tag:blogger.com,1999:blog-76499888009385145112024-03-06T05:49:51.425+09:00Dreamt about Dreaming...脳みその保管庫として.Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.comBlogger2116125tag:blogger.com,1999:blog-7649988800938514511.post-1286037720978029452019-12-21T13:30:00.000+09:002019-12-21T21:51:32.348+09:00Please Wait - Black & White<div style="text-align: center;">
<img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDjENiOUiDXHWjJlbSx1gzMSnwuEhXxljn5HVhXj5vm-93MUljZnZapXm10VTvWpHxt2EjtpNAR8OU83wN8kMBuYpRyzqQjYD290BUrFh0zY0z3e1Lo0ONxgukmkdC61uG9i71pdlhfcc/s800/please-wait-black-and-white.jpg" width="100%" /><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2801088431/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/" style="border: 0; height: 340px; width: 100%;"><a href="http://takuakaflip.bandcamp.com/album/black-white-ep"><br />
Please Wait is the culmination of numerous online exchanges and years of sharing voice memos, stems, musical ideas & TikTok links between Ta-ku and Matt McWaters. Their cathartic approach to this body of work has been more about self expression than anything else and has culminated in an EP that covers a range of issues and experiences from different times in their lives.<br />
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Ta-ku’s 823 label represents the appreciation for the people/ideas/places that inspire and push us forward. The artwork is shot by the artist themselves and each release has an accompanying photo zine that acts as a visual story to compliment the music being showcased.<br />
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Featured on ‘Flight 99’ is Masego - the soul super-heavyweight who needs no introduction, bringing his signature flow and musicianship to the forefront, accompanied by minimal yet vivid production.</a></iframe><br />
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<a href="https://soundcloud.com/takugotbeats" target="_blank">soundcloud.com/takugotbeats</a><br />
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<a href="https://soundcloud.com/mcwtrs" target="_blank">soundcloud.com/mcwtrs</a><br />
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<a href="https://music.apple.com/jp/album/1445447582?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is5-ssl.mzstatic.com/image/thumb/Music128/v4/91/3a/71/913a71b9-ee1a-1379-a720-02aae16e2c64/4018939360467_3000.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1489724692?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music123/v4/5e/8f/b0/5e8fb03d-be4e-3c31-b4fb-f2923d1711e6/4018939391867_3000.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/965806213?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is3-ssl.mzstatic.com/image/thumb/Music3/v4/9a/b9/5b/9ab95b40-2a12-d915-1031-58698b0f213b/812388025311.jpg/300x300bf.jpg" width="160" /></a></div>
Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-55227230995134100022019-12-10T14:16:00.001+09:002019-12-10T14:16:44.914+09:00Hyperswim: Hyperdub Compilation<div style="text-align: center;">
<img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXcZVKb3494ENRhyphenhyphenihc4Gglqj9rPh3VSt00vHgsj2L7VcCwOo1PPY8A78ziwpQOcDLBo8FrTiswYAbG4XoWbzMFQivCdDbiVei4g0OyWZJL54l-wknlWaUiUWXheGqJwGpprRAHVimRqo/s800/hyperswim-hyperdub-compilation.jpg" width="100%" /><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1953595619/size=large/bgcol=333333/linkcol=2ebd35/artwork=none/transparent=true/" style="border: 0; height: 777px; width: 100%;"><a href="http://hyperdub.bandcamp.com/album/hyperswim"><br />
Tracklist:<br />
01. MHYSA - Games<br />
02. OkZharp and Manthe Ribane - In Your Own Time<br />
03. Ikonika - Primer<br />
04. Proc Fiskal - Devlish River<br />
05. DJ Taye - Inferno<br />
06. DJ Haram - Get It feat Orion Sun<br />
07. Angel-Ho - Chaos<br />
08. Burial - Old Tape<br />
09. Doon Kanda - Perfume<br />
10. Mana - Climbing The Walls<br />
11. Dean Blunt - Darcus<br />
12. Scratcha DVA - Baka<br />
13. Cooly G - Nocturnal<br />
14. Nazar - Unruly<br />
15. Kode9 - Cell3<br />
16. DJ Spinn - Opioids<br />
17. Lee Gamble - Chain 9<br />
18. Laurel Halo - Crush<br />
19. Fatima Al Qadiri - Filth<br />
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<a href="https://hyperdub.net/products/hyperswim" target="_blank">hyperdub.net</a><br />
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<a href="https://music.apple.com/jp/album/1488825157?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is1-ssl.mzstatic.com/image/thumb/Music113/v4/32/87/90/328790c3-6415-614a-91ae-f21e0ce49c46/5055869593588.jpg/300x300bf.jpg" width="160" /></a></div>
Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-60607211054740519762019-12-05T08:08:00.003+09:002019-12-05T08:14:49.662+09:00Gareth Davis & Merzbow - Broken Landscapes<div style="text-align: center;"><img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ6SaEiJ9n-_YAjVPD_ZunHJ6z4jSQtaUHFnjufCDg__rTLI9d7sd3vJzWd2gcUNvM22UCjA6kSAALK8QMJcPu4blKue0cCIOBalNm0oaWPNtZDX4PgBcqjw63A7CszRYazJ769zrbuLE/s800/gareth-davis-merzbow-broken-landscapes.jpg" width="100%" /><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4288137289/size=large/bgcol=333333/linkcol=ff5500/artwork=none/transparent=true/" style="border: 0; height: 241px; width: 100%;"><a href="http://movingfurniturerecords.bandcamp.com/album/broken-landscapes"><br />
Following on from their 2016 Moving Furniture release, Atsusaku, Broken Landscapes is a new collaboration between Gareth Davis (Oiseaux Tempete, Scanner, Elliott Sharp, Machinefabriek) and Merzbow, Japanese noise mastermind Masami Akita.<br />
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The theme of mechanical compression explored in the first album is taken further this time, being looked at in the context of the fears of mechanisation in the environment. A torrent of noise reimagines the North Sea wind farms, the industrialisation in Southern California and the fight for the survival of animals in their overrun habitats. Through three tracks, the sounds of these spaces are crushed and distorted, the sense of air being saturated by the shifting low-end drones and hum of machines, howling reeds and dense white noise pushing away the breathing space.<br />
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The acoustic sound almost suffocated beneath the dense mechanical sweep of furiously abusive digital cross-fire and unrelenting production line intensity. Hints of recognition as a voice from the environment shines through before moving abruptly back into the mechanical barrage of looping textures. Broken Landscapes is built on impenetrably thick walls of manipulated field recordings while the bass clarinet saturates the midrange, the massive swirling mesh of analogue and digital material painting pictures of the magnified terrain that surrounds us.<br />
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Bass clarinet and Electronics: Gareth Davis<br />
Electronics: Masami Akita<br />
Mastered by Jos Smolders at EARLabs<br />
Lacquer cut by Andreas Lubich at LUPO<br />
Sleeve by Rutger Zuydervelt</a></iframe><br />
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<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/721678726&color=%23ff5500&auto_play=false&hide_related=false&show_artwork=false&show_comments=false&show_user=false&show_reposts=false&show_teaser=true" width="100%"></iframe><br />
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<a href="https://www.movingfurniturerecords.com/gareth-davis-merzbow-broken-landscapes/" target="_blank">movingfurniturerecords.com</a><br />
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<a href="http://klangtint.com/" target="_blank">klangtint.com</a><br />
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<a href="https://merzbow.net/" target="_blank">merzbow.net</a><br />
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<a href="https://music.apple.com/jp/album/1469003358?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/08/4f/72/084f727f-d154-2d4d-6c00-ca12b56048bd/193483979847.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1234243869?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is2-ssl.mzstatic.com/image/thumb/Music117/v4/6c/53/c4/6c53c465-1f1c-64e7-448c-c03f95470dff/753907985733_cover.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1474272288?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music113/v4/d8/6c/d2/d86cd2b3-d693-2d2b-452a-ffaa172a8ea7/cover.jpg/300x300bf.jpg" width="160" /></a></div>Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-7904299461277565582019-11-30T20:30:00.000+09:002019-11-30T22:22:41.632+09:00Merzbow - Pulse Demon (Remaster Reissue)<div style="text-align: center;">
