Hapna label. In the interim, along with running the label, Rehberg has embarked on a series of soundtracks for the French artist and choreographer Gisele Vienne.  Out of this collaboration the seeds were planted for the prolific KTL, guitar/computer duo with Stephen O Malley.

After a surprise return to live performance in 2015 we are now presented with Pita’s new full length document under the banner of Get In.

Get In extends the perennial Pita sound into a paradox of intimidation and beauty. "20150609" teases the juncture between the human and the tool, the improvised and composed and the analogue and digital. "Aahn" inhabits a field of electronic nebula, simultaneously inviting and alien. "Line Angel" could be a new form of minimalism for the post internet crowd. "S200729" harks to an acid most splintered whilst "Mfbk" completes proceedings as an ambient drift underscored with classical overtones.

Get in is a beautiful, engaging and unsettling listen. A multi-headed hydra presented as the ultimate dystopian sonic journey.

Out May 14th.  More information is available here.

4691 Hits

Masami Akita & Eiko Ishibashi, "Kouen Kyoudai"

Kouen Kyoudai  公園兄弟 cover art

Prolific Japanese artist Masami Akita, aka Merzbow here teams up with session musician, producer, and singer-songwriter Eiko Ishibashi for anew work which showcases yet another side to Akita’s monumental catalogue.

Kouen Kyoudai consists of two side long tracks that could be read as a contemporary take on the traditional avant-garde. Skittering electronics, percussion, piano, doom and noise all feature as exponents in this epic release which seamlessly incorporates many strands of experimental thought and practice.

The tension that arises from the human use of the tool is made explicit as these works unfold in a storm of ecstatic human/instrument/machine interaction. Drums hammer alongside an ecstatic drone. Notes on a piano jostle with a storm of splintered electronics.

Kouen Kyoudai highlights the pull between beauty and chaos, structure and the abyss leaving behind a thrilling display of human and technological interplay whilst opening up new paths for both musicians involved.

More information can be found here.

3974 Hits

Klara Lewis, "Too"

Too cover art

Following her acclaimed debut Ett (Editions Mego) and the subsequent Msuic EP (Peder Mannerfelt) Editions Mego is very proud to present the second full length LP by Klara Lewis.

Lewis' skill at sculpting the hermetic shines on Too as she twists her idiosyncratic vision into nine tracks of blurred rhythms and haunted backdrops. Too is a powerful statement where the individual works tread a vast landscape as dour and aggressive elements rub shoulders with warmer optimistic works. Neither looking behind nor forward these works spiral in a time of their own devising, presenting themselves as a most audacious theatre for the ear. With a strong momentum developed from an organic outset the works move into a logic of their own, forming themselves as abstract landscapes, jitered rhythms and even pop like structures.

Too is a deeply engaging display of sound and skewered sensibility which hovers the cusp of reason and eludes the concrete. The results are Lewis’ boldest statement to date.

Out May 27th.  More information can be found here.

4203 Hits

Anohni, "Hopelessness"

Hopelessness by Anohni.  Vinyl LP, CD.

ANOHNI has collaborated with Oneohtrix Point Never and Hudson Mohawke on the artist's latest work Hopelessness.

Late last year, ANOHNI, the lead singer from Antony and the Johnsons, released "4 Degrees," a bombastic dance track celebrating global boiling and collapsing biodiversity. Rather than taking refuge in good intentions, ANOHNI gives voice to the attitude sublimated within her behavior as she continues to consume in a fossil fuel-based economy. ANOHNI released "4 Degrees," the first single from her upcoming album Hopelessness, to support the Paris climate conference this past December.

The song emerged earlier last year in live performances. As discussed by ANOHNI: "I have grown tired of grieving for humanity, and I also thought I was not being entirely honest by pretending that I am not a part of the problem," she said. "'4 Degrees" is kind of a brutal attempt to hold myself accountable, not just valorize my intentions, but also reflect on the true impact of my behaviors."

The album, Hopelessness, to be released world wide on May 6th 2016, is a dance record with soulful vocals and lyrics addressing surveillance, drone warfare, and ecocide. A radical departure from the singer's symphonic collaborations, the album seeks to disrupt assumptions about popular music through the collision of electronic sound and highly politicized lyrics. ANOHNI will present select concerts in Europe, Australia and the US in support of Hopelessness this Summer.

