Anoyo ("the world over there") draws from the same sessions which led to the 2018 work Konoyo but rendered starker, solemn, and stripped back, with more of a naturalist tint. Hecker's processing here moves in veiled ways, soft refractions and whispered shrouds woven within improvisational sessions of traditional gagaku interplay, evoking a sense of vaulted space, temples at dawn, shredded silk fluttering in the rafters. This is boldly barren music, skeletal and sculptural, shaped from wood, wind, strings, and mist. Modern yet ancient, delicate and desolate, Anoyo inverts its predecessor to compellingly conjure a parallel world of illusion, solitude, and eternal return.
Alva Noto’s 2000 debut album ‘Prototypes’ is finally, officially available to download for the first time, with a bonus track to boot.
- Upon its release, ‘Prototypes’ marked a new high water mark of precision tooled electronic minimalism. Recorded 1999-2000 in Berlin, it morphed inspiration from sculptural work by Austrian artist Walter Pichler, known for his radical architectural work, into a series of ultra sparse, spacious arrangements of icy rhythmic pointillism, dense subbass, and barely there tonal presences for the Mille Plateaux label. 19 years (jeeeeez it’s never that long?!) later the album still sounds exceptional. It’s patently a product of the glitch era, yet future-proofed by its meticulously minimalist, near-elemental approach to the fundamentals of sound and music. Carsten Nicolai aka Alva Noto’s solo music has remained mostly minimalist ever since, but has taken on some more fleshly body over the years, leaving ‘Prototype’ as a skeletal Ur-text reminder of where he and electronic music have been and gone over the past 2 decades.
Since the mid 1970's, Randy Greif has been pushing the boundaries of auditory arts, often incorporating electronic, computer and concrete music with spoken word, "sound theater", and field recordings. Location recordings in places such as Amazonia, New Guinea, and Thailand have found their way, often manipulated, into some of Greif's music, branding it as "tribal" electronics. Trademark styles are dense layers of atmospherics, cut-up vocals, and shifting minimal rhythms. "Dark" and "hallucinatory" are often used to describe the overall tone of his work.
Violin: Antonia-Alexa Georgiew Cello: Christina Ruf Harp: Petra Mallin Trombone: Jakob Mayr Tuba: Daniel Smith Percussion: Tobias Steinberger Marimba: Florian Klinger Drums: Daniel Brandt Moog: Jan Brauer Piano: Paul Frick
Christopher Willits presents his latest piece, Sunset, with simple instructions: "Begin the music 15 minutes before the sun sets." The five compositions move from warm to cool designed as a soundtrack to embrace the day's end; a collective letting go.
As with 2017's opus Horizon, the first ever spatial audio release on Ghostly International, Sunset is produced to listen from within. Using the cutting-edge immersive audio venues and tools of his nonprofit, Envelop, Willits projects a path for the future of electronic music.
“When I was 13, I understood that my life’s path was to make music in the service of love, peace, and spiritual healing. Music is a medicine that allows us to feel, listen and surrender to the present moment. The compositions I create move through my imagination, heart, and hands, like guitar through a speaker, and light through a lens. I am continuously learning and evolving with the process; a practice of letting go of all that I create, as it creates me.”
“When I was 13, I understood that my life’s path was to make music in the service of love, peace, and spiritual healing. Music is a medicine that allows us to feel, listen and surrender to the present moment. The compositions I create move through my imagination, heart, and hands, like guitar through a speaker, and light through a lens. I am continuously learning and evolving with the process; a practice of letting go of all that I create, as it creates me.”
Recorded live 2018. Mixed by Eric Drew Feldman. Mastered by Carl Saff. Art by Casey Howard. released May 23, 2019
"In Between Dreams" is a brand new live album from The Residents' most recent touring show. It focuses on dreamlike material from their vast catalog plus a sneak peek at some BRAND NEW unreleased songs!!! It will be the band's first new live album to be pressed on vinyl since their 1990 "Cube E" album. The artwork for the album as well as a bonus LP was created by Resident's collaborator Stott Howard, and portrays a surreal Residents themed fantasy world.