<img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZbeFzirzDkmpcU-P0sdt_eUbexRmCW1TFt9Jm0RO3KjK79VX6ogVMQ0WXuQMgr8-c8p0cA-3FtpAmjryb-830crvZLSAUYJqpvML5HW6tTAvJrW6ay14NowdQ8q2AMDWEt020fWyvDZg/s800/merzbow-pulse-demon.jpg" width="100%" /><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=495297286/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/" style="border: 0; height: 439px; width: 100%;"><a href="http://merzbow.bandcamp.com/album/pulse-demon-remaster-reissue"><br />
Relapse presents a remastered reissue from the undisputed king of Japanese noise-MERZBOW. Pulse Demon is one of the most celebrated releases of Masami Akita's storied 4 decade long career. Composed entirely by live noise concrete and the use of a fuzz box, Pulse Demon eschews all overdubs and studio trickery, laying MERZBOW bare. What follows in these recordings is the pure essence of unfettered noise. The rawness in Pulse Demon is palpable; praised as "genuinely extreme, downright torturous sounds that are strangely compelling in their shredding intensity." (A.V. Club) upon its original release in 1996.<br />
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Remastered by James Plotkin (ISIS, ELECTRIC WIZARD, FULL OF HELL, and more,) the Pulse Demon reissue features "Extract 1", a never-before released track that was recorded as part of the original Pulse Demon sessions.</a></iframe><br />
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<a href="https://store.relapse.com/item/77473" target="_blank">store.relapse.com</a><br />
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<a href="https://merzbow.net/" target="_blank">merzbow.net</a><br />
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<a href="https://music.apple.com/jp/album/281914115?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is2-ssl.mzstatic.com/image/thumb/Music/d4/37/b1/mzi.iiikcfmo.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1479635174?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is5-ssl.mzstatic.com/image/thumb/Music123/v4/e1/05/81/e10581d5-7a8a-210a-e684-1c3f1dbb54dc/781676413010.jpg/300x300bf.jpg" width="160" /></a></div>
Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-78860732753463165442019-11-26T02:50:00.003+09:002019-11-26T02:50:55.503+09:00Ruby My Dear - Altaïr<div style="text-align: center;"><img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ylDAmzwVh0gu4sqEGnfPwpCtLRCoxzIwpeWlK5ka0hnujyx-AFtUxSD3GlzfcHccYRKlXhgVIhViM3a0DimsU4CMsJ8MQEfKjMXNLtM3PY0EoczhKBLvP5Nmi0LM6nYHgdHg61UaxH4/s800/ruby-my-dear-altair.jpg" width="100%" /><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2233251819/size=large/bgcol=000000/linkcol=ffffff/artwork=none/transparent=true/" style="border: 0; height: 307px; width: 100%;"><a href="http://rubymydear.bandcamp.com/album/altai-r"><br />
This is ‘Altaïr’, a collection of kaleidoscopic post-breakcore from veteran french surrealist Ruby My Dear.<br />
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The lights are out and a strange alien force surrounds the periphery of your hearing.. The sound of a haunting music box flickering in the darkness draws you closer but as you begin to approach everything explodes into dank crossbreed DnB rhythms that punch you in the gut and send you flying. As the bombardment of breaks momentarily subside you realise you’ve been beamed aboard the mothership and are now surrounded by unknown and indescribable visions.<br />
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You are given a brief moment to contemplate before your legs are swept from underneath you by a flurry of amens that would fry the minds of the hungriest of junglis’ epicures. Journeying deeper into the heart of the beast you become aware of distant and immense rumbles but are stopped in your tracks by grinding brutal machinery rising up on all sides. As quickly as it appeared it starts to collapse and you are plunged into near darkness once again.<br />
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Pulses of light slowly begin to stab rhythmically from behind clouds and you feel yourself begin to move faster and faster through a void that is now streaked by a spectrum of colour. Floating debris starts re-arranging around you at light speed and every fibre of your being is simultaneously stimulated with needle-like accuracy. As the last string plucks play out the darkness falls away and the cover artwork comes back into focus. You immediately leave wherever you are and encourage someone else to experience this music.<br />
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Artwork by TAPT.<br />
Mastered by Keith Tenniswood.</a></iframe><br />
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<a href="http://www.loveloverecords.net/" target="_blank">loveloverecords.net</a><br />
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<a href="https://soundcloud.com/dearmyruby" target="_blank">soundcloud.com/dearmyruby</a><br />
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</div>Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-28289655698647507582019-11-17T10:20:00.000+09:002019-11-17T10:30:41.732+09:00Teebs - Anicca<div style="text-align: center;"><img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_t0I7vWUenC6my98-PYEXJuq7Q9flbxomLAEZeG40xBzuHlVTaGs76q5HSc7Pc0uC7O4V4oHHcvxWhy0hQcobAgrjcZlkjrshQEz4DXxK-pNdKHars17SvpQ-F2Rvy0zaIQ77SfrkA1U/s800/teebs-anicca.jpg" width="100%" /><br />
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<iframe allow="autoplay" frameborder="no" height="720" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/907410574&color=%238d4d4a&auto_play=false&hide_related=false&show_artwork=false&show_comments=false&show_user=false&show_reposts=false&show_teaser=true" width="100%"><br />
The wait is finally over for new music by Teebs, aka Mtendere Mandowa. It’s been 5 years since his last body of work, but 25 October will mark the release of his next full length album “Anicca”. With the help of a host of musical friends including Panda Bear (Animal Collective), Sudan Archives, Ringgo Ancheta aka MNDSGN, Miguel Atwood-Ferguson, Anna Wise, daydream Masi, Former Boy, Pink Siifu, Jimetta Rose and Thomas Stankiewicz, the 47 minute LP fuses Teebs’ signature bright and fluid productions with the grounded and colorful elements of his collaborators.<br />
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With roots at the ‘My Hollow Drum’ collective, Dublab, and Low End Theory, Teebs is a staple in Los Angeles music. “My creative family in LA is so important,” he explains. “It’s a part of who I am when I step outside and how others in LA view me. I love the feeling of community and trying to understand how I can be useful in it.”<br />
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A consummate artist with a completely unique style, his ideas seemingly flow from a cloudy hidden realm of the ether straight through the medium and onto the canvas. As both a producer and a painter, his projects possess a flawless consistency that pull one deep into the worlds he creates.<br />
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Reflecting on his 5 year hiatus from releasing music, he says: “It feels like it [the music] comes from a different place now. My inspiration to work has changed and my choices with it. I’ve explored more with what tools and instruments I used and tried to be more open to collaboration.” The record showcases just how effortlessly his work lays landscapes for his guests’ contributions to blend in with his own production and Teebs himself is full of admiration for his collaborators. For example, of Panda Bear from Animal Collective, who is featured on lead single ‘Studie’ he explains that: “Everything he decides to do is pure gold or fine wine.” It’s a similar story with kindred spirit Sudan Archives who graces ‘Black Dove’ - of whom he says, “She really is a scary genius who deserves the world’s ears and eyes.”<br />
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The album was recorded mostly at home using his Roland SP-404 sampler, Mellotron M4000D synthesizer, seprewa (Ghanaian harp-lute), guitar and laptop - “If you listen closely you might hear my daughter speaking or my wife typing on a laptop on the record,” Teebs says smiling.<br />