"Hopelessness is the genius of Anohni and her masterful songwriting. The long low sexy beats, the skittering colorful and playful rhythms surround her voice, which is the silky center. Anohni has replaced the stories of abandonment, pain and desire with the biggest issues of our time. This revolutionary move is truly astounding. She understands the disasters of war, climate collapse and totalitarianism in its many new forms. She understands media and she understands groove. Hopelessness is an entirely new mix of love and power, sex and despair delivered with her heavenly voice and incantatory melodies." -- Laurie Anderson, NYC 2016

More information can be found here.

4080 Hits

The Field, "The Follower"

The Follower by The Field.  Vinyl Double LP, CD.

Much-celebrated Kompakt staple The Field returns to the spotlight with new album The Follower, his fifth full-length offering after From Here We Go Sublime, Yesterday And Today, Looping State Of Mind and Cupid's Head. Swedish soundsmith Axel Willner is well-known for his mastery when it comes to the allusive layering of loops, but it was with his last album Cupid's Head that a newly-found, somewhat pressing snappishness started to replace the soft-hued sonics of his ambient-infused techno, imbued with a darker mood and stronger footing than before. A carefully gauged balance of stoic motorik and gloomy drones was key here - just as it is for The Follower which goes even further in blurring the lines between concrete experimentation, body music and precisely laid-out arrangement, leading to one of the most rhythmically and texturally engaging listening experiences in Willner's catalogue.

"As always when starting a new album, I wanted to do something that sounds fresh, but doesn't stray too far from what I have so far done as THE FIELD - and that's always the tricky part", says Willner, adding that "the whole album came around through experimenting with a lot of new recording equipment and gear". That source of inspiration seems to have worked rather well, with title track "The Follower" opening on a surprisingly muscular groove and setting the tone for what could be considered The Field's most floor-attuned work yet - a raw bounce dripping with foggy acid and marching percussion catches long-standing fans off-guard while providing a perfect entry point for curious newcomers. Pulling no punches, Willner's knack for entwined drones and mutating loops is very much in place, but finds powerful support in an excitingly sturdy bassline and guitar-like screeches. It's been a few years since The Field's band dissolved, which led to more club-oriented live gigs - an experience that definitely informed The Follower's sound without interrupting this very personal continuum of expressive means. This is ambient techno on steroids, with a dose of metal machine music for good measure.

Follow-up cut "Pink Sun" quickly finds its pace with one of these perpetually rotating hooks Willner is known for, while "Monte Veritá" specializes in tunefully glitched vocal samples with accompanying bass workout - a powerful and propelling album build-up that finds its first moment of introspection with the mountainous "Soft Streams," an exciting synth journey that emits both ethereal and kinetic propensities.  "Raise the Dead" presents The Field's focused sonic storytelling at its minimalist best, gyrating around a basic motive for a while before joining an earthy beat and opening up the sunshine roof. It's a winding, hypnotic track that also works particularly well as transition to the album's remarkable closing chapter: the slow-paced "Reflecting Lights" shows Willner at his most refined, evoking his often-quoted appreciation of Wolfgang Voigt's ambient project GAS as well as an obvious fondness for kraut synthesists and their trance-inducing exploits. "The Follower is about old myths, finding utopia and how mankind repeatedly makes the same mistakes over and over", explains Willner, but he remains an artist who prefers keeping things uncommented and the mistery intact - his latest full-length certainly doesn't need more introductions: it evidently shows a maturity and consistent evolution of The Field's trademark style of creation, but may very well be considered one of his most vibrant and visceral outings yet.

More information can be found here.

4093 Hits

Norman Westberg, "MRI" (Swans)

MRI by Norman Westberg.  CD.

Room40 is proud to continue the publication of a series of editions from American guitarist and composer Norman Westberg.

Best known for his work with the seminal outfit SWANS, Westberg’s output beyond that group is sprawling and restless. His name recurs and ripples through many interconnected micro-histories surrounding New York City’s music and art scenes. From appearances in film works associated with the Cinema Of Transgression, through to his participation in bands such as The Heroine Sheiks and Five Dollar Priest, Westberg’s name is woven deeply into the fabric of New York over the past three decades.