All the funds generated by the sales of this album will be donated directly to City Plaza Hotel, a squatted refuge located in the heart of Athens, Greece, organized for and by migrants from Africa and Asia. These funds will support their struggle to provide material needs for those fleeing economic, environmental, political and military disasters in their home countries. At City Plaza Hotel residents work together in ways that center their own agency, dignity and solidarity with each other.
This compilation in no way claims to represent the voices of refugees and migrants, nor does it represent the scores of incredible musicians from the Middle East, North Africa or Central America whose communities are being disrupted by mass migration. Rather, the artists participating in this compilation recognize that their lives and art have benefitted from the relative ease with which they are able to move across borders, performing for international audiences and developing relationships across cultures. Some of the artists involved are the children of immigrants, or have their own experiences of migration and relocation. All of them share a belief in a basic freedom of movement and stand in solidarity with those migrants and refugees who are struggling to make a better life for their families and themselves.
Panzerpappa is the definitive Norwegian instrumental Avant/Progressive Rock/RIO group. Their inventive and playful sound
("Progressive Rock
with a friendly face") is at once reminiscent of inspirational
precursors such as Samla Mammas Manna, King Crimson, Henry Cow, Univers
Zero and Frank Zappa, while at the same time sounding unmistakably like
... Panzerpappa!
Out today on the russian FANCYMUSIC label: (Could have been posted on the BC jazz thread)
The brothers Peter and Pavel Petyaev (saxophone and guitar) and Ivan
Bashilov (bass guitar) recorded this album with two sets of musicians.
Karina Horhordina (trumpet) and Viktor Tikhonov (drums) tale part in the
first four tracks. Here, in free noise improvisations, a lyrical
musical narration is often born out of chaos and rage, which is then
again replaced by expressionistic blasts of sound. Pavel Petyaev
gravitates towards the lyrical pole of this music. Echoes of both
Russian folklore and gloomy blues in the spirit of Tom Waits and Mark
Ribot can be heard in the guitar chords. Saxophonist and painter Pyotr
Petyaev is responsible for shrill and screaming timbres of the ensemble.
The way Pyotr plays resembles expressive colors of his paintings.
Drummer Sergey Balashov and pianist Fedor Amirov appear in the second
part of the album. Tense roaring bursts and abstract textures in
Amirov’s masterly performance are resolved into hip-hop rhythms, funk
and melodic musical passages. Poetic and emotional harmonies now and
then appear in compositions that formally resemble songs. The vocalist’s
place, however, is taken by the roaring saxophone of Peter Petyaev, and
a constantly pulsating rhythm section breaks the musical fabric in
expressive moments and dances in an irrational whirl.
Andrew Liles is a prolific solo artist, producer, remixer & sometime member of Nurse With Wound and Current 93. He has been
recording since the mid 80's & has appeared on well over 200 releases.
The music of Ben Frost is about contrast; influenced as much by Classical Minimalism as by Punk Rock and Metal, Frost's throbbing guitar-based textures emerge from nothing and slowly coalesce into huge, forbidding forms that often eschew conventional structures in favor of the inevitable unfoldings of vast mechanical systems.
kaleidoscopic chimes and playful bells tumble against each other.
twinkling notes drift down in little flurries, then melt away as sunlit
chords push aside the clouds. Low, thrumming bokeh echoes bring distant mountaintops intimately close,
then curve down into hushed forest floors, winds whispering through
leaves overhead. tiny layers of loops and quiet delays, jumbled
melodies, sparse crackling branches, and somber swells invite
contemplation of these fragile spaces.
OK, so the bandcamp description is a bit flowery, but Darren Harper has made some of my favorite drone music, so I am excited to see this new one appear. (If you are new to Darren, Rising Sea is one of my favorites.)