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Family is at the heart of Mtendere’s life now and they are his primary source of inspiration. “My daughter was born the year after ‘Estara’ and taking time to watch her grow meant everything to me...” he explains. “Also my relationships with my wife,mother, brother, and the friends around me, and the mistakes I’ve made through my life have all inspired Anicca.” He also cites the American poet David Antin and his 1976 work “Talking at the Boundaries” as a notable read and a quote about art, nature and form from Hans Arp’s “Notes from a Dada Diary” that struck a chord with him during the making of the record.<br />
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As for the title - “Anicca” - it describes the impermanence of all being in Buddhism. Recognition of the fact that ‘anicca’ characterizes everything is one of the first steps in the Buddhist’s spiritual progress toward enlightenment. “It’s a reminder to myself that nothing is permanent,” he says.<br />
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A highly respected visual artist, Teebs created the artwork for “Anicca” just as he has done for his previous albums. “I’m using the two disciplines [music and art] together to explore the worlds of communication and semi abstractions” he explains. The artwork for “Anicca” started as a drawing about his wife and mother and evolved into an enamel pin that transformed again as he collaborated with his friend Megan Geer-Alsop to make a stained glass replica. That work later got photographed and digitally enhanced to make the cover. “The artwork is so special to me because of all the hands working together to create an idea,” says Mtendere. “The piece went through so much change and landed in a state of constant change being made out of glass with its colors and reflections… no matter how you look at it or what time of day it is, it’s always something different, yet the same... quite like nature works. It felt like life, like semi abstractions and like the album title.” </iframe><br />
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<a href="https://ninjatune.net/release/teebs/anicca" target="_blank">ninjatune.net</a><br />
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<a href="https://mtendereteebs.com/" target="_blank">mtendereteebs.com</a><br />
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<a href="https://music.apple.com/jp/album/815698772?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music6/v4/84/4a/01/844a012a-7c5b-fe57-fea9-43dd56ba5c42/4523132119120.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1479480771?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/75/e9/ce/75e9ce2f-d318-4883-1a8d-5fb95dbb2af9/5054429139594.png/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/477079159?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is3-ssl.mzstatic.com/image/thumb/Music/b8/9c/f0/mzi.bhehagbg.jpg/300x300bf.jpg" width="160" /></a></div>Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-90594780769498832732019-11-12T21:30:00.000+09:002019-11-12T21:30:07.698+09:00Stellaria Nemorum - Knight Rider<div style="text-align: center;">
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2263413098/size=large/bgcol=000000/linkcol=a31c04/artwork=none/transparent=true/" style="border: 0; height: 510px; width: 100%;"><a href="http://detund.bandcamp.com/album/knight-rider"><br />
Stellaria Nemorum<br />
Knight Rider<br />
DU-GRNBRGR1<br />
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The album Night Rider has developed over a period of a year and a half focusing on capturing and riding the darker subconscious waves of subconscious dreaming out into the light and shaping those into a ever growing reality of one desires the developing and moving energies pushing forward deeper structures and substructures through eerie soundscapes and layered intertwined beats formations. Glowing deep bass moving towards becoming bringing into the light and making it conscious.<br />
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'Atmospheric electronica, interlaced with industrial beats, dark melodic soundscapes,<br />
deep bass laced with moans and eerie voices’<br />
Stellaria Nemorum is taking you on a hypnotic ride.'<br />
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released November 11, 2019<br />
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BIO<br />
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Joanna Pavelescu a.k.a. Stellaria Nemorum is a dutch/romanian musician.<br />
she has a background in experimental film. While working in film she was always<br />
interested in good! sound and /or experimental music to accompany her visuals and it all started from there.<br />
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Her compositions have a dark eerie feel to them and are accompanied by heavy intricate edgy beats, deep bass sounds and melodic soundscapes.<br />
She sometimes uses field and voice recordings to create beats while playing with different styles she is interested in creating hypnotic journeys.<br />
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Graphic design by: Christoph Grünberger<br />
Taken from the book www.analog-algorithm.com</a></iframe><br />
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<iframe allowfullscreen="1" mozallowfullscreen="1" seamless="" src="https://bandcamp.com/VideoEmbed?track=1449557060&bgcol=000000&linkcol=a31c04" style="border: 0; height: 401px; width: 100%;" webkitallowfullscreen="1"></iframe><br />
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Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com1tag:blogger.com,1999:blog-7649988800938514511.post-39416884644929903932019-11-11T20:30:00.000+09:002019-11-12T07:27:08.369+09:00Max Cooper - Yearning for the Infinite<div style="text-align: center;"><img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8WbpmM7Ng-a4qckRpzIYKKF2-_rnFQ4ZyFDXGyq8MIiXmRxOqobdwcvZbdz9ILMgAsWtleeAO3TZOP87-npWSuYWy3IIpYrsI90ZkmYt9QbeRq6CohYsw2KgOgT61Q1MKIqhmf_nkKCQ/s800/max-cooper-yearning-for-the-infinite.png" width="100%" /><br />
<div style="text-align: right;"><span style="font-size: xx-small;">Artwork by <a href="http://renickbell.net/" target="_blank">Renick Bell</a></span></div><br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3781977928/size=large/bgcol=333333/linkcol=455a47/artwork=none/transparent=true/" style="border: 0; height: 610px; width: 100%;"><a href="http://maxcooper.bandcamp.com/album/yearning-for-the-infinite"><br />
Max Cooper - 'Yearning for the Infinite LP is out. Massive thanks to all of you who have supported me and my music over the years and who have created all the great gigs we've had together. It's only because of your support that I'm able to keep on making music. I hope you enjoy some bits from the new album"<br />
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Yearning for the Infinite is Max Cooper’s most expansive project to date - an audio/visual rendering of our obsession with<br />
the unobtainable.<br />
<br />
Presented as both an album scored to a visual story and a mind-blowing immersive audio/visual live show, Yearning for the<br />
Infinite was borne out of a commission from The Barbican, the arts and learning institution dedicated to pushing boundaries.<br />
<br />
Using vast new visualisations of the infinite drawn from the history of its appearances in the arts and sciences, he explores the link between human nature and the unbounded. Our evolving desires set just out of reach, as an unshakable source of meaning in our lives.<br />
<br />
“We are rats in the wheel, imprisoned by our nature to endlessly pursue. But the view of the essence of this process as a whole, is a beautiful thing.” - Max Cooper<br />
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Sonically, the album merges Max’s affinity for rich harmony and spatial manipulation with sweeping acoustics and subtly evolving motifs. Vast textures are offset against microscopic drum patterns whilst floating through endless caverns and limitless skies.<br />
<br />
Yearning for the Infinite is an album which provides both a strikingly original listen and a rare insight into Max’s creative process. Tasked with translating such an immense concept to a live performance, each track on the album is carefully<br />