MRI is the result of Westberg’s encounters with the heavy medical scanning technology following his recognising diminished hearing. ”I started to notice a loss of hearing in my right ear,” Westberg explains, “and decided that it was high time that I had it checked out by a professional. The audiologist confirmed the uneven hearing loss and recommended an MRI. The purpose of the MRI was to make sure that there was not something other than my own aural misadventures causing the uneven loss.” This record is a coda to this experience. Recorded in 2012, it is a collection of reductive rolling guitar pieces that are embedded strongly in the American Minimalism tradition.

The newly mastered and post-produced edition also features a brand new piece, "Lost Mine," recorded in 2015 as an echo of the processes that led to the original recordings. It follows the reissue of 13 in late 2015.

From Lawrence English:

“Norman Westberg’s guitar playing with SWANS has influenced a generation of musicians across genres. I can personally attest to how his particular approaches to that instrument, in creating both harmony and brute force, have challenged and ultimately influenced my own sonic preoccupations.

What Norman has created with his solo works is an echoing universe of deep texture and harmonic intensity. His solo compositions generate an affecting quality that drives the listener towards reductive transcendence.”

More information can be found here.

3917 Hits

Giacinto Scelsi, Chris Watson, and Joe Browning, "Scelsi" EP

Scelsi EP by Giacinto Scelsi, Chris Watson & Joe Browning.  Vinyl 12

SN Variations is proud to announce the release of a new EP curated around the primordial and enigmatic music of Giacinto Scelsi.

Alongside a new recording of his intimate "Duo for Violin and Cello," the EP features a new work by Chris Watson inspired by Scelsi’s explorations of "pure sound" and a breathtaking shakuhachi honkyoku performance by Joe Browning.

Born into an aristocratic family in Italy in 1905, Scelsi's creative peak arrived in the 1960s after years of research into Buddhist chant and other aspects of Eastern spirituality. His work languished in obscurity for most of his long career, but its pioneering investigations of microtonality and pure sound have exerted a deep influence on contemporary composers and electronic artists including Mica Levi, Richard Skelton and Fennesz. Against the crowded polyphonies of much post-war academic modernism, Scelsi powerfully advocated for the primordial and the esoteric, for the acoustic interplay of pure frequencies.

"The Duo for Violin and Cello" dates from Scelsi’s most fertile period and was composed at the same time as seminal works such as "Anahit" and "Elegia per Ty."  Despite a modest combination of just two instruments, the innovative use of double stopping and extended playing techniques creates a huge, vibrating microtonal form.  In this new recording, Aisha Orazbayeva and Lucy Railton execute a meticulous performance of this complex score.

Chris Watson responded to the piece with sculpted field recordings of insects made originally on a boardwalk in the middle of the Borneo jungle. "Invertebrate Harmonics" imaginatively links the pure sound world of Scelsi to pure sound worlds found in nature. This piece is from a larger installation work "Notes from a Forest Floor," which was played first at the ICA last June as part of the event ‘MusICA –Exploring Sound and Authorship’.

Finally Chris records a traditional shakuhachi honkyoku piece - "Honshirabe" - one of the pieces forming the historic repertoire of the wandering Zen Buddhist monks known as the Komuso.  This performance by Joe Browning is one of exquisite subtleties, resonating with Scelsi's mature work while pointing to its widespread historical antecedents.

More information can be found here.

4029 Hits

Legendary Pink Dots, "Pages of Aquarius"

MET-POA

The Legendary Pink Dots are delighted to announce the forthcoming release

of their new album Pages Of Aquarius on Metropolis Records.

They promised us so much…

Naked hippies and soma fountains and patchouli rain from candy floss clouds and flowers and the summer that would never end. The Age of Aquarius.

The Age of Harmony and understanding and tolerance. Say it softly, like an Aquarian, The Age of ….Love. The Age of Love and HAIR.

Page One Aquarius. How does it look out there?

Bad hair, no hair. Covered up. Walls. And God is everywhere, splashed in red across those walls, And the fountains are dry, the ocean is full and they're dragging the lost from the depths of the sea and tying them up with wire.

It wasn’t supposed to be like this.

Are we in for 2,160 years of this?

I’m an Aquarian. I believe in this crazy stuff and I visualise big old Pisces lying there, dying there. Huge, wounded, angry because no-one helps and every hot feverish cry brings a new storm, and every kick shakes the planet to it’s core. Big old Pisces. Huge but invisible so no-one sees him except the irritating baby that tickles his nose with an oily feather.

Page 2,000 Pisces, the end of the cycle and it hurts.

It can’t last.

Page One Aquarius.

The World is Beautiful. Blessed be. EK


Out April 22nd.

A teaser is available here.

5255 Hits

Haikai No Ku, "Temporary Infinity"

Temporary Infinity by Haikai No Ku.  Vinyl LP.

Box Records is proud to present the third full length album from Newcastle, UK noise-psych power trio Haikai No Ku.

Temporary Infinity continues the nightmarish bad trips that previous albums Sick On My Journey (Burning World Records) and Ultra High Dimensionality (Box Records) conjured. The patented Mike Vest (Bong, 11Paranoias, Blown Out) wall of gargantuan mild-altering damaged feedback is again present with the no- nonsense power of Sam Booth (Foot Hair) and Jerome Smith (Female Borstal, Charles Dexter Ward).

Haikai No Ku take no prisoners and show no remorse with their latest offering. Temporary Infinity is near 40 minutes of warped and disturbed hallucinogenic punishment. Their sound is not for the faint-hearted, but one that has seen them develop a cult following among those who enjoy their music twisted.

More information is available here.

4334 Hits

Mary Lattimore, "At the Dam"

At The Dam by Mary Lattimore.  Vinyl LP.

In 2014 Lattimore received a prestigious fellowship from the Pew Center for Arts & Heritage — a rare honor given to 12 people every year — and used the funds to take a road trip across America with a friend, writing and recording songs at each stop along the way. With her harp and laptop, Lattimore drew inspiration from each location, letting the environments in which she recorded color her work. The result is evocative, delicate and haunting music, Lattimore’s harp at times bright and skipping, other times distant and hazy, swathed in gauzy delay.

She recorded much of At the Dam in the beautiful setting of Joshua Tree. “I would wheel the harp out on to the porch of my friend Chiara’s little house and I had the whole desert around me. It felt like a residency on another planet.” Lattimore also recorded in Marfa, Texas at a friends home, as well as in the mountains of Altadena, east of LA.

Recording far away from her Philadelphia home gave Lattimore space to navigate her thoughts. The stirring, slightly ominous opener "Otis Walks Into the Woods" attempts to encapsulate her reaction to the news that her family’s blind dog had walked into the forest on the outskirts of their farm to pass away – a gently hypnotic ode to a noble companion.  "Jimmy V" recalls another fallen hero, basketball coach Jimmy Valvano. "Before taking the road trip, I’d seen a great documentary on him, a really interesting and complex, inspiring character, and thought I’d write a song with him in mind," Mary says, "Maybe it’s the first harp song written about a basketball coach?" On “Jaxine Drive,” a guitar sighs, low and sorrowful beneath Lattimore's hopeful-sounding harp, while "Ferris Wheel, January" imagines one looking at the Pacific Ocean from high elevation and the patterns of the waves creating an illusion resembling the bright lights of the Santa Monica Pier in winter.  "It's a travel diary," explains Lattimore, "A chunk of my life that I attempted to wrangle into a recorded language that feels familiar but not too precious."

At The Dam is named for a Joan Didion essay about the Hoover Dam: "its enchanting, grandiose practicality, how it will keep operating in its own solitude, even when humans aren’t around." Drawing inspiration from these ideas and treating each memory thoughtfully and sensitively, Lattimore captures transient moments as time moves inexorably forward.

More information can be found here.

3644 Hits

Mark Wynn, "The Singles"

The Singles by Mark Wynn.  Vinyl LP.

After having the NME announce him as "one to watch for 2015," Mark Wynn promptly quit music. Harbinger Sound spent the summer coaxing him out from early retirement and the result is The Singles album. A compilation of 18 tracks culled from two years worth of limited self-released CDs. Wynn's scattershot avant-skank acoustic gobshitting blends despair, bleakness and humour. It then pulls apart any worthless comparisions to The Fall, Wreckless Eric, Patrik Fitzgerald, etc with his irreverent, awkward but smart lo-fi songs. After spending the autumn touring with the Sleaford Mods , Wynn is now back in the game as one to watch for 2016. This album features such classics as "Rip Off The Fall" and "She Fancies Me That One In Age Concern."

"The same grey fucking cloud that followed me now hangs above him. He's got it!" - Jason Williamson / Sleaford Mods.

More information can be found here.

3815 Hits

Micachu, "Taz and May Vids" EP

Taz and May Vids by Micachu.  Vinyl LP.

"Zinging, absolutely deadly 7-track EP from Micachu on her return to DDS, featuring three tracks with Tirzah (including the much sought-after Go), plus a Demdike Stare Edit.

DDS render a precious haul of new Micachu zingers on her return to the label, ramped up by Demdike Stare's dextrous edit of "I Dare You" to chase up 2014’s acclaimed Feeling Romantic Feeling Tropical Feeling Ill LP for mutant dancefloors and sun-kissed headphone journeys.

Smitten by the hugely addictive, brilliantly slippery 2-step twister on Go, Demdike suggested the cut for release on DDS, and were subsequently privileged to peruse the unique space-time folds and dance/pop sampledelia of Mica’s archive.

As they also found out whilst compiling her last solo LP; it is a deeply rewarding experience to explore the Mica’s output: immersing themselves in her peerless world of refractive colours, sawn-off textures and teasing arrangements.

They’ve emerged with a joyously unhinged party-ready EP, traversing the mercurial 2-step viscosity of Mica & Tirzah’s "Go," to their addictively sticky ohrwurm, "Dare You," and the free cosmic pop whorl of "Trip6love," before taking in the clanking ragga jag of "More Red" with Brother May, a.k.a. the London-based MC who voiced Mica’s Fact Mix 444 in 2014.

The cherry on top is a crucial Demdike edit of "I Dare You," featuring Miles and Sean extending and swerving the original just like they would with two copies of the 12"."

-via Boomkat

3622 Hits

Catherine Christer Hennix, "Live at Issue Project Room"

"Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis" is a new composition from Catherine Christer Hennix's expanded just-intonation ensemble, the Chora(s)san Time-Court Mirage. This expanded ensemble includes vocalists Imam Ahmet Muhsin Tüzer, Amir Elsaffan and Amirtha Kidambi, an expanded brass section with the addition of Paul Schwingesnschlögl and Elena Kakaliagou as well as the additon of Marcus Pal and Stefan Tiedje on electronics.

Out March 18th, 2016.   More information will soon be found here.

3836 Hits

Catherine Christer Hennix, "Central Palace Music"

Central Palace Music, performed by Catherine Christer Hennix's just-intonation ensemble The Deontic Miracle, is the first in a series of archival Hennix releases to be issued via IMPREC. This previously unheard piece was taken from an eight day festival organized in the Spring of 1976 at the Museum of Modern Art in Stockholm. The group features Catherine Christer Hennix on Renaissance oboe and custom sinewave generators, Peter Hennix on Renaissance oboe and Hans Isgren on sheng.

Central Palace Music is packaged in a deluxe letterpressed package and is being released at the same time as a recent recording of Hennix's new ensemble live at Issue Project Room.

"...Hennix has created a sound that reliably taps into our subconscious and frees us from linear time..." The Quietus

Out March 18th, 2016.  More information will soon be found here.

4051 Hits

Af Ursin, "Aura Legato"

Blackest Ever Black presents a new vinyl edition of Af Ursin’s 2005 masterpiece Aura Legato, and its first outings on CD and digital formats.

Af Ursin is the alter ego of Finnish autodidact composer/improviser Timo van Luijk. He began his musical activities in the mid-1980s, co-founding the Noise-Maker’s Fifes collective with Geert Feytons in ’89. During the ’90s he developed his solo work under the name Af Ursin, before establishing his private press, La Scie Dorée, in 2001. It continues to act as the main platform for his own music, including regular collaborations with Christoph Heeman (as In Camera) and Andrew Chalk (as Elodie), while his other label, Metaphon (run with Marc Wroblewski and Greg Jacobs), is focused on archival presentations from the likes of Michael Ranta, Joris de Laet, and IPEM.

Van Luijk’s work is rooted in the use of acoustic instruments (wind, percussion, strings), but his special sensitivity to the timbral qualities of each instrument, and his deft blurring of them, results in a sound-world that is mysterious, amorphous and hallucinatory, full of suggestive shadows, creaks and whispers. Informed by years of intensive listening to various types of free music, exploratory drug use and especially the “irregular organic forms” of the Belgian countryside where he resides, van Luijk’s process begins always with pure improvisation: music played in an intuitive, sensual way, without the employment of conscious technique. He performs and overdubs each instrumental component himself, and out of this process micro-structures and loose arrangements emerge: the piece becomes an improvised composition. Over time he has evolved his own richly poetic musical language, full of allusions to drone, acid folk, classical, Musique concrète and jazz, but beholden to none.

Originally released on La Scie Dorée in 2005, in an edition of 350 copies, Aura Legato is one of van Luijk’s darker and more acutely psychedelic offerings. It’s a work of profound interiority, but one that also conjures images of old Europe and fin-de-siècle decadence – dabblings in Thelema, the fog of the opium-den – and has earned telling, if inadequate, comparisons to Third Ear Band, Nurse With Wound, Mirror and HNAS. Fully remastered by Noel Summerville, the album has never sounded better, and our vinyl edition replicates the original’s ornate presentation: sleeve die-cut in the style of a 78rpm record, with gold detailing and individually hand-glued labels. Due to be released in May 2016, we urge you to acquaint yourself with what is, unmistakably, a modern classic.

More information can be found here.

 

4679 Hits

Secret Boyfriend, "Memory Care Unit"

Memory Care Unit by Secret Boyfriend.  Vinyl LP.

A new long-form offering of poignant, isolationist machine music from Secret Boyfriend. Eschewing the cryptic and compact song-sketches that characterised his 2013 Blackest Ever Black LP, This Is Always Where You’ve Lived, Ryan Martin instead guides us through vast interior topographies and nerve-damaged ambiences that comfort and deceive like memory itself.

Beginning with "The Singing Bile" – minimal synth submerged and subjected to an almost oceanic pressure – the tracks are mostly crude, extended live improvisations, recorded straight to tape. Martin’s loose intention was to subtract himself from proceedings and “let the music play itself”, but the erasure is not quite complete: on the contrary, each piece feels distinctly authored, and charged with personal significance. The atrophying loops of "Memorize Them Well"broach the elegiac grandeur of Gas and William Basinski, while "Paean Delle Palme" summons E.A.R., Af Ursin, and the clammy, opioid exoticism of :zoviet*france:*’s Just An Illusion. The album is largely instrumental, but there are two weighty exceptions: the sprawling, drumbox-driven space blues of "Little Jammy Centre" and the guileless yearning of "Stripping At The Nail." This is electronic pop undressed, unravelled and mapped onto the infinite wave.

Expansive and enveloping, Memory Care Unit's offer of comfort and refuge is difficult to resist. But this amniotic idyll is frayed and haunted at its edges, and ultimately treacherous. The return to innocence it promises may be possible, but the price is separation, alienation and loss.

More information can be found here.

3634 Hits

Gate, "Saturday Night Fever" (Michael Morley from The Dead C)

Saturday Night Fever takes the concept of the movie of the same name and stretches the night a bit later, the fever a bit higher to the point where the party ends up blending into something much more sinister and wild. What starts out as a disco drumbeat with funky guitar swagger and melodic horns, may slowly deteriorate into some sort of corroded ambient loop that eventually morphs into melodic horn samples.. Basically every track is subverting it's own gestures, carving out a narrative of interruption and stretching the disco template in directions simultaneously embracing and mocking the form.. In a way, this album is a sequel to "A Republic of Sadness", embracing the criticisms people had of that album and expanding on those flaws. The resulting album sounds like Morley's pulling out some heaping doses of the hermit boogie and Otago funk and stretching it into some sort of Basinskian disintegration loop gone Bernard Bonnier zonked mutant scene.. There are so many moves within each of the four extended tracks, that it feels like that illuminated dance floor is always slipping beneath your feet. I promise it'll be worth the effort, twinkletoes...

- Pete Swanson

More information can be found here.

3760 Hits

Venetian Snares, "Traditional Synthesizer Music"

Traditional Synthesizer Music by Venetian Snares.  Vinyl Double LP, CD.

Traditional Synthesizer Music is a collection of songs created and performed live exclusively on the modular synthesizer by Aaron Funk. Each sound contained within was created purely with the modular synthesizer. No overdubbing or editing techniques were utilized in the recordings on Traditional Synthesizer Music. Each song was approached from the ground up and dismantled upon the completion of it's recording. The goal was to develop songs with interchangeable structures and sub structures, yet musically pleasing motifs. Many techniques were incorporated to "humanize" or vary the rhythmic results within these sub structures. An exercise in constructing surprises, patches interrupting each other to create unforeseen progressions. Multiple takes were recorded for each song resulting in vastly different versions of each piece.

More information can be found here.

3637 Hits

Kassel Jaeger/Stephan Mathieu/Akira Rabelais, "Zauberberg"

Zauberberg by Kassel Jaeger, Stephan Mathieu, Akira Rabelais

Few years ago, an idea germinated while reading The Magic Mountain by Thomas Mann. An idea not driven by the narrativity of the book, but by the traces and the aura invoked in it. That was it: an audible auratic journey trough the memories of a place lost in the heights of the Swiss mountains.

A century after the events depicted in the book, we went where the story took place, trying to capture the remaining sounds that could have been heard at the time, and the ghosts who might have still wandered around.

Zauberberg is based on these captures, on recordings of the music played by Hans Castorp (the novel’s main character), on acoustic/electronic instrumentation and digital processing. The result is an evocation of time and duration, an exploration of what remains and what is lost, a meditation of the dissolution and persistence of the aura surrounding everything.

— Kassel Jaeger, Nov. 19, 2015

More information can be found here.

3917 Hits

JD Twitch presents "So Low"

So-Low by Various.  Vinyl Double LP, CD.

Front 242, Tuxedomoon, Eric Random and more not-disco classics for the dancefloor.

JD Twitch has done more than most to improve our record collections this year, introducing us to some incredible post-punk rarities on his Optimo Music compilation [Cease & Desist] and releasing an inspired intercontinental collaboration featuring young musicians from Glasgow, Ghana and Belize on his Autonomous Africa imprint.

For his next trick, Keith McIvor is going back to his roots with a compilation of club favourites from his earliest days behind the mixer. "So Low is an occasional night at The Poetry Club in Glasgow where I play some of the music I played when I first started DJing back in 1987," McIvor explains.

"At that time the audience I played to mostly loathed what I was playing and rarely danced, but then shortly after, when house music arrived, I found a different audience who actually liked to dance."

At the request of his wife, and some friends who were too young to hear these songs in the club at the time, he now runs the So Low night as an excuse to give records by the likes of Front 242 and Chris & Cosey another airing. "It has an extremely enthusiastic audience, a joyous atmosphere and is the antithesis of what a club in Scotland playing this music nearly 30 years ago would have been like," he explains.

The So Low compilation focuses on some lesser known stars of cold wave, from UK and European minimalists like P1/E, Colin Potter and Gerry & The Holograms, to US industrial band Hunting Lodge and avant-garde San Francisco collective Tuxedomoon, as well as a number of French and Belgian acts such as Siglo XX, Front 242, Marc Verhaeghen’s The Klinik and Clair Obscur.

Teaming up with The Vinyl Factory for the releases, McIvor has also enlisted contemporary cold-wave fans Powell and Helena Hauff to provide remixes for their favourite tracks on the compilation, which seems like a very good idea to us.

Check out the tracklist below, and look out for the compilation on February 19 on 2xLP, CD and digital, with the remixes following soon after.

More information can be found here.

Tracklist:

  • John Bender – ‘Victims of a Victimless Crime’
  • Hunting Lodge – ‘Tribal Warning Shot’
  • Throbbing Gristle – ‘Discipline (Berlin)’
  • Front 242 – ‘Kampfbereit’
  • The Klinik – ‘Moving Hands’
  • P1/E – ’49 Second Romance’
  • Colin Potter – ‘Power’
  • Eric Random – ‘Fade In’
  • Conrad Schnitzler & Wolfgang Seidel Meissner – ‘Fabrik’
  • Gerry & The Holograms – ‘Gerry & The Holograms’
  • Chris & Cosey – ‘Passion’
  • Hard Corps – ‘Porte Bonheur (Remix)’
  • Holger Hiller – ‘Das Feuer’
  • Siglo XX – ‘Dreams of Pleasure’
  • Clair Obscur – ‘Toundra’
  • Tuxedomoon – ‘No Tears’

 

9011 Hits