- "The Classics Album promises to become a classic meltpop album. What, dont know what meltpop is? Meltpop is what Wieman and its earlier incarnation Zèbra do: complex constructions that can at time sound like pop/dance songs, made entirely out of samples drawn from a very specific and predetermined corpus. More insidious than plunderphonics, rounder around the edges than sound collage, and infinitely trickier than a DJ set!
Wieman is the project of two major names from the Netherlands experimental electronic music scene: Frans de Waard (of Kapotte Muziek, Beequeen, Freiband, Goem, etc.) and Roel Meelkop (of Happy Halloween, THU20, Mailcop, Goem, etc.). As Goem, they released a string of fabulously dark and minimal tracks on top-rate labels like Mego, Raster Noton, Staalplaat, and 12K. The duo released their first meltpop track in 2005 under the name Zèbra. It took them three more years to complete their full-length debut The Black and White Album, in which all samples came from songs that had the word music in their title. From then on, each Zèbra project focused on a very specific concept.
In 2012, a US band called Zebra asked the duo to stop using the name Zèbra. They rechristened themselves Wieman and completed work on a string of new projects, including The Classics Album, six years in the making. The Classics Album contains only samples taken from songs that have classical music-tinged titles words like symphony, rhapsody, overture, etc. These samples come from the worlds of jazz, rock n roll, prog rock, disco, and beyond. Some of them are instantly recognizable; others are transformed beyond identification. This music especially the 17-minute epic Do you have EIP will melt your brain cells. Youll dance a bit, youll swim a lot, and youll be questioning your perceptions all the time." Baskaru Emusic
Brilliant news from a new label called Mundo Recordings: - "Truffaz, a Swiss-born jazz trumpeter, and Murcof, a Mexican producer of classically-tinged IDM, techno and ambient, first started performing live together in 2006, and in 2008 they released an album called Mexico. This one, coming next month through Mundo Recordings, is actually a three-headed project: Enki Bilal, the well-regarded French comics artist and filmmaker whose work is often focused on themes of war and dystopia, has taken care of the album's visual art.
Being Human Being looks to be a heavy listen. Here's a few lines from the lengthy text that came with the press release: "[The album] suggests to us that being human and being a human being are not necessarily the same thing, but that human be-ing, with its delicate balance of sensuousness, violence, ethical sensitivity, ugliness and grace, is still being sketched out." It'll come on double vinyl, CD and digital formats.
This will be the third release on Mundo Recordings, which launched earlier in 2014 and has so far put out an EP and album from veteran US producer Stewart Walker. On the Murcof front, news of the upcoming collaborative album comes shortly after this announcement from The Leaf Label, home to his highly sought-after solo studio LPs. The label will celebrate its 20th anniversary next year with some vinyl reissues, and fans can offer input, via a poll, on which records (from Murcof and the likes of Caribou and Roll The Dice) they think should get the treatment."
- Resident Advisor
- Mundo Recordings - Bandcamp
- "Natura Morta, "dead nature" or "still life". This album can be understood as a powerful study of the minute details of the art of electro-acoustic composition, as much as the Renaissance "nature morte" were a masterful display of the artists skill in portraying the glow of a ripe fruit, or capturing the light beaming on a vacant chair.
Six tracks, to be listened to as two long explorations in the art of variation and repetition. Layers of drums and percussions intertwine with synth waves making the portrait come to life, detail after detail, until a complex figure emerges from the white canvas. The constant, unsteady sounds, wavering noise, swirling cymbals, and distant feedback gently pull the listener into the picture, letting them enjoy every detail of this beautifully staged compositions.
Recorded at EMS studio, Stockholm, ZKM in Karlsruhe and at the legendary Funkhaus in Berlin, this album mixes influences from both Italian minimalism and the electro-acoustic contemporary scene. Somewhere in between the electronics of Keith Fullerton Whitman, the percussive repetitions of Jon Mueller, and the atmospheric sensibility of Pan-American." Miasmah - Soundcloud
Andrea Belfi (born 1979) - "is an Italian electro-acoustic musician and composer.[1] He began playing drums at the age of 14. From 1995 to 1998 he's been involved in numerous punk bands. He studied art in Milan, before becoming involved in experimental music in 2000. He's been member of electronic outfit Medves (with GIuseppe Ielasi, Stefano Pilia, Riccardo Wanke & Renato Rinaldi), the duo Christa Pfangen with Mattia Coletti, the trio Rosolina Mar.
From 2002 he's been collaboration with a wide range of artists like: Carla Bozulich, Mike Watt, David Grubbs, Stefano Pilia, Aidan Baker, Simon James Phillips, BJ Nilsen, Ignaz Schick, Mattia Coletti, Å, Attila Faravelli, Machinefabriek, David Maranha, Attila Faravelli, Giuseppe Ielasi, RCF, Riccardo Wanke, Renato Rinaldi.
Sinfonietta, which lasts 45 minutes, is a very first element of cosmic architectonics, the miniature universe model. Unwrapping in time, this self-contained composition is skillfully woven out of orchestral sound fragments repeated in a cyclical manner. But it would be not enough, just to listen to this music. Marsen Jules offers a new sense of reality beyond the three known dimensions, where time is non-linear and perception is multivariate.
- "Opsvik & Jennings are releasing a new ten track album as a digital download. The album will be released one song at a time on the first day of every month, beginning on July 1st, 2014."
<div><br></div><div><a href="http://www.emusic.com/album/ben-frost/v-a-r-i-a-n-t/15356718/"><img src="http://cf-images.emusic.com/music/images/album/153/567/15356718/300x300.jpg"> </a><br></div>Ben Frost - V A R I A N T "Ben Frost follows the wonderful A U R O R A album with V A R I A N T, an EP of remixes from some true visionaries. Evian Christ turns in his own brand of devilish trap, twisting 'Venter' into a metallic nightmare jam. Dutch E Germ, aka former Gang Gang Dance drummer Tim DeWit, fashions a sea of noise and shifting sound patterns from the track, while with the moody delights of HTRK take it into somber late-night mode. The B-side is taken up of two different tracks, the first a remix of 'No Sorrowing' from Kangding Ray, whose take is a gurgling body of body techno. 'Nolan' gets a Self Medicating Edit from Regis, a deep and lustrous vision of ice and storm. " Bleep Mute Records
This is first Volume of a complex story about conspiracy, magic, and spirituality. Minimal synths, guitars, syncopated rhythms that are making weird, psychedelic and transcendental noises which are of course accompanied by the distinctive voice of Ka-Spel. Lying on your sofa, pumping up the volume and just dream away on their ethereal sounds.
10 to the Power of 9 is a dark and exceptional trip into their warped and bizarre musical psyche.
For sure one of the best Concept album of the Band.
Edward- Ka-spel: - "There are 10 people who run the World. They are all male and presidents, magnates and high priests all do their bidding. The 10 live in villas in the remotest part of the Himalayas- a place that absolutely NO ONE would ever stumble upon. Although the 10 live in such close proximity to each other, they choose to have meetings in the back room of a small office in London. Thats where the decisions are made. Thats where the wars begin, thats where the dice are tossed across the table to establish who wins, who loses, who lives, who dies.
The classic conspiracy theory to end them all and I listened ,open-mouthed , hair falling into my eyes . It was maybe 1976 when I heard this first. You are right to snigger at my naivety. I listened and twisted this story around inside my head , and it did indeed seem completely unbelievable. Now of course its 2014, and Im older and wiser and I have to laugh at myself too. Now I know wasnt a theory. Now I know its true"
- Rustblade</div>
<div><br></div>- Oh ! - and this one just has to be mentioned . . .
:-)<div><img src="http://cf-images.emusic.com/music/images/album/152/558/15255838/600x600.jpg" alt="Quixotism album cover"> <br></div><div>Oren Ambarchi - guitars and percussion
with
Thomas Brinkmann - computable drums with an application to the Entscheidungsproblem (Parts 1-5)
Matt Chamberlain - drums & electronics (Parts 3 & 4)
Crys Cole - contact mics & brushes (Part 4)
Eyvind Kang - bowed gender (Part 1) & violas (Part 5)
Jim O' Rourke - synths (Parts 4 & 5)
John Tilbury - piano (Parts 1 & 2)
U-zhaan - tabla (Part 5)
Ilan Volkov & the Icelandic Symphony Orchestra (Parts 1 & 3)
- "Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Ambarchis work in recent years has evinced an increasing fascination with the possibilities of combining abstract sonic textures with rhythm and pulse, whether in his drumming with Keiji Haino, the subtly driving ride cymbals provided by drummer Joe Talia in their work together, or the motorik grooves of Sagittarian Domain (Editions Mego, 2012). Quixotism takes this aspect of Ambarchis recent work to the next level: the entirety of this long-form work is built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilburys delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, being joined by master Japanese tabla player U-zhaan for the pieces final, beautiful, passages.
The pulse acts as thread leading the listener though a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of Crys Coles contact-mic textures. Ambarchis guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the pieces steadily pulsing foundation, elements approach and recede, appear and reappear, in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim ORourkes synth and Evyind Kangs strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Eliane Radigue, and the organic push and pull of improvised performance, Quixotism is constantly in motion, yet its transitions happen slowly and steadily, so that they are often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.
Anyone who follows Ambarchis work knows that it has many facets: explorations of the outer limits of rock with Keiji Haino, psychoacoustic interference and sizzling harmonics in his solo performances, delicate improvisations with Keith Rowe or John Tilbury. To all these projects, Ambarchi brings his particular sensibility, patiently allowing sounds to develop on their own terms without forsaking their intrinsic physical and emotional power. Similarly, although Quixotism is shaped by its many contributors, the resulting sound world is unmistakably Ambarchis own. His most substantial solo release since Audience of One (Touch, 2012), Quixotism represents the summation of Ambarchis work over the last few years while also pointing to the future." Editions Mego</div>
Brand new from Denovali Records:
[align=center] N(36) - Heven . . . . . . . . . . . . . . . . . . . . . N(35) - Saarn[/align]- "N is the moniker of Dortmund-based German experimental guitarist Hellmut Neidhardt. December 2014 marks the release of two new solo records, N(35) Saarn and N(36) Heven, both of them slightly entering aspects of drone he did not work on that much before. With both Saarn and Heven, N is focusing on the use of vibrant distortion, but in distinctive different ways within the concept.
The whole 3-track album Saarn is determined by oscillations between heavy and minimal with a mood of (at least the danger of a coming) aggression even in its most silent parts. The opening piece, Toevermanns Gruben, is telling the story of an imaginary place buried under huge amounts of gritty fuzz, while Seltene Erden keeps irritating with its movement in static. The closing piece, Schwarze Heide, then walks further the dark path that was first discovered with Wehle (from N(22) Goor) some time before.
Heven in fact achieves very different results, even while using the same tools: way more ethereal, otherwordly in its atmosphere, proving that even the utmost minimalism can gain an intense feel of beauty, a fortiori when Heven I changes from stuttering static to a broken melody before getting lost in its own memory, somehow. Heven II finally just uses grainy white noise to built up a cathedral of feedbacks, infinitely reflected." Denovali Records
In truth, the piece can only be fully realised, as well as best experienced, in its physical embodiment, performed on or by founding member Andrew Unruhs gigantic instruments and noise generating devices that visually evoke the horrors the work describes or embeds in the sounds they conjure from the filth and terror of the industrialised 20th century world at war with itself.
But in fulfilling what at first appears to be a surprise commission for such a formidable longtime outsider group, Einstürzende Neubauten transformed the earthy, idiosyncratic contents they mined from academic, state, music hall and internet archives with the help of their two researchers into a richly complex cycle of original and cover songs and performance pieces.
The music often originated in LAMENTs storytelling needs, be it in terms of sounds used or compositions structured along First World War flow charts or scored from calendars of the involvement of the 20 plus countries embroiled in it. The way LAMENT plays off pre-existing and composed materials, pieces clipped together from historical records next to direct cover interpretations, or indeed their Frankenstein like construction of an ur-anthem/national hymn delivers a differently angled history of the war.
Finally, LAMENT opens Bargelds case that the First World War never ended - the interwar and postwar periods being essentially pauses for breath as the great military powers carry on their conflict at some remove in faraway wars fought by proxy. . . . ." https://neubauten.org/en/lament
Rafael Anton Irisarri - Will Her Heart Burn Any More
Available for pre-order, releases Jan 31. Looks like an EP. One track to stream. Much noisier than his last release.
- ""Is it something in the Danish psyche that encourages this type of beautiful music making? Is it something in the café culture? The water? The food? The colorful buildings? Who can say," a puzzled, enthused BBC journalist wrote when Future 3 released their third full-length Like… in 2001. Whatever it is, it's apparently still there, as the seminal electro trio from Copenhagen, comprised of Anders Remmer (aka Dub Tractor), Thomas Knak (aka Opiate), and Jesper Skaaning (aka Acustic), is about to return with its first new album in 13 years – the aptly titled With and Without, released via Morr Music.
"Never a closed chapter," as confirmed by the three members, but "rather put on hold" to concentrate on the System project, their solo endeavors and other production assignments (including film soundtracks), Future 3 return with an album of airy, ethereal-yet-epic compositions that both nod to the trio's nineties roots but also take in all the various musical experiments, ventures, and releases that have seen the light of day since 2001.
The band's first album in 13 years, With and Without inhabits, as the title indicates, two different kinds of sonic realms: The "With" part refers to a series of song-based pieces Remmer, Skaaning, and Knak recorded with album guests Thomas Meluch (better known as Benoît Pioulard) and Anja T. Lahrmann (Ice Cream Cathedral); "Without" in turn, points to the other half of the album, comprised of instrumental, ambient-sounding pieces written and recorded without guest contributions. . . . ." Morr Music - Soundcloud
Anne La Berge | Flutes and voice Joe Williamson | Double Bass and voice - "Flutist-composer Anne La Berge, an American living in Amsterdam, and bassist Joe Williamson, a Canadian based in Stockholm, have formed a new duo. Both artists are known for their eccentric approach to text, either in song writing, or music compositions. With two intriguing text/music pieces that sound like odd radio plays, they introduce the listener to the ambiguities of their unrestricted fantasy. A pleasurable, sometimes hilarious, ride." Unsounds
And a very nice "little" EP on Tapu Records: All n4tural : voice Michel Banabila : ebow, guitar, logic pro, field recordings Grzegorz Bojanek : field recordings Oene van Geel : viola, stroh violin Radboud Mens : glass sounds, dopplo, treatments Yuko Parris : voice, squeaky sounds, electric piano Rutger Zuydervelt : philicorda organ
- "As you’d expect from a file-sharing project such as this, which features All n4tural, Michel Banabila, Grzegorz Bojanek, Oene van Geel, Radboud Mens, Yuko Parris, and Rutger Zuydervelt, it brings together a broad palette of sounds and textures: elegiac strings; warm organs; breathy vocals; atmospheric samples and ethereal guitars. What’s more surprising is the sense of cohesion achieved throughout the EP. The overall sound is lush but downbeat; like a more ambient, exploratory and cinematic Sigur Ros on the two vocal tracks and then successfully synthesising elements of brooding electronica and ‘world music’ on the melancholic closer, ‘Silent World’.
This definitely sits at the more sophisticated end of the experimental music spectrum and is little too slick for my crude lug ‘oles. Nevertheless, it will undoubtedly hit the right spot for lovers of atmospheric and dreamy contemporary film scores." - Norman Records. €music
Sven Kacirek (drums and percussion) has released three solo albums thus far, including the highly praised "Kenya Sessions" in 2011. He has collaborated with Marc Ribot, Nils Frahm, Hauschka and F. S. Blumm."
Kenya meets Krautronics: Stefan Schneider and Sven Kacirek bring African rhythms into dark electronica:
- "Under the auspices of the Goethe Institute and Unesco, Stefan Schneider and Sven Kacirek have spent a fair amount of time in Kenya in recent years. As they travelled the country, they recorded rare, traditional music in different locations, subsequently releasing two albums of unembellished field recordings to document their findings.
"Shadows Documents" takes a different approach: Schneider and Kacirek graft their acoustically gleaned impressions of Kenya onto pure electronic templates (with analogue accents). Field recordings as such cannot be heard. A central role is played by the repetitive, hypnotic element which is so integral to tribal music with its complex rhythms. Both musicians share a fascination with these very rhythms, a recurring theme in their careers to date: clearly audible in Stefan Schneider's work with Kreidler and To Rococo Rot, as well as on his albums with Hans-Joachim Roedelius. In Kacirek's case we can look to his solo albums for evidence, in particular on the much lauded "Kenya Sessions".
The duo's modus operandi differs from that of renowned Krautrock pairings such as Dieter Moebius/Mani Neumeier or Michael Rother/Klaus Dinger (= NEU!), where the drum kit plays a dominant role as the driving force. With Schneider and Kacirek, drums mutate into a sort of synthesizer instrument, almost subliminally melting into the sound of other instruments as a virtual observer, adding a certain nuance here and there, rather than performing a more catalytic function. Played with greater restraint, the drums create variations, translating physique into precision. Synthesizers, meanwhile, assume many of the percussive duties.
A prominent guest musician joins the duo on one track. Niklas Addo Nettey, a Berlin resident since the early 1980s, played with Fela Kuti 70." Bureau B - 1 free track @ Soundcloud</div>
- "Blending the words and wisdom of visual artist David Shrigley with the whipsmart musicianship of songwriter and Arab Strap co-founder Malcolm Middleton, the pairs absurd wit and stark delivery is perfectly captured on Music And Words a special collaboration album that started out wrong but ended up just right.
I misinterpreted the meaning of Davids words so created a certain style of music to accompany the wrong themes, admits Middleton of the albums non-existent narrative. I took one song Sunday Morning to be a scathing attack on the pomp and arrogance of religion, only to be informed that its just about willies and was recorded on a Sunday morning. It makes for an interesting record though.
Featuring the vocals and mimicry talent of comic actor Gavin Mitchell, the transatlantic tones of Californian friend Scott Vermeire, actor Bridget McCann and David Shrigley himself, the album was born in lieu of payment after Shrigley created artwork for Middletons A Brighter Beat album I loved all the music Malcolm made, says Shrigley. We have similar sensibilities; were both into darkness, pathos, despair; existential things. It was just what I wanted, even though I didnt really know what I wanted.
Story Time is the first earful from the album and boasts humour as black as the lines of Shrigleys drawings. Its the song that started it all, Middleton recalls. Funny, disturbing, and then a bit more disturbing. Its a beautiful song, not just a cheap shock, he says, affirming the albums subjective nature. Or as David puts it The meaning is negotiable.But gathering source material for the pairs mordant style isnt something to have happened overnight, informs Shrigley; Malcolm wrote the first pieces of music in 2007 so the album has taken about seven years to make that means it must be good, right?
<span style="font-style: normal; font-weight: normal; font-family: Arial, Verdana; font-size: 10pt; line-height: normal;">Excellent news from Gabriel Saloman:</span><div style="font-style: normal; font-weight: normal; font-family: Arial, Verdana; font-size: 10pt; font-variant: normal; line-height: normal;"><a href="https://shelterpress.bandcamp.com/album/movement-building-vol-1-2"><img src="https://f1.bcbits.com/img/a2299958601_14.jpg"> </a><br></div><div style="font-style: normal; font-weight: normal;"><h2 class="trackTitle" itemprop="name" style="font-stretch: normal; margin: -4px 30px 8px 0px;"><span style="color: rgb(102, 102, 102);">Gabriel Saloman - Movement Building Vol. 1</span></h2></div><div style="font-family: Arial, Verdana; font-size: 10pt; font-variant: normal; line-height: normal;"><span style="font-weight: bold; font-style: italic; color: rgb(102, 102, 102);"><span style="font-size: 13.3333px; background-color: rgb(255, 255, 255);">- "Over the past few years Gabriel Saloman has developed a reputation for releasing penetrating works of haunting beauty in his new role as a solo performer and composer. Known for his part in the seminal electronic-noise duo Yellow Swans (alongside Pete Swanson), Saloman has taken the sweeping drones and fried electricity of his former band and embedded them within an expanding pallette of bowed strings, martial percussion and resonant piano. The majority of his work to date has been developed as music for contemporary dance, exemplified by two recent solo albums with Miasmah, 2012s melancholic Adhere and last years celebrated ode to mud and decay Soldiers Requiem. As he continues to prolifically produce music for dance, Saloman has developed a new series with Shelter Press to make these works available: Movement Building. </span><br style="font-size: 13.3333px; background-color: rgb(255, 255, 255);"><br style="font-size: 13.3333px; background-color: rgb(255, 255, 255);"><span style="font-size: 13.3333px; background-color: rgb(255, 255, 255);">The first of two volumes to be released individually on vinyl and together on CD, The Disciplined Body is a 34 minute work that moves through ghostly minimalist drones, poly-vocal drumming and culminates in an aching climb through sheets of shimmering guitar chords before erupting in a violent spurt of harsh noise. While at its climax it may be evocative of transcendental string manglers ranging from My Bloody Valentine to Godspeed You Black Emperor, in its more subtle moments it wades through the kind of blackened water that suggests the outer boundaries of ambient metal, or the ghostly remnants of a cassette dub of beatless electronics. Composed for Daisy Karen Thompsons Re-Marks on Source Material, the music shares that dances Foucault influenced questioning of the limits imposed on our bodies by technology and labor, reaching for an ecstatic escape from discipline and control. Listeners may want to reach for the same - to do so we suggest they play this recording very very loud."</span></span><br></div><div style="font-style: normal; font-weight: normal; font-family: Arial, Verdana; font-size: 10pt; font-variant: normal; line-height: normal;">Shelter Press - Emusic </div><div style="font-style: normal; font-weight: normal; font-family: Arial, Verdana; font-size: 10pt; font-variant: normal; line-height: normal;"><strong style="color: rgb(102, 102, 102); font-family: 'lucida grande', 'Lucida Sans Unicode', tahoma, sans-serif; font-size: 12px; line-height: 13.44px; background-color: rgb(255, 255, 255);"><img src="http://diademdiscos.files.wordpress.com/2009/04/sadesadelmnt2.jpg?w=450" alt="image" style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-weight: inherit; font-style: inherit; font-family: inherit; vertical-align: baseline; max-width: 100%;">]<br><span style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-weight: inherit; font-style: inherit; font-family: inherit; vertical-align: baseline; color: maroon;"><span style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-weight: inherit; font-style: oblique; font-family: inherit; vertical-align: baseline;">- "Gabriel <mark>Saloman</mark> (GMS, Sade Sade) composes music for live performance and recordings for dance, video, film, and sound installation. His music investigates temporal abstractions, conceptual sound and gestural noise. There is a parallel concern with sound art as both liberating practice and praxis.<br>In recent performances and recordings <mark>Saloman</mark>’s music has been composed of percussion, tapes, mixer-feedback, guitar, keyboards, piano and voice. In particular <mark>Saloman</mark> has explored the use of found sound, field recordings, percussion and processed blank cassettes.<br>His sound work furthers investigations into <mark>Saloman</mark>’s concepts of art, sound and the politics of the social by focusing specifically on its function of both collective and autonomous resistance and emancipation while simultaneously contextualizing his practice in the contemporary radical milieu.<br><mark>Saloman</mark> was a member of Yellow Swans and currently creates music in Diadem with Aja Rose; Chambers with MRed; and The Volunteer Ecstatic Orchestra with a number Vancouver based experimental musicians. He has previously collaborated with groups such as Bleeder; Boxleitner; Cexfucx; Yesod with Aja Rose Bond and Tusk."</span><br><a rel="nofollow" href="http://diademdiscos.com/gms/music/sadesade/" style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-weight: inherit; font-style: inherit; font-family: inherit; vertical-align: baseline; text-decoration: none; color: rgb(30, 121, 167);">http://diademdiscos.com/gms/music/sadesade/</a> </span></strong><br></div><div style="font-style: normal; font-weight: normal; font-family: Arial, Verdana; font-size: 10pt; font-variant: normal; line-height: normal;"><br></div><div style="font-style: normal; font-weight: normal; font-family: Arial, Verdana; font-size: 10pt; font-variant: normal; line-height: normal;">More Saloman @ Emusers hereand here</div>
Brand new album and the first under his own name by Morgan Ågren, one of the best drummers from Sweden. Has played with: Frank Zappa , Devin Townsend, Fredrik Thordendal (of Meshuggah), Crimson ProjeKCt (Adrian Belew, Tony Levin), Squarepusher,Daedelus, Bill Laswell, Tosin Abasi, Steve Vai, Trey Gunn, Henry Kaiser, Fleshquartet, Karmakanic, Spoonman, Glenn Huges, Dale Bozzio, Mike Keneally, Denny Walley and Kaipa.
[url="https://morganagren.bandcamp.com/album/batterie-deluxe-morgan-gren-solo-debut"][img]https://f1.bcbits.com/img/a3120853317_14.jpg [/img][/url]
All instruments by Morgan Ågren. Additional keysolos on tracks 1, 4, 5, 6, 7, 9 and 14 by Mats Öberg. Electric violin solo on tracks 1, 2 and 10 by Neyveli Radhakrishna. Words on track 2 by DJ?Fetisov. Chorus and arrangement on track 5 by Tina Ahlin. Words on track 4 by Mamadou Sene. Chorus and arrangement on track 2, ebow guitar on track 11 and electric sitar on track 14 by Simon Steensland. Guitar on track 8 by Jimmy Ågren. Voice, bass, guitar and keyboards on track 13 by Devin Townsend. Guitar on track 13 by Fredrik Thordendal. All tracks composed by Morgan Ågren, except track 13 by Devin Townsend, Morgan Ågren and Fredrik Thordendal.
Morgan Ågren - "started playing drums when he was four years old and has ascended from a Swedish teenage phenomenon in the early 1980s to a leading light of progressive rock on the international music scene. Born in Umeå in northeastern Sweden, Ågren was 14 years old when he teamed with then-10-year-old blind keyboardist Mats Öberg. Renowned for their band’s versions of music by Frank Zappa, Ågren and Öberg were invited to perform as guests at a 1988 Zappa concert in Stockholm, and take part in several projects in the U.S., including the 1991 concert that produced the Grammy-winning Zappa’s Universe. Solidifying their own distinctive aesthetic, Ågren and Öberg began issuing their recordings on Ågren’s Ultimate Audio Entertainment label in the 1990s and established the Mats/Morgan Band as a quintessential embodiment of adventurous jazz-rock. At the core of Mats/Morgan and any Ågren endeavor—from the Swedish Grammy-winning drum-enhanced string quartet Fläskkvartetten (Fleshquartet) and the prog band Kaipa, to collaborations with Bill Laswell, Steve Vai, Fredrik Thordendal (of Meshuggah), Tony Iommi, Terry Bozzio, Mike Keneally, and Dweezil Zappa—are the thunderous attack, monstrous chops, and rhythmic intricacy that earned Ågren number one fusion drummer ranking in the 2010 Modern Drummer readers poll." - Lastfm bio.
Two releases from Stephan Mathieu on his Schwebung label:
Sacred Ground
(Music for a documentary about Mt Rushmore and Wounded Knee.)
Nachtstücke
(260 minutes of "scenery in artificial light, or moonlight")
- "following a series of highly acclaimed releases on gift tapes, sicsic and his own cosmic winnetou label, among others, mood-modular maestro guenter schlienz presents a collection of works utilising tape loops and acoustic instruments as well as his familiar modular undulations.
It is a rich combination that takes guenter's sound off through music halls, into the clouds and then back again to the self. this is deeply focussed and reflective work that rounds off this series of 10 S.I.N.K. CDs releases in perfect stye.
Study hard, loop soft."
- "Günter Schlienz is a quiet handed modular scientist, building his own instruments to create quality cosmic sounds.
After an early musical education on a recorder he taught himself how to play the guitar and played in various rockbands. Since 1998 hes an active experimental musician with different formations, live and studio. In 2003 he started building of diy synthesizers and playing them in the studio and live." More Guenter Schilienz @ Emusers</div>
Comments
- "The Classics Album promises to become a classic meltpop album. What, dont know what meltpop is? Meltpop is what Wieman and its earlier incarnation Zèbra do: complex constructions that can at time sound like pop/dance songs, made entirely out of samples drawn from a very specific and predetermined corpus. More insidious than plunderphonics, rounder around the edges than sound collage, and infinitely trickier than a DJ set!
Wieman is the project of two major names from the Netherlands experimental electronic music scene: Frans de Waard (of Kapotte Muziek, Beequeen, Freiband, Goem, etc.) and Roel Meelkop (of Happy Halloween, THU20, Mailcop, Goem, etc.). As Goem, they released a string of fabulously dark and minimal tracks on top-rate labels like Mego, Raster Noton, Staalplaat, and 12K. The duo released their first meltpop track in 2005 under the name Zèbra. It took them three more years to complete their full-length debut The Black and White Album, in which all samples came from songs that had the word music in their title. From then on, each Zèbra project focused on a very specific concept.
In 2012, a US band called Zebra asked the duo to stop using the name Zèbra. They rechristened themselves Wieman and completed work on a string of new projects, including The Classics Album, six years in the making. The Classics Album contains only samples taken from songs that have classical music-tinged titles words like symphony, rhapsody, overture, etc. These samples come from the worlds of jazz, rock n roll, prog rock, disco, and beyond. Some of them are instantly recognizable; others are transformed beyond identification. This music especially the 17-minute epic Do you have EIP will melt your brain cells. Youll dance a bit, youll swim a lot, and youll be questioning your perceptions all the time."
Baskaru
Emusic
- "Truffaz, a Swiss-born jazz trumpeter, and Murcof, a Mexican producer of classically-tinged IDM, techno and ambient, first started performing live together in 2006, and in 2008 they released an album called Mexico. This one, coming next month through Mundo Recordings, is actually a three-headed project: Enki Bilal, the well-regarded French comics artist and filmmaker whose work is often focused on themes of war and dystopia, has taken care of the album's visual art.
Being Human Being looks to be a heavy listen. Here's a few lines from the lengthy text that came with the press release: "[The album] suggests to us that being human and being a human being are not necessarily the same thing, but that human be-ing, with its delicate balance of sensuousness, violence, ethical sensitivity, ugliness and grace, is still being sketched out." It'll come on double vinyl, CD and digital formats.
This will be the third release on Mundo Recordings, which launched earlier in 2014 and has so far put out an EP and album from veteran US producer Stewart Walker. On the Murcof front, news of the upcoming collaborative album comes shortly after this announcement from The Leaf Label, home to his highly sought-after solo studio LPs. The label will celebrate its 20th anniversary next year with some vinyl reissues, and fans can offer input, via a poll, on which records (from Murcof and the likes of Caribou and Roll The Dice) they think should get the treatment."
- Resident Advisor
- Mundo Recordings - Bandcamp
- "Natura Morta, "dead nature" or "still life". This album can be understood as a powerful study of the minute details of the art of electro-acoustic composition, as much as the Renaissance "nature morte" were a masterful display of the artists skill in portraying the glow of a ripe fruit, or capturing the light beaming on a vacant chair.
Six tracks, to be listened to as two long explorations in the art of variation and repetition. Layers of drums and percussions intertwine with synth waves making the portrait come to life, detail after detail, until a complex figure emerges from the white canvas. The constant, unsteady sounds, wavering noise, swirling cymbals, and distant feedback gently pull the listener into the picture, letting them enjoy every detail of this beautifully staged compositions.
Recorded at EMS studio, Stockholm, ZKM in Karlsruhe and at the legendary Funkhaus in Berlin, this album mixes influences from both Italian minimalism and the electro-acoustic contemporary scene. Somewhere in between the electronics of Keith Fullerton Whitman, the percussive repetitions of Jon Mueller, and the atmospheric sensibility of Pan-American."
Miasmah - Soundcloud
Andrea Belfi (born 1979)
- "is an Italian electro-acoustic musician and composer.[1] He began playing drums at the age of 14. From 1995 to 1998 he's been involved in numerous punk bands. He studied art in Milan, before becoming involved in experimental music in 2000. He's been member of electronic outfit Medves (with GIuseppe Ielasi, Stefano Pilia, Riccardo Wanke & Renato Rinaldi), the duo Christa Pfangen with Mattia Coletti, the trio Rosolina Mar.
From 2002 he's been collaboration with a wide range of artists like: Carla Bozulich, Mike Watt, David Grubbs, Stefano Pilia, Aidan Baker, Simon James Phillips, BJ Nilsen, Ignaz Schick, Mattia Coletti, Å, Attila Faravelli, Machinefabriek, David Maranha, Attila Faravelli, Giuseppe Ielasi, RCF, Riccardo Wanke, Renato Rinaldi.
Marsen Jules - Sinfonietta Ummm...right. Well, it sounds nice.
FRANK BRETSCHNEIDER + STEVE RODEN - Suite Nuit
Janek Schaefer - Unfolding Luxury beyond the City of Dreams
His second of the year. This one's perhaps in more familiar territory than his 12k release. Nice.
Wil Bolton - Whorl
"Ben Frost follows the wonderful A U R O R A album with V A R I A N T, an EP of remixes from some true visionaries. Evian Christ turns in his own brand of devilish trap, twisting 'Venter' into a metallic nightmare jam. Dutch E Germ, aka former Gang Gang Dance drummer Tim DeWit, fashions a sea of noise and shifting sound patterns from the track, while with the moody delights of HTRK take it into somber late-night mode. The B-side is taken up of two different tracks, the first a remix of 'No Sorrowing' from Kangding Ray, whose take is a gurgling body of body techno. 'Nolan' gets a Self Medicating Edit from Regis, a deep and lustrous vision of ice and storm. "
Bleep
Mute Records
This is first Volume of a complex story about conspiracy, magic, and spirituality. Minimal synths, guitars, syncopated rhythms that are making weird, psychedelic and transcendental noises which are of course accompanied by the distinctive voice of Ka-Spel. Lying on your sofa, pumping up the volume and just dream away on their ethereal sounds.
10 to the Power of 9 is a dark and exceptional trip into their warped and bizarre musical psyche.
For sure one of the best Concept album of the Band.
Edward- Ka-spel:
- "There are 10 people who run the World. They are all male and presidents, magnates and high priests all do their bidding. The 10 live in villas in the remotest part of the Himalayas- a place that absolutely NO ONE would ever stumble upon. Although the 10 live in such close proximity to each other, they choose to have meetings in the back room of a small office in London. Thats where the decisions are made. Thats where the wars begin, thats where the dice are tossed across the table to establish who wins, who loses, who lives, who dies.
The classic conspiracy theory to end them all and I listened ,open-mouthed , hair falling into my eyes . It was maybe 1976 when I heard this first. You are right to snigger at my naivety. I listened and twisted this story around inside my head , and it did indeed seem completely unbelievable. Now of course its 2014, and Im older and wiser and I have to laugh at myself too. Now I know wasnt a theory. Now I know its true"
- Rustblade</div>
:-)<div><img src="http://cf-images.emusic.com/music/images/album/152/558/15255838/600x600.jpg" alt="Quixotism album cover"> <br></div><div>Oren Ambarchi - guitars and percussion
with
Thomas Brinkmann - computable drums with an application to the Entscheidungsproblem (Parts 1-5)
Matt Chamberlain - drums & electronics (Parts 3 & 4)
Crys Cole - contact mics & brushes (Part 4)
Eyvind Kang - bowed gender (Part 1) & violas (Part 5)
Jim O' Rourke - synths (Parts 4 & 5)
John Tilbury - piano (Parts 1 & 2)
U-zhaan - tabla (Part 5)
Ilan Volkov & the Icelandic Symphony Orchestra (Parts 1 & 3)
- "Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Ambarchis work in recent years has evinced an increasing fascination with the possibilities of combining abstract sonic textures with rhythm and pulse, whether in his drumming with Keiji Haino, the subtly driving ride cymbals provided by drummer Joe Talia in their work together, or the motorik grooves of Sagittarian Domain (Editions Mego, 2012). Quixotism takes this aspect of Ambarchis recent work to the next level: the entirety of this long-form work is built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilburys delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, being joined by master Japanese tabla player U-zhaan for the pieces final, beautiful, passages.
The pulse acts as thread leading the listener though a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of Crys Coles contact-mic textures. Ambarchis guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the pieces steadily pulsing foundation, elements approach and recede, appear and reappear, in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim ORourkes synth and Evyind Kangs strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Eliane Radigue, and the organic push and pull of improvised performance, Quixotism is constantly in motion, yet its transitions happen slowly and steadily, so that they are often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.
Anyone who follows Ambarchis work knows that it has many facets: explorations of the outer limits of rock with Keiji Haino, psychoacoustic interference and sizzling harmonics in his solo performances, delicate improvisations with Keith Rowe or John Tilbury. To all these projects, Ambarchi brings his particular sensibility, patiently allowing sounds to develop on their own terms without forsaking their intrinsic physical and emotional power. Similarly, although Quixotism is shaped by its many contributors, the resulting sound world is unmistakably Ambarchis own. His most substantial solo release since Audience of One (Touch, 2012), Quixotism represents the summation of Ambarchis work over the last few years while also pointing to the future."
Editions Mego</div>
[align=center]
N(36) - Heven . . . . . . . . . . . . . . . . . . . . . N(35) - Saarn[/align]- "N is the moniker of Dortmund-based German experimental guitarist Hellmut Neidhardt. December 2014 marks the release of two new solo records, N(35) Saarn and N(36) Heven, both of them slightly entering aspects of drone he did not work on that much before. With both Saarn and Heven, N is focusing on the use of vibrant distortion, but in distinctive different ways within the concept.
The whole 3-track album Saarn is determined by oscillations between heavy and minimal with a mood of (at least the danger of a coming) aggression even in its most silent parts. The opening piece, Toevermanns Gruben, is telling the story of an imaginary place buried under huge amounts of gritty fuzz, while Seltene Erden keeps irritating with its movement in static. The closing piece, Schwarze Heide, then walks further the dark path that was first discovered with Wehle (from N(22) Goor) some time before.
Heven in fact achieves very different results, even while using the same tools: way more ethereal, otherwordly in its atmosphere, proving that even the utmost minimalism can gain an intense feel of beauty, a fortiori when Heven I changes from stuttering static to a broken melody before getting lost in its own memory, somehow. Heven II finally just uses grainy white noise to built up a cathedral of feedbacks, infinitely reflected."
Denovali Records
In truth, the piece can only be fully realised, as well as best experienced, in its physical embodiment, performed on or by founding member Andrew Unruhs gigantic instruments and noise generating devices that visually evoke the horrors the work describes or embeds in the sounds they conjure from the filth and terror of the industrialised 20th century world at war with itself.
But in fulfilling what at first appears to be a surprise commission for such a formidable longtime outsider group, Einstürzende Neubauten transformed the earthy, idiosyncratic contents they mined from academic, state, music hall and internet archives with the help of their two researchers into a richly complex cycle of original and cover songs and performance pieces.
The music often originated in LAMENTs storytelling needs, be it in terms of sounds used or compositions structured along First World War flow charts or scored from calendars of the involvement of the 20 plus countries embroiled in it. The way LAMENT plays off pre-existing and composed materials, pieces clipped together from historical records next to direct cover interpretations, or indeed their Frankenstein like construction of an ur-anthem/national hymn delivers a differently angled history of the war.
Finally, LAMENT opens Bargelds case that the First World War never ended - the interwar and postwar periods being essentially pauses for breath as the great military powers carry on their conflict at some remove in faraway wars fought by proxy. . . . ."
https://neubauten.org/en/lament
Rafael Anton Irisarri - Will Her Heart Burn Any More
Available for pre-order, releases Jan 31. Looks like an EP. One track to stream. Much noisier than his last release.
"Never a closed chapter," as confirmed by the three members, but "rather put on hold" to concentrate on the System project, their solo endeavors and other production assignments (including film soundtracks), Future 3 return with an album of airy, ethereal-yet-epic compositions that both nod to the trio's nineties roots but also take in all the various musical experiments, ventures, and releases that have seen the light of day since 2001.
The band's first album in 13 years, With and Without inhabits, as the title indicates, two different kinds of sonic realms: The "With" part refers to a series of song-based pieces Remmer, Skaaning, and Knak recorded with album guests Thomas Meluch (better known as Benoît Pioulard) and Anja T. Lahrmann (Ice Cream Cathedral); "Without" in turn, points to the other half of the album, comprised of instrumental, ambient-sounding pieces written and recorded without guest contributions. . . . ."
Morr Music - Soundcloud
RYUICHI SAKAMOTO / ILLUHA / TAYLOR DEUPREE - Perpetual
On pre-order now, one track streamable, releases Jan 27.
Anne La Berge | Flutes and voice
Joe Williamson | Double Bass and voice
- "Flutist-composer Anne La Berge, an American living in Amsterdam, and bassist Joe Williamson, a Canadian based in Stockholm, have formed a new duo. Both artists are known for their eccentric approach to text, either in song writing, or music compositions. With two intriguing text/music pieces that sound like odd radio plays, they introduce the listener to the ambiguities of their unrestricted fantasy. A pleasurable, sometimes hilarious, ride."
Unsounds
All n4tural : voice
Michel Banabila : ebow, guitar, logic pro, field recordings
Grzegorz Bojanek : field recordings
Oene van Geel : viola, stroh violin
Radboud Mens : glass sounds, dopplo, treatments
Yuko Parris : voice, squeaky sounds, electric piano
Rutger Zuydervelt : philicorda organ
- "As you’d expect from a file-sharing project such as this, which features All n4tural, Michel Banabila, Grzegorz Bojanek, Oene van Geel, Radboud Mens, Yuko Parris, and Rutger Zuydervelt, it brings together a broad palette of sounds and textures: elegiac strings; warm organs; breathy vocals; atmospheric samples and ethereal guitars. What’s more surprising is the sense of cohesion achieved throughout the EP. The overall sound is lush but downbeat; like a more ambient, exploratory and cinematic Sigur Ros on the two vocal tracks and then successfully synthesising elements of brooding electronica and ‘world music’ on the melancholic closer, ‘Silent World’.
This definitely sits at the more sophisticated end of the experimental music spectrum and is little too slick for my crude lug ‘oles. Nevertheless, it will undoubtedly hit the right spot for lovers of atmospheric and dreamy contemporary film scores."
- Norman Records.
€music
Sven Kacirek (drums and percussion) has released three solo albums thus far, including the highly praised "Kenya Sessions" in 2011. He has collaborated with Marc Ribot, Nils Frahm, Hauschka and F. S. Blumm."
Kenya meets Krautronics: Stefan Schneider and Sven Kacirek bring African rhythms into dark electronica:
- "Under the auspices of the Goethe Institute and Unesco, Stefan Schneider and Sven Kacirek have spent a fair amount of time in Kenya in recent years. As they travelled the country, they recorded rare, traditional music in different locations, subsequently releasing two albums of unembellished field recordings to document their findings.
"Shadows Documents" takes a different approach: Schneider and Kacirek graft their acoustically gleaned impressions of Kenya onto pure electronic templates (with analogue accents). Field recordings as such cannot be heard. A central role is played by the repetitive, hypnotic element which is so integral to tribal music with its complex rhythms. Both musicians share a fascination with these very rhythms, a recurring theme in their careers to date: clearly audible in Stefan Schneider's work with Kreidler and To Rococo Rot, as well as on his albums with Hans-Joachim Roedelius. In Kacirek's case we can look to his solo albums for evidence, in particular on the much lauded "Kenya Sessions".
The duo's modus operandi differs from that of renowned Krautrock pairings such as Dieter Moebius/Mani Neumeier or Michael Rother/Klaus Dinger (= NEU!), where the drum kit plays a dominant role as the driving force. With Schneider and Kacirek, drums mutate into a sort of synthesizer instrument, almost subliminally melting into the sound of other instruments as a virtual observer, adding a certain nuance here and there, rather than performing a more catalytic function. Played with greater restraint, the drums create variations, translating physique into precision. Synthesizers, meanwhile, assume many of the percussive duties.
A prominent guest musician joins the duo on one track. Niklas Addo Nettey, a Berlin resident since the early 1980s, played with Fela Kuti 70."
Bureau B - 1 free track @ Soundcloud</div>
;-) <div><a href="http://www.emusic.com/album/malcolm-middleton-david-shrigley/music-and-words/15400985/"><img src="http://cf-images.emusic.com/music/images/album/154/009/15400985/600x600.jpg"> </a><br></div><div> Melodic Records - Story Time . . . @ Soundcloud</div>
Frank Zappa , Devin Townsend, Fredrik Thordendal (of Meshuggah), Crimson ProjeKCt (Adrian Belew, Tony Levin), Squarepusher,Daedelus, Bill Laswell, Tosin Abasi, Steve Vai, Trey Gunn, Henry Kaiser, Fleshquartet, Karmakanic, Spoonman, Glenn Huges, Dale Bozzio, Mike Keneally, Denny Walley and Kaipa.
[url="https://morganagren.bandcamp.com/album/batterie-deluxe-morgan-gren-solo-debut"][img]https://f1.bcbits.com/img/a3120853317_14.jpg [/img][/url]
All instruments by Morgan Ågren. Additional keysolos on tracks 1, 4, 5, 6, 7, 9 and 14 by Mats Öberg. Electric violin solo on tracks 1, 2 and 10 by Neyveli Radhakrishna. Words on track 2 by DJ?Fetisov. Chorus and arrangement on track 5 by Tina Ahlin. Words on track 4 by Mamadou Sene. Chorus and arrangement on track 2, ebow guitar on track 11 and electric sitar on track 14 by Simon Steensland. Guitar on track 8 by Jimmy Ågren. Voice, bass, guitar and keyboards on track 13 by Devin Townsend. Guitar on track 13 by Fredrik Thordendal. All tracks composed by Morgan Ågren, except track 13 by Devin Townsend, Morgan Ågren and Fredrik Thordendal.
Morgan Ågren
- "started playing drums when he was four years old and has ascended from a Swedish teenage phenomenon in the early 1980s to a leading light of progressive rock on the international music scene. Born in Umeå in northeastern Sweden, Ågren was 14 years old when he teamed with then-10-year-old blind keyboardist Mats Öberg. Renowned for their band’s versions of music by Frank Zappa, Ågren and Öberg were invited to perform as guests at a 1988 Zappa concert in Stockholm, and take part in several projects in the U.S., including the 1991 concert that produced the Grammy-winning Zappa’s Universe. Solidifying their own distinctive aesthetic, Ågren and Öberg began issuing their recordings on Ågren’s Ultimate Audio Entertainment label in the 1990s and established the Mats/Morgan Band as a quintessential embodiment of adventurous jazz-rock. At the core of Mats/Morgan and any Ågren endeavor—from the Swedish Grammy-winning drum-enhanced string quartet Fläskkvartetten (Fleshquartet) and the prog band Kaipa, to collaborations with Bill Laswell, Steve Vai, Fredrik Thordendal (of Meshuggah), Tony Iommi, Terry Bozzio, Mike Keneally, and Dweezil Zappa—are the thunderous attack, monstrous chops, and rhythmic intricacy that earned Ågren number one fusion drummer ranking in the 2010 Modern Drummer readers poll."
- Lastfm bio.
Should give Morgan a check
Sacred Ground
(Music for a documentary about Mt Rushmore and Wounded Knee.)
Nachtstücke
(260 minutes of "scenery in artificial light, or moonlight")
offthesky - Light Loss
on Dronarivm
JD McPherson - Let the Good Times Roll
Expected release is Feb. 10 or thereabouts. Album will be streaming on NPR next week. Link to All Things Considered article.
From the 2 snippets I heard on Amazon, it sounds like it's going to be a very good album.
(S.I.N.K. #10 - released 16 November 2014)
- "following a series of highly acclaimed releases on gift tapes, sicsic and his own cosmic winnetou label, among others, mood-modular maestro guenter schlienz presents a collection of works utilising tape loops and acoustic instruments as well as his familiar modular undulations.
It is a rich combination that takes guenter's sound off through music halls, into the clouds and then back again to the self. this is deeply focussed and reflective work that rounds off this series of 10 S.I.N.K. CDs releases in perfect stye.
Study hard, loop soft."
- "Günter Schlienz is a quiet handed modular scientist, building his own instruments to create quality cosmic sounds.
After an early musical education on a recorder he taught himself how to play the guitar and played in various rockbands. Since 1998 hes an active experimental musician with different formations, live and studio. In 2003 he started building of diy synthesizers and playing them in the studio and live."
More Guenter Schilienz @ Emusers</div>