mapped out to support the narrative, but never loses sight of Max’s characteristic love for experimentation and immersive harmony. As such, it is equally effective as a stand-alone work.<br />
<br />
Visually, the live project documents forms of the infinite set against their role in the human condition. Abstract visualisations are presented amongst human stories of yearning and endless pursuit. As always with Max’s work, the tension between the<br />
abstract, scientific and computational worlds of electronic music and visualisation work alongside an inherent thread of human emotion.<br />
<br />
Yearning for the Infinite is a generous listen, addressing a collective sense of uncertainty by exploring the pleasures of the infinite. It’s also one of Max’s most sonically diverse releases to date.<br />
<br />
Max Cooper:<br />
<br />
“It was a really interesting challenge to take on, the commission for the project came from the Barbican, and they wanted a new audiovisual<br />
show built around their emergent technologies theme for the year, ‘Life Rewired’. I wanted to take the whole idea of human progress, growth in technology and the data explosion etc, and boil it down to its essence, our seemingly endless desire to move forwards somehow, as individuals and as a species. Our yearning for the infinite as a system for creating goals that can never be reached, as a means for creating an endless source of meaning in our lives, because what would you do if you had nothing left to do!?<br />
<br />
That human idea was complemented with some beautiful and intense audio/visual options for presenting the infinite more technically - the bright white light of Kabbalah, the development of parallax in the arts, the madness of Cantor’s nested infinities, the processes of growth and division, the seemingly endless space of the multiverse, aperiodic tiling and non-repeating systems, the infinitude of irrational numbers and the circle, it was a rich grounds for content!<br />
<br />
Initially I set about writing up all the ideas and chatting to visual artists about how to turn them into a reality. Then I started on the music, scoring each piece to a particular visual story. I wanted to bring ideas of the infinite into the production process too, so I approached the music in a new way, relying heavily on live improvisation sessions and going a bit mad on the infinite layering, and feedback systems. It all got quite out of hand with more than 200 layers of audio and much generative chaos on some pieces, which was a massive headache to work with, but a good challenge to take on to try and deliver the idea.”<br />
<br />
Chris Sharp, Barbican Contemporary Music Programmer:<br />
<br />
“When you commission a new piece of work you never quite know what you’re going to get – but the music that Max has created for Yearning for the Infinite has outstripped all my expectations. He’s assembled a vast array of perfectly-machine components into a single, grand, architectural sweep – structurally rigorous but shot through with emotion and imagination. I can’t wait to hear it live.”</a></iframe><br />
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<a href="https://meshmeshmesh.net/yearning-for-the-infinite" target="_blank">meshmeshmesh.net</a><br />
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<a href="https://maxcooper.net/" target="_blank">maxcooper.net</a><br />
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<a href="https://music.apple.com/jp/album/1394132408?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music115/v4/f1/75/fa/f175fa75-4126-7d82-bbce-8a4ce573b4d4/cover.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1472730148?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is2-ssl.mzstatic.com/image/thumb/Music123/v4/ac/f4/49/acf449d6-7d72-0ce9-a49b-d94a7b7ba277/cover.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1453023137?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is3-ssl.mzstatic.com/image/thumb/Music114/v4/91/1e/26/911e2678-9008-ca07-4f75-88d7a9396cd4/cover.jpg/300x300bf.jpg" width="160" /></a></div>Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-69399682108840037862019-11-11T11:11:00.000+09:002019-11-11T11:11:03.372+09:00OOIOO - Nijimusi<div style="text-align: center;"><img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk0v4bKPxy9qzq31RoOFbjTtqHdLmTSkFeUNt7jyQUmFW9oiat8TdTrGeBMKD6PLcDg-YgIz5kKxecO4BqhI8vn6D1pNb4x2kklW8w3cBrAfD_iUCQEz6zyFv7dqkswU4D-ATeCz9rzfo/s800/ooioo-nijiusi.png" width="100%" /><br />
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Sounds created for no reason. Sounds that come and go, and disappear into the air like a scent, as soon as they materialize. Atonal phrases that hold the meaning of words that existed before the advent of language. The wonders of a vortex pulsing with life. Just as a new discovery is actually a new way of looking to see what has always been there, OOIOO, seemingly from the core of their being, created a world of sound made up of parts well known that is strikingly precise and intensely original. After a six year hiatus, OOIOO has created a new album that goes back to the roots of being a four-piece band. The music shows the full spectrum of the unique sound they have crafted throughout the years, which can only be described as “OOIOO”.<br />
<br />
It might come as a surprise that Nijimusi was recorded mainly using a conventional rock ensemble of two guitars, bass, and drums. OOIOO viewed their instruments simply as “objects that make sounds”, and took a primitive and basic approach to creating the music. The drum tones fluctuate powerfully through the air, while sounding as if they are being observed under a microscope. Bass notes and electronic bursts are so dense that they sound like they’ve been vacuum-sealed. The arrangement of the tones seem to be almost ancient, transcending the notion of a musical ensemble, suggesting the connectivity and oneness that is inherent in all living creatures.<br />
<br />
Founded in 1995 by legendary percussionist/guitarist/vocalist YoshimiO, OOIOO’s members came together as musicians who move freely between the audible and inaudible, rhythm and non-rhythm, noise and silence. The music they create is a collection of moments and essences of their favorite sounds, captured as they were created before returning into the ether. In 2016, drummer MISHINA joined the band, allowing more freedom in their rhythmic approach and overall sound. Just as each cell in the body consists of a microcosm of its own, the vibrations of each of the members resonate together to create a new life form, a process reflected in Nijimusi.<br />
<br />
Nijimusi can be considered music, but is also a work of art that stimulates the sense of touch and smell, while being atmospheric and ethereal at the same time. If music is an art form based on the sense of hearing and the concept of time, this album may be deviating from the conventional definition of music. The work is a reflection of the sounds resonating from OOIOO while as they were completely present in the moment. The sounds are like the cries emanating from a creature called OOIOO, proof that it is a living, breathing being. Experience the sounds of OOIOO that can only be heard in the here and now.<br />
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<a href="https://thrilljockey.com/products/nijimusi" target="_blank">thrilljockey.com</a><br />
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<a href="http://ooioo.jp/nijimusi/index.html" target="_blank">ooioo.jp</a><br />
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<a href="https://music.apple.com/jp/album/332583700?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music/1c/dc/7f/mzi.rofgpbfr.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1483652292?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/1e/03/12/1e03124a-0080-bb1e-198a-33ef61093ff3/509_3000_300dpi.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/313924457?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music/46/f3/36/mzi.xxyazbxx.jpg/300x300bf.jpg" width="160" /></a></div>Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-59952614838621764482019-11-10T09:40:00.000+09:002019-11-10T09:57:29.653+09:00Oval - Eksploio EP<div style="text-align: center;"><img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgbFEQvpIl12ZHG3MQ48Rl3DylHKgIfsmt7iew9i_zfGXlvbeQbr8052gfJMaCUjVAsKYw4I9Xak6iRdPBw3UinfxbcDe6ADWcK04QPeJCVXbZek1C6bg8iARhvJYgwzhENhm6KY_He14/s700/oval-eksploio-ep.png" width="100%" /><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=952350395/size=large/bgcol=333333/linkcol=26bfab/artwork=none/transparent=true/" style="border: 0; height: 307px; width: 100%;"><a href="http://oval.bandcamp.com/album/eksploio"><br />