"Ypsilon" is the second collaboration between Uwe Zahn (Germany), Porya
Hatami (Iran) and Darren McClure (Japan). The trio have also worked
together on numerous collaborative projects between each other as duos,
and "Ypsilon" album finds them back together, ever expanding their
shared aural ideology into new territories. Their 2016 release,
“Veerian,” [eilean rec.] focused on free-flowing soundscapes, whereas
this new album incorporates more overtly melodic sequences and rhythmic
elements to widen its horizon. As on “Veerian,” Zahn, Hatami, and
McClure paid meticulous attention to sound design for “Ypsilon.” The
inclusion of subdued beats adds a swing to the textural layers, and
arpeggiated sequences imply rhythm and momentum. Other tracks remain
blissfully ambient, taking time to unfold and breathe without any
rhythmic framework. This balance between gentle propulsion and beatless
soundscapes, melodic and ambient, lends the album a unique character and
takes it into fresh new areas of experimentation for the trio.
I am an unashamed Porya Hatami completist - most of what he touches is gold. Darren McClure is pretty great too. Uwe Zahn I know less thoroughly, but I like the releases I do have. This one sounds pretty different from their last collaboration from what I have heard so far, but still with great texture. Anyway, when Porya drops a new album, I hit the "buy CD" link pretty quickly - I am four days late on this one!
This piece explores sonic transmissions and emissions, radio, morse
code, sonar, satellite, blue tooth, and wireless. From our efforts to
track and transmit into our solar system using radio, to blue tooth
connections across the room, this work examines the ephemeral sonic
tools we use and the traces these leave as we attempt to reach each
other. It is an ode to the fragility, dynamism and determination
encapsulated in the ways we attempt to connect.
Contact is an edited version of a live performance at Radiophrenia Festival in Glasgow on May 15, 2019.
ONLY CHILD TYRANT is the punked up kid brother of Two Fingers. He’s stroppy He’s relentless. He likes He likes the number 6.
He’s been listening to his uncle’s collection of rock (from Beefheart and Zeppelin to Fugazi via Dick Dale and beyond) and stealing his brother’s 90’s mixtapes and it’s all gone to his head.
ONLY CHILD TYRANT is the Artful Dodger of Post-rock meets beats He’s been listening to his uncle’s collection of rock (from Beefheart and Zeppelin to Fugazi via Dick Dale and beyond) and stealing his brother’s 90’s mixtapes and it’s all gone to his head. ONLY CHILD TYRANT is the Artful Dodger of Post-rock meets beats
In the eight years since ISAM I've developed six different projects, each with its own distinct sonic aesthetic. Two of them, including my own name releases and my Two Fingers alias, are established already. Only Child Tyrant is the first of these to come out entirely fresh as a new moniker on my label Nomark. The album is rooted in catchy upbeat recordings which could arguably be described as the most accessible of the music touched on in early 'Amon Tobin' records. That is to say, prior to the more experimental electronic direction I've chosen to develop under my own name since. The energy and spontaneity of those early releases has been captured and developed fully into an entity of its own, with added surprises along the way, not least of which is a guest vocal appearance by Figueroa, who will see his own debut on Nomark in the forthcoming months
Extraordinary
unreleased homemade electronics from the late 1960s made by a pioneering
ballet dancer and musician. There are very few Ernest Berk
recordings. As a pioneering ballet dancer, instructor and electronic
music artist he was surprisingly prolific. He made music for all sorts
of uses -- he even made library music -- and of course this very album
of his music for two of his ballets. Towards the end of his life Ernest
Berk gifted his entire collection of works, tapes, documents, and all to
the Historical Archive Of The City Of Cologne. Tragically, in 2009, a
large part of the archive collapsed (due to the construction of an
underground railway) destroying 90% of everything. Berk's tapes have
tragically never been recovered. They are assumed lost forever. So these
two recordings -- issued privately circa 1970 -- remain precious, to
say the least. There were no masters, this new pressing was simply
transferred from the original copy held by his family. Trunk have done
their best to restore the sound. The original notes have also been
reproduced, and from what Trunk can gather, this album may well have
been pressed and given away as promotion for the Dance Theatre Commune.
The original album came with a small piece of paper with a geometrical
squiggle stuck on the front.
Ernest Berk was born in Cologne,
Germany and came to England just before the war. He started a dance
company in London and wanted a sound especially suited to his
experimental dance style. This he found in electronic music. Berk felt
that electronic music was able to express the feelings of contemporary
society in a more potent and communicative way than conventional forms
of music. This is not to say he disregarded traditional forms of music,
rather, he blended the best elements of both, creating a new and
exciting sound. Over the years he gained an international reputation as a
composer of electronic music. His works have been heard in Berlin,
Cologne, Florence, Edinburgh, United States, to name a few.
Jamie Saft - piano Dave Liebman - tenor & soprano saxophone, flute Bradley Christopher Jones - acoustic bass Hamid Drake – drums released June 28, 2019
With contributions from The Residents, Tuxedomoon, Renaldo & the Loaf, Fred Frith and many more.
Hardy Fox grew up in Texas. After college he moved to San Francisco
reveling in the free love days of 1967-68. He co-founded the much loved
cult band, the Residents, where he was primary composer. The Residents
recorded such groundbreaking albums as Eskimo, Duck Stab, Commercial
Album or Fingerprince and continue to inspire, record and tour until
this very day. They aren't only known for their avantgarde music, but
also for their multimedia CD ROMs and their DVDs. Throughout the group's
existence, the individual members have ostensibly attempted to operate
under anonymity, preferring instead to have attention focused on their
art output. Much outside speculation and rumor has focused on this
aspect of the group. In public, the group appears silent and costumed,
often wearing eyeball helmets, top hats and tails—a long-lasting costume
now recognized as its signature iconography. In 2015 Hardy retired from
the band, and two years later identified himself as the band's
co-founder and primary composer. Hardy continued to record under various
pseudonyms, best known as Charles Bobuck, until later he worked under
his own name and released such seminal albums as Heart or Rilla
contemplates Love. A week before his untimely death, Hardy recorded a
very personal good-bye to his fans, a
mini album entitled 25 Minus Minutes. For many of us, Hardy wasn't only
a genius musician, but also a close personal friend. Philippe
Perreaudin and Walter Robotka have thus put together a tribute album to
him which collects specifically recorded music by former label mates,
collaborators and friends, and also some musical admirers. The cover was
made by Helge Wagner.
The music of Ben Frost is about contrast; influenced as much by Classical Minimalism as by Punk Rock and Metal, Frost's throbbing guitar-based textures emerge from nothing and slowly coalesce into huge, forbidding forms that often eschew conventional structures in favor of the inevitable unfoldings of vast mechanical systems.
Every month in 2019, Lärmschutz invites a fellow like-minded artist for a split release on Faux Amis records.
For the august installment, Eugene Chadbourne recorded two guitar tracks. Peaceful, unapologetic, minimal and fully immersed in the moment.
For side B, Lärmschutz responds acoustic, with double bass, prepared piano and guitar, maximizing the resonance from their instruments without forgetting their love for chaotic events.
Good listening for in between sleeping and waking times.
released August 20, 2019
Since the mid 1970's, Randy Greif has been pushing the boundaries of
auditory arts, often incorporating electronic, computer and concrete
music with spoken word, "sound theater", and field recordings. Location
recordings in places such as Amazonia, New Guinea, and Thailand have
found their way, often manipulated, into some of Greif's music, branding
it as "tribal" electronics. Trademark styles are dense layers of
atmospherics, cut-up vocals, and shifting minimal rhythms. "Dark" and
"hallucinatory" are often used to describe the overall tone of his work.
Gust Recorder is a project of a Moscow based musician Ilya Sizov. Having
started with playing bass and guitar in the postrock band Set the White
Flags on Fire Slowly (whose debut and the only album was released in
2008), Ilya began making music on his own a while after the band broke
up. After a long pause, he released two ambient mini-albums under an
alias Gale Warning and collaborated with the Russian art project
Northiness making the sound for its music videos. With his recent album
“Subnivean” Ilya starts the new project Gust Recorder and brings his
most robust work. Staying in the broad field of postrock/ambient genre
Gust Recorder frequently moves beyond it, putting together some evident
influences of electronic, noise and postmetal music.
Comments
Tim Hecker - Anoyo
This is boldly barren music, skeletal and sculptural, shaped from wood, wind, strings, and mist. Modern yet ancient, delicate and desolate, Anoyo inverts its predecessor to compellingly conjure a parallel world of illusion, solitude, and eternal return.
- Kranky
19 years (jeeeeez it’s never that long?!) later the album still sounds exceptional. It’s patently a product of the glitch era, yet future-proofed by its meticulously minimalist, near-elemental approach to the fundamentals of sound and music. Carsten Nicolai aka Alva Noto’s solo music has remained mostly minimalist ever since, but has taken on some more fleshly body over the years, leaving ‘Prototype’ as a skeletal Ur-text reminder of where he and electronic music have been and gone over the past 2 decades.
- Boomkat
- Boomkat
I can't find any info about this, but it's not the same as Module 4 from the Transform LP from 2001
Fennesz - Live at the Jazz Cafe
Fennesz performed live at the Jazz Cafe in Camden, London on 12th March 2019.
"A new album of music for drifting away..."
- Discogs.
Cello: Christina Ruf
Harp: Petra Mallin
Trombone: Jakob Mayr
Tuba: Daniel Smith
Percussion: Tobias Steinberger
Marimba: Florian Klinger
Drums: Daniel Brandt
Moog: Jan Brauer
Piano: Paul Frick
BBF at Emusers
Radiohead - MINIDISCS [HACKED]
my archived mini discs from 1995-1998(?)
it’s not v interesting
there’s a lot of it
if you want it, you can buy the whole lot here
18 minidisks for £18
the proceeds will go to Extinction Rebellion
as it’s out there
it may as well be out there
until we all get bored
and move on
Thmx
Christopher Willits - Sunset
The five compositions move from warm to cool designed as a soundtrack to embrace the day's end; a collective letting go.
As with 2017's opus Horizon, the first ever spatial audio release on Ghostly International, Sunset is produced to listen from within. Using the cutting-edge immersive audio venues and tools of his nonprofit, Envelop, Willits projects a path for the future of electronic music.
“When I was 13, I understood that my life’s path was to make music in the service of love, peace, and spiritual healing. Music is a medicine that allows us to feel, listen and surrender to the present moment. The compositions I create move through my imagination, heart, and hands, like guitar through a speaker, and light through a lens. I am continuously learning and evolving with the process; a practice of letting go of all that I create, as it creates me.”
released May 23, 2019
Zeitkratzer performs songs from Kraftwerk 2 and Kraftwerk
https://karlrecords.bandcamp.com/album/zeitkratzer-performs-songs-from-kraftwerk-2-and-kraftwerk
CUP - Soon Will Be Flood
NELS CLINE - Guitars, Percussion, Bamboo Flute, Vocal
YUKA C. HONDA - Electronics, Drum Machine, Piano, Synths, Vocal
This compilation in no way claims to represent the voices of refugees and migrants, nor does it represent the scores of incredible musicians from the Middle East, North Africa or Central America whose communities are being disrupted by mass migration. Rather, the artists participating in this compilation recognize that their lives and art have benefitted from the relative ease with which they are able to move across borders, performing for international audiences and developing relationships across cultures. Some of the artists involved are the children of immigrants, or have their own experiences of migration and relocation. All of them share a belief in a basic freedom of movement and stand in solidarity with those migrants and refugees who are struggling to make a better life for their families and themselves.
(Could have been posted on the BC jazz thread)
Karina Horhordina (trumpet) and Viktor Tikhonov (drums) tale part in the first four tracks. Here, in free noise improvisations, a lyrical musical narration is often born out of chaos and rage, which is then again replaced by expressionistic blasts of sound. Pavel Petyaev gravitates towards the lyrical pole of this music. Echoes of both Russian folklore and gloomy blues in the spirit of Tom Waits and Mark Ribot can be heard in the guitar chords. Saxophonist and painter Pyotr Petyaev is responsible for shrill and screaming timbres of the ensemble. The way Pyotr plays resembles expressive colors of his paintings.
Drummer Sergey Balashov and pianist Fedor Amirov appear in the second part of the album. Tense roaring bursts and abstract textures in Amirov’s masterly performance are resolved into hip-hop rhythms, funk and melodic musical passages. Poetic and emotional harmonies now and then appear in compositions that formally resemble songs. The vocalist’s place, however, is taken by the roaring saxophone of Peter Petyaev, and a constantly pulsating rhythm section breaks the musical fabric in expressive moments and dances in an irrational whirl.
Released June 28, 2019
The music of Ben Frost is about contrast; influenced as much by Classical Minimalism as by Punk Rock and Metal, Frost's throbbing guitar-based textures emerge from nothing and slowly coalesce into huge, forbidding forms that often eschew conventional structures in favor of the inevitable unfoldings of vast mechanical systems.
OK, so the bandcamp description is a bit flowery, but Darren Harper has made some of my favorite drone music, so I am excited to see this new one appear. (If you are new to Darren, Rising Sea is one of my favorites.)
ypsilon by Zahn | Hatami | McClure
Contact is an edited version of a live performance at Radiophrenia Festival in Glasgow on May 15, 2019.
- releases July 26, 2019
He’s stroppy
He’s relentless.
He likes
He likes the number 6.
He’s been listening to his uncle’s collection of rock (from Beefheart and Zeppelin to Fugazi via Dick Dale and beyond) and stealing his brother’s 90’s mixtapes and it’s all gone to his head.
ONLY CHILD TYRANT is the Artful Dodger of Post-rock meets beats
He’s been listening to his uncle’s collection of rock (from Beefheart and Zeppelin to Fugazi via Dick Dale and beyond) and stealing his brother’s 90’s mixtapes and it’s all gone to his head.
ONLY CHILD TYRANT is the Artful Dodger of Post-rock meets beats
(Posted by Amon Tobin at Soundcloud)
From Facebook:
Amon Tobin
Ernest Berk was born in Cologne, Germany and came to England just before the war. He started a dance company in London and wanted a sound especially suited to his experimental dance style. This he found in electronic music. Berk felt that electronic music was able to express the feelings of contemporary society in a more potent and communicative way than conventional forms of music. This is not to say he disregarded traditional forms of music, rather, he blended the best elements of both, creating a new and exciting sound. Over the years he gained an international reputation as a composer of electronic music. His works have been heard in Berlin, Cologne, Florence, Edinburgh, United States, to name a few.
Jamie Saft - piano
Dave Liebman - tenor & soprano saxophone, flute
Bradley Christopher Jones - acoustic bass
Hamid Drake – drums
released June 28, 2019
released August 16, 2019
A sixty minute survey of the Unseen Worlds label catalog, selected, mixed and processed by Spencer Doran (Visible Cloaks)
Released August 18, 2019
For the august installment, Eugene Chadbourne recorded two guitar tracks. Peaceful, unapologetic, minimal and fully immersed in the moment.
For side B, Lärmschutz responds acoustic, with double bass, prepared piano and guitar, maximizing the resonance from their instruments without forgetting their love for chaotic events.