Oval began in the early 90’s and rapidly gained acclaim for its innovations in electronic music. Composer Markus Popp championed software intuition over his own role in music making for many years, anticipating the AI trend in composition by nearly 30 years. Early albums found a critique of the entire system of recorded music built into every gesture. Popp toured with a desktop computer and projected his screen, constructing remarkably evocative and emotional performances from file manipulation. Each new Oval release saw Popp radically redefine his practice, introducing new elements and embracing new creative challenges, integrating cutting-edge technology and processes into his practice to ensure that each record sounded as contemporary and exhilarating as the last. New album Scis and its companion EP Eksploio see the producer focus on composition, working with a fresh palette of sounds to create his most emotive work to date. Popp injects a newfound playfulness into his complex loop architectures, with both album and EP exploring and subverting elements of club music. The intricate, organic drum sounds Popp introduced on the Oh! EP and O album have here been replaced with driving electronic rhythms, albeit still approached by Popp as an instrumentalist rather than a beat-maker.<br />
<br />
Oval’s creative process begins with setting the parameters for the project, creating a limited space to work within, and then exploring with all the possible creative avenues within that framework. Where early compositions saw Popp meticulously tinkering with software and systems to reduce his own visible hand in the music, Scis instead sees Popp focus the human element in his creation, augmenting delicate and intensely crafted loops with an array of acoustic instruments. Sounds sourced from prepared pianos, woodwinds and strings were manipulated and sculpted with simulated sounds into intricate and substantial sonic layers. Popp would then record a live playthrough of the pre-constructed loops while adding in instruments from his vast collection of sound samples to shape each song. The resulting pieces have a distinctive freeform, improvised feel to them, never hiding behind “electronic abstraction” but rather engaging in a musical dialog with the listener.<br />
<br />
Scis and Eksploio have a distinctive melodic sensibility. Popp approached pieces more as an art director or composer than a producer. Despite running through at a steady 120pm, his impressive command of space and intricate rhythms gives the album a distinctive ebb and flow. “Twirror” acts as an immediate statement of intent with its choice of instrumentation: glistening sitar and staccato piano loop collapsing into an overdriven synth hooks and driving rhythms. “Robussy” and “Fluoresso” quickly open up the field of sound, Popp building and stripping back layers to create a distinct sense of drama even in the album’s more delicate moments. “Pushhh” revisits prior experiments with vocal sampling, this time chaining them to pounding kick drums, anchoring otherwise freeform loops. “Mikk” experiments with more abrasive textures, using urgent, grimey drums and detuned pianos.<br />
<br />
Throughout, each sound and instrument was deliberately and painstakingly assembled. Popp explains, “it’s making musical sense of a multitude of software modules sending data to each other. There’s always this balancing act of setting up a process, listening, intervention into the various processes and the traditional playing of (software) instruments. I built these songs clip by clip, sometimes over the course of months.” Meticulous attention to detail and a wide-eyed sense of discovery has enabled Popp to continually innovate with each release. In stepping out from behind his software on Scis and Eksploio, Popp presents his most immediate and affecting work as Oval to date, unveiling a new hypermelodic flavor of electronic music.</a></iframe><br />
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<a href="https://thrilljockey.com/products/eksploio" target="_blank">thrilljockey.com</a><br />
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<a href="https://www.uovooo.com/" target="_blank">uovooo.com</a><br />
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<a href="https://music.apple.com/jp/album/1159618261?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music62/v4/04/0a/b0/040ab0e8-35d5-4f48-1b98-fea2fa7c8495/HEADZ214.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1485020427?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/bb/b2/d2/bbb2d259-2263-8d99-e6f1-ce3a10f91f56/515_3000_300dpi.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/372312352?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is5-ssl.mzstatic.com/image/thumb/Music/af/51/58/mzi.jntnwjxo.jpg/300x300bf.jpg" width="160" /></a></div>Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-35162716748001998132019-11-10T09:30:00.000+09:002019-11-10T09:30:01.246+09:00Emptyset - Blossoms<div style="text-align: center;">
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3355931685/size=large/bgcol=333333/linkcol=4ec5ec/artwork=none/transparent=true/" style="border: 0; height: 472px; width: 100%;"><a href="http://emptyset1.bandcamp.com/album/blossoms"><br />
Emptyset, the duo of James Ginzburg and Paul Purgas, are tireless innovators at the vanguard of electronic music. Over the course of the last decade the duo have consistently applied new and inventive compositional tools to create art that is both unique and poignant. Blossoms focuses on ideas of evolution and adaptation, bringing together Emptyset’s body of exploratory sound production with emerging methods of machine learning and raw audio synthesis.<br />
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Blossoms was generated entirely from the output of a neural network based artificial intelligence system. Developed over eighteen months through conversations with an international network of programmers working at the cutting edge of sound synthesis, Emptyset arrived at a system powerful and intelligent enough to create original complex structures of audio. Blossoms explores the dissonance between organic processes and machine learning principles, creating unsettling and uncanny sonics that give voice to non-human intelligence. Taking inspiration from cybernetics and literature, the album allowed Emptyset to further their explorations into generative composition and elemental aspects of sound, creating a system that was both inspiring and disconcerting in its behavior and results - opening up vast new possibilities and sonic worlds whilst simultaneously collapsing their previous methods of production.<br />
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The machine learning system for Blossoms was developed through extensive audio training, a process of seeding the software model with a sonic knowledge base of material to learn and predict from. This was supplied from a collection of their existing material as well as 10 hours of improvised recordings using wood, metal and drum skins. This collection of electronic and acoustic sounds formed unexpected outcomes as the system sought out coherence from within this vastly diverse source material, attempting to form a logic from within the contradictions of the sonic data set. The system demonstrates obscure mechanisms of relational reasoning and pattern recognition, finding correlations and connections between seemingly unrelated sounds and manifesting an emergent non-human musicality.<br />
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While intensely researching and developing the parameters for Blossoms, Emptyset’s members have remained pillars in the communities of art and audio. James Ginzburg released two acclaimed solo releases in the last year, and runs the Subtext label (which recently released Ellen Arkbro's CHORDS), and additionally runs the Arc Light Editions imprint with Jen Allan. Paul Purgas recently presented a lecture on the history of India’s first electronic music studio at Guildford International Music Festival’s Moog Symposium, curated Wysing Arts Centre’s annual music festival with Moor Mother and wrote for the Unsound:Undead book for Audint (distributed by MIT Press). Since the release of their 2017 album Borders, the duo has been collaborating with highly specialized programmers and engaging with emerging theoretical research to devise a system architecture that would be evolved enough to establish the foundations for their album. Emptyset have continued to evolve the project into more performative frameworks as well, which will culminate in a series of live performances including the initial realization’s debut at Unsound Festival in Krakow, Poland.<br />
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Blossoms is a work built on hybrids and mutations, combining complexly synthesized audio with reverbs derived from impulses taken in architectural sites Emptyset have worked in previously. The assembled compositions are emblematic of Emptyset’s dedication to forward-looking sound and examine patterns of emergence and augmentation, fragmentation and resilience, and the convolution of biotic and abiotic agency.</a></iframe><br />
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<a href="https://thrilljockey.com/products/blossoms" target="_blank">thrilljockey.com</a><br />
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<a href="https://emptyset.org.uk/releases/Blossoms" target="_blank">emptyset.org.uk</a><br />
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Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-24048554953874404152019-11-09T15:00:00.000+09:002019-11-09T15:07:38.439+09:00mamohhimeshi × Himuro Yoshiteru - The T.O.T.E.<div style="text-align: center;"><img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsBMz0k5DGaIjvmjFhe2_h2LuFBQls7bNez_XdAd8bF-__1J8f3vDS-iH2qO43ljrcxt0iJC9UjaA2eLlHClivgxxYflGzh2uGEDWS4qv-2nsyf4IeRPRPp-Y1Xx0dz-Vm3VWlbSaSfS8/s800/mamohhimeshi-himuro-yoshiteru-the-tote.jpg" width="100%" /><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3360157707/size=large/bgcol=333333/linkcol=4ec5ec/artwork=none/transparent=true/" style="border: 0; height: 307px; width: 100%;"><a href="http://himuro-yoshiteru.bandcamp.com/album/the-t-o-t-e-2"><br />
The T.O.T.E. by mamohhimeshi x Himuro Yoshiteru<br />
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All Lyrics & Vocal by mamohhimeshi<br />
Additional Lyrics & Vocal on Track2 by Kuroyagi<br />
Track by Himuro Yoshiteru<br />
Mix & Mastering by Himuro Yoshiteru<br />
Vocal Recording by Kazuya Kawasaki, Motif<br />
Cover Design by mamohhimeshi<br />
Cover Illustration by Taichi Nagakura</a></iframe><br />
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<a href="https://twitter.com/himeshi/status/1189746727084941313" target="_blank">twitter.com/himeshi</a><br />
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<a href="https://himuro-yoshiteru.com/post/188700862668/" target="_blank">himuro-yoshiteru.com</a><br />
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<a href="https://music.apple.com/jp/album/1484695073?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/06/9d/21/069d214b-b142-488e-50d2-075f428bc096/628810791484.png/300x300bf.jpg" width="160" /></a></div>Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-1544787284780487382019-11-09T10:00:00.000+09:002019-11-09T10:54:00.092+09:00Clams Casino - Moon Trip Radio<div style="text-align: center;"><img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnww7b4lVUo6qffs-ZpBjOhZKEVQBWydCd8wWcCyLJpc1VxIqQ7QNof2VFXTqQOpb1Isiqg4FXHgjn6JIVhKueD48gJCpvyYwy6ru-5QsXK3K6Zhdkz7EPsfjnzN6HrUs46nBiGmY5GvI/s800/clams-casino-moon-trip-radio.jpg" width="100%" /><br />
<br />
<iframe allow="autoplay *; encrypted-media *;" frameborder="0" height="630" sandbox="allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation" src="https://embed.music.apple.com/jp/album/1483513321?l=en&at=11lc62" style="background: transparent; max-width: 660px; overflow: hidden; width: 100%;"></iframe><br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="286" src="https://www.youtube.com/embed/videoseries?list=PLjnOFoOKDEU_fiJCKfJOtOWIexGFarO1q" width="100%"></iframe><br />
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<a href="https://clammyclams.com/" target="_blank">clammyclams.com</a><br />
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<a href="https://music.apple.com/jp/album/1120321991?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is3-ssl.mzstatic.com/image/thumb/Music30/v4/89/65/bf/8965bfdc-b297-cf45-e437-add9bc1c6798/886445910094.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1483513321?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is5-ssl.mzstatic.com/image/thumb/Music123/v4/ec/c7/55/ecc75564-8d11-5c2f-cd82-b7248a14f926/5054526793361_1.jpg/334x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1334853828?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is5-ssl.mzstatic.com/image/thumb/Music118/v4/0b/01/4e/0b014e31-7bdd-fb8c-feee-514fe4be8a91/content_art_2F2shzb4bjT6GwPrbIKYDr_marble-color-black-white.jpg/300x300bf.jpg" width="160" /></a></div>Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-24018487347517030182019-11-09T09:20:00.000+09:002019-11-09T09:21:46.391+09:00Lapalux - Amnioverse<div style="text-align: center;">
<img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnw2Cp6t2c2Y_gcCYUdcHhiadEtvHDNF7ih6htwdRZzlLoflcLDvql3yAb4K_sYXRL1Af-eI4sXn4JuLB0YV2tJq2bWTJ-b64jOeehE6vzBo_a2j9hvgf-A3PkPxnZywT022sEsJ9_HZQ/s800/lapalux-amnioverse.jpg" width="100%" /><br />
<br />
<iframe allow="autoplay" frameborder="no" height="570" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/918507193&color=%23e96d9d&auto_play=false&hide_related=false&show_artwork=false&show_comments=false&show_user=false&show_reposts=false&show_teaser=true" width="100%"><br />
Lapalux (aka Stuart Howard) returns to Flying Lotus’ Brainfeeder for his fourth album. “Amnioverse”—“a sort of portmanteau of the amniotic sac and the universe,” he explains—revolves around notions of fluidity; that birth, life, death, and rebirth is a never ending continuum.<br />
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He channels these ethereal ideas through a new and ever-expanding modular synth set-up, injecting human emotion, and layering recordings of weather, wind, rain and fire, lending an elemental, celestial feel to the composition. While 2017’s “Ruinism” was about sonic wreckage and deconstruction, with “Amnioverse”, Howard took a different approach, basing each track around a snippet of spoken word from “friends, lovers, and ex partners”, and building the music around it. He also reconnects with Icelandic vocalist JFDR (Jófríður Ákadóttir) who returns for two tracks on ’Thin Air’ and ‘The Lux Quadrant’, as well as vocalist Lilia on ‘Limb To Limb’, ‘Voltaic Acid’ and ‘Momentine’. “For me the real focus was that the whole record flowed,” he says. ”I worked on each song sequentially and wouldn’t stop working on a session until they fitted together and told the story that I wanted to tell.”<br />
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Initial inspiration for the album came from a photograph of James Turrell’s Twilight Epiphany Skyspace installation in Texas. “I looked at it every day for three years whilst making this record.” explains Howard, “People are sitting in what looks like a waiting room lit in a purple hue, looking up at the dark night sky through a rectangular hole in the ceiling. The image has so much depth and means so much to me.... it seems like we are all in that waiting room, waiting to be somewhere or go somewhere. That’s what I tried to encapsulate in this record.”<br />
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Turrell's influence extends to the album cover too, itself an homage to the artist’s groundbreaking work with light, shadow and perspective. Conceived by Creative Director and photographer Dan Medhurst and Owen Gildersleeve—an expert in hand-crafted illustration and set design—the build stemmed from a vision that Howard imagined: “I initially had an idea of a person, or group of people, in an impossibly large room set in a fog of pink looking into a void symbolic of a womb or amniotic sac,” he says. “We then ran with the idea of making a structure that had a deeper perspective, the ever decreasing octagon shape that suggests a sort of birth canal into the unknown.”<br />
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Support for Lapalux has come from the likes of Pitchfork, Mixmag, FADER, FACT, Dazed, SPIN, The Wire, A.V. Club and many more. With Benji B, Huw Stephens, Lauren Laverne, Mary-Anne Hobbs and many others championing his music across radio.<br />
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Capping off last year with two standout performances at the Brainfeeder X showcase at Brixton Academy, and alongside Jacques Greene at Brooklyn’s Elsewhere, Lapalux is set to return with a new live-AV show—driven and delivered by his modular gear set-up—to present a cohesive light, projection and sound performance. <br />
</iframe><br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="286" src="https://www.youtube.com/embed/k4l3B7k5fC0" width="100%"></iframe><br />
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<br />
<a href="http://www.brainfeedersite.com/2019/10/03/announcing-lapalux-amnioverse/" target="_blank">brainfeedersite.com</a><br />
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<br />
<a href="https://www.lapalux.com/" target="_blank">lapalux.com</a><br />
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<a href="https://music.apple.com/jp/album/1229829141?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music122/v4/e1/41/cb/e141cb2d-7d52-e9e6-219a-c96b63cf2c69/dj.habkgnqh.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1479931550?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/e1/ea/a2/e1eaa290-46ce-ccbf-a7eb-63d71c75523a/669158541256.png/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/961283262?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is1-ssl.mzstatic.com/image/thumb/Music5/v4/39/43/1f/39431ff9-d99a-dcc4-7894-40348723d83d/dj.jqeqffoe.jpg/300x300bf.jpg" width="160" /></a></div>
Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-50914346208831188822019-11-04T20:10:00.000+09:002019-11-04T20:10:15.556+09:00:PAPERCUTZ - King Ruiner<div style="text-align: center;">
<img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Ly_bPBTZ6yU6gdqzRhrX4A4wV2Kes4lfeOSXI0MvvMPrLbF8klV8ho3mjuL6nvafsEuAqrB-unpLvk6eM_KzuCeonjNbt4nIWKNEgn_Im7hF1rAnY8MizoVSdTGZyrjNq9ljFdlTAUw/s800/papercutz-king-ruiner.jpg" width="100%" /><br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4172532989/size=large/bgcol=333333/linkcol=F8E71C/artwork=none/transparent=true/" style="border: 0; height: 570px; width: 100%;"><a href="http://papercutz.bandcamp.com/album/king-ruiner"><br />
‘King Ruiner’ is :PAPERCUTZ's 3rd original album featuring songs recorded in Porto, Nyc, Hamburg and Tokyo. The group lead by Bruno Miguel has returned to touring throughout Europe and the U.S. after an hiatus to record their new album. The globally sourced strains of pop songs feature shadowy and exotic electronic sounds, layered folk choral vocals, minimalist synth motifs, atmospheric textures and percussive beats.<br />
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The album follows the character portrayed in previous recordings finding his way through a tension of failure and uncertainty versus ultimate hope.<br />
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"The idea for these collection of songs really shifted on this last year of my life. My work as :papercutz has been inspired from memories of childhood til challenges within manhood, going through high and low times, struggling with balance and uncertainty. I had decided to back off recording and just keep trying out the songs live on tour but also working on other projects, producing artists or composing movie scores. Those gave me the insight I really needed to fulfil this album to its fullest extension, connecting with musicians far away from home in a truly global music production effort. By diving on these recordings I had to deal with my own notion of non-fulfilment but coming to understand there was an underlying feeling of hope, one that has always been part of my writing and it slowly started strengthening again... showing there's no real definitive ends, we're all but changing and made up of new beginnings." (Bruno)<br />
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<br />
Songs written and performed / lyrics by Bruno Miguel. <br />
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Guest vocals by Catarina Miranda, Rena Morizono and Selam Kurgen.<br />
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Mixed and produced by Bruno Miguel at Red Bull Music Studios New York. <br />
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Vocal engineering and recordings by Ricardo Gandra and Tim Hartig.<br />
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Mastered by Sam Jon at Precision Mastering UK.<br />
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Album cover photo by Aëla Labbé. Artistic direction and design by Susana Maia.<br />
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Ⓟ :PAPERCUTZ under license to Kilk Records / Sounds Of A Playground <br />
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Published by Rossio Music</a></iframe><br />
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<a href="http://www.papercutzed.com/" target="_blank">papercutzed.com</a><br />
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Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-18407340615166527592019-11-04T04:00:00.002+09:002019-11-04T04:00:51.578+09:00Bolten M - El Heredero<div style="text-align: center;">
<img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdJ6oRbiUGbPqWw-t16AOd3IQ3mIXr-_p9NVpG9Ha_aVjbSga1hppzBuQBOV0JKu0VtdrN8UGps1b4CuoZysO_pHZDRDuuAtok6PxQoidtP-cvizZTwD9-bPVcOaLVuDEMyIIvhbS1EiM/s800/bolten-m-el-heredero.jpg" width="100%" /><br />
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<iframe allow="autoplay" frameborder="no" height="600" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/912399229&color=%23965628&auto_play=false&hide_related=false&show_artwork=false&show_comments=false&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><br />
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<br />
<a href="https://renraku.global/" target="_blank">renraku.global</a><br />
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<a href="https://soundcloud.com/bolten-m" target="_blank">soundcloud.com/bolten-m</a><br />
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Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-48597043161997490522019-10-31T18:30:00.000+09:002019-10-31T18:30:01.147+09:00Ben Davis - Cycles<div style="text-align: center;">
<img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpn-RB3v7BalcCvK03rbepSHxjCJxBoUK8mFiPl-qr0SrLEULCS1YVqK1hZejyH1skXuPFnieSbd8xiosTSgRPfEQeQecGATUkEfOZJI21zULvnM225tGf7MpfBEZLioVa2iwX-qZiQkM/s800/ben-davis-cycles.jpg" width="100%" /><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=214422448/size=large/bgcol=000000/linkcol=e32c14/artwork=none/transparent=true/" style="border: 0; height: 307px; width: 100%;"><a href="http://detund.bandcamp.com/album/cycles"><br />
Ben Davis - Cycles EP<br />
cat# DU-NTRL03<br />
<br />
Ben Davis is a programmer/engineer who has been involved in making many Eurorack modules over the past few years. Most notable of his work are the ideas he's incorporated in sequencers such as the Voltage Block and Varigate. The ideas he's put into hardware are heavily focused on generative music incoporating finely tuned randomization.<br />
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On "Cycles" he aims for a new approach by only using software. The software of choice for these live recorded pieces is TidalCycles. He uses this software to access functions that are familiar on hardware sequencers while taking advantage of endless modulation abilities of TidalCycles.<br />
credits<br />
released October 22, 2019<br />
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W+P by Ben Davis<br />
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Remix by Valance Drakes.<br />
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Live Coding videos by Ben Davis<br />
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Graphic Design by ANTIREAL™ ( Ben Hook ) antireal.info<br />
#DUNTRL<br />
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do<br />
let snarPat = "~ [sn:2]"<br />
d1<br />
$ degradeBy "1 0.9 0.75 0.2 1 0.9 0.2 1 1 0.5 1 1 1 0.7 0.1 1"<br />
$ fast 8<br />
$ foldEvery [3,10,15] (#delay (range 0 0.5 $ rand))<br />
$ every 3 (chop 256)<br />
$ every 7 ( # pan (slow 1.8 (sine)))<br />
$ iter (cycleChoose[4,8,12])<br />
$ s "sk:1 ~ sk:2"<br />
# pan (range 0 1 $ (slow 3) sine)<br />
# (slow 6) (speed "1 <1 3 0.7 5.2>")<br />
# delayfeedback (cycleChoose[0.1,0.2,0.3,0.7, 0.001])<br />
# delaytime (choose[(1/16),(3/16),(1/32),(5/16),(7/32),(9/32)])<br />
# orbit 1<br />
# cps 0.32<br />
d2<br />
$ fast 2<br />
$ stack<br />
[<br />
fast 2 $<br />
degradeBy "1 1 0.3 1 0.3 1 1 1 0.3 1 1 0.4 1 1 0.4 1" $<br />
((range 0.0 0.8 $ rand) ~>) $ s snarPat<br />
# delay (range 0.4 0.8 $ rand)<br />
# gain (range 0.6 1.0 $ rand)<br />
# delaytime (choose[(1/8),(1/16),(3/16)])<br />
# delayfeedback (range 0.1 0.9 $ rand) # speed (cycleChoose[0.9,1,2]),<br />
snarPat # speed (range 1 1.1 $ (slow 128) sine) # pan (range 0.4 0.6 $ rand)<br />
]<br />
# release (range 0.07 0.3 $ rand)<br />
# room (range 0 0.5 $ rand)<br />
# size (range 0 0.8 $ rand)<br />
# orbit 1<br />
d3<br />
$ slow 1<br />
$ within (0.2, 0.8) (stut (cycleChoose[5,3,8]) (range 0.3 0.9 $ rand) (cycleChoose[(3/16),(1/16),(1/8),(1/32)]))<br />
$ s "sk:0" # speed 0.8<br />
# orbit 1<br />
d4<br />
$ degradeBy "0 0.4 0.8 0.3 0.3 0.8 0.2 0.532 0.45 0.1 0.8 0.8 0.3 0.614 0.5 0.8"<br />
$ fast 4<br />
$ whenmod 3 2 (hurry (choose[2,4,8,16]))<br />
$ whenmod 8 7 (#attack 0.2)<br />
$ sound "violin" # cut "2"<br />
# gain 0.8<br />
# begin (range 0 0.5 $ (slow 3) rand)<br />
# speed (choose[0.125,0.25])<br />
# lpf (range 2000 11000 $ rand)<br />
# release (range 0.2 0.4 $ (slow 4) rand)<br />
# room 0.9<br />
# size 0.9<br />
# up (slow 16 (cycleChoose[0,4,7,5,11,9]))<br />
# orbit 0<br />
d5<br />
$ fast 1<br />
$ every 7 (hurry (choose[2]))<br />
$ ((cycleChoose[0.25,0.125,0.5]) ~>)<br />
$ s "bs:3" # cut "5" # up (cycleChoose[0,4,9,11])<br />
# gain 0.8<br />
# speed (cycleChoose[0.5,1])<br />
# end 0.7<br />
# decay 3<br />
# orbit 1<br />
d6<br />
$ fast 1<br />
$ loopAt (fast 16 ("<0.5 0.25 0.125 1>"))<br />
$ chop 64<br />
$ foldEvery [7,11,19] (0.25 ~>)<br />
$ foldEvery [6,13] (# accelerate 0.2)<br />
$ chunk 5 (# speed "<2 4 0.5 1>")<br />
$ iter (cycleChoose[2,8,4])<br />
$ s "tm tm*2 click:2 cp:2"<br />
# release (range 0.02 0.1 $ (slow 8) sine)<br />
# pan (range 0 1 $ (slow 2) rand)<br />
# orbit 1<br />
# gain 0.8<br />
# speed (cycleChoose[0.25,0.5,1,2])<br />
d7<br />
$ every 3 (hurry 4)<br />
$ striate (cycleChoose[16,32,1])<br />
$ loopAt (cycleChoose[1,0.5,0.25,0.125])<br />
$ s "click ~ ~ click ~ ~ cy:2 ~"<br />
# up (cycleChoose[0,7,9,12])<br />
# speed (cycleChoose[0.5,1,2,4])<br />
# release (range 0.01 0.02 $ (slow 3) sine)<br />
# orbit 1<br />
# gain 0.7<br />
d8<br />
$ slow "8 4 3"<br />
$ striate 16<br />
$ every 3 (zoom (0.4, 0.6))<br />
$ fast "0.5 0.25"<br />
$ s "lead*2 <lead*8 lead*12 lead*4>"<br />
# up (choose[0,4,9,11,7])<br />
# speed (cycleChoose[0.25,0.5,1,2])<br />
# gain 0.8<br />
# release (range 0.05 0.2 $ (slow 4) sine)<br />
# orbit 1<br />
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unsolo 8<br />
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hush</a></iframe><br />
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<iframe allowfullscreen="1" mozallowfullscreen="1" seamless="" src="https://bandcamp.com/VideoEmbed?track=3050938877&bgcol=000000&linkcol=e32c14" style="border: 0; height: 401px; width: 100%;" webkitallowfullscreen="1"></iframe><br />
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<iframe allowfullscreen="1" mozallowfullscreen="1" seamless="" src="https://bandcamp.com/VideoEmbed?track=2185107147&bgcol=000000&linkcol=e32c14" style="border: 0; height: 401px; width: 100%;" webkitallowfullscreen="1"></iframe><br />
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<a href="https://detroitunderground.net/" target="_blank">detroitunderground.net</a><br />
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<a href="https://www.instagram.com/bendedavis/" target="_blank">instagram.com/bendedavis</a><br />
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Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-34782502959508426492019-10-31T17:30:00.000+09:002019-10-31T17:38:55.115+09:00Floating Points - Crush<div style="text-align: center;">
<img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi10-BIuAbua3yx1s1vjWHPMwBJ_SeFKoiLQvD7uO9FWTxW45EOvVJQmtTbYjWNtImP3aWJTKKQ3WRCrAaIVMxCHSW6KAzJtDgkzdu2g1nltvE49hKVF7DY6NBQZ1tsGKMSCXfhr9dwb9U/s800/floating-points-crush.jpg" width="100%" /><br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2422513439/size=large/bgcol=333333/linkcol=0f91ff/artwork=none/transparent=true/" style="border: 0; height: 540px; width: 100%;"><a href="http://floatingpoints.bandcamp.com/album/crush"><br />
Sam Shepherd aka Floating Points has announced his new album Crush will be released on 18 October on Ninja Tune. Along with the announcement he has shared new track 'Last Bloom' along with accompanying video by Hamill Industries and announced details of a new live show with dates including London's Printworks, his biggest headline live show to date.<br />
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The best musical mavericks never sit still for long. They mutate and morph into new shapes, refusing to be boxed in. Floating Points has so many guises that it’s not easy to pin him down. There’s the composer whose 2015 debut album Elaenia was met with rave reviews – including being named Pitchfork’s ‘Best New Music’ and Resident Advisor’s ‘Album of the Year’ – and took him from dancefloors to festival stages worldwide. The curator whose record labels have brought soulful new sounds into the club, and, on his esteemed imprint Melodies International, reinstated old ones. The classicist, the disco guy that makes machine music, the digger always searching for untapped gems to re-release. And then there’s the DJ whose liberal approach to genre saw him once drop a 20-minute instrumental by spiritual saxophonist Pharoah Sanders in Berghain.<br />
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Fresh from the release earlier this year of his compilation of lambent, analogous ambient and atmospheric music for the esteemed Late Night Tales compilation series, Floating Points’ first album in four years, Crush, twists whatever you think you know about him on its head again. A tempestuous blast of electronic experimentalism whose title alludes to the pressure-cooker of the current environment we find ourselves in. As a result, Shepherd has made some of his heaviest, most propulsive tracks yet, nodding to the UK bass scene he emerged from in the late 2000s, such as the dystopian low-end bounce of previously shared striking lead single ‘LesAlpx’ (Pitchfork’s ‘Best New Track’), but there are also some of his most expressive songs on Crush: his signature melancholia is there in the album’s sublime mellower moments or in the Buchla synthesizer, whose eerie modulation haunts the album.<br />
<br />
Whereas Elaenia was a five-year process, Crush was made during an intense five-week period, inspired by the invigorating improvisation of his shows supporting The xx in 2017. He had just finished touring with his own live ensemble, culminating in a Coachella appearance, when he suddenly became a one-man band, just him and his trusty Buchla opening up for half an hour every night. He thought what he’d come out with would "be really melodic and slow- building" to suit the mood of the headliners, but what he ended up playing was "some of the most obtuse and aggressive music I've ever made, in front of 20,000 people every night," he says. "It was liberating."<br />
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His new album feels similarly instantaneous – and vital. It’s the sound of the many sides of Floating Points finally fusing together. It draws from the "explosive" moments during his sets, the moments that usually occur when he throws together unexpected genres, for the very simple reason that he gets excited about wanting to "hear this record, really loud, now!" and then puts the needle on. It’s "just like what happens when you’re at home playing music with your friends and it's going all over the place," he says.<br />
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Today's newly announced live solo shows capture that energy too, so that the audience can see that what they’re watching isn’t just someone pressing play. Once again Shepherd has teamed up with Hamill Industries, the duo who brought their ground-breaking reactive laser technologies to his previous tours. Their vision is to create a constant dialogue between the music and the visuals. This time their visuals will zoom in on the natural world, where landscapes are responsive to the music and flowers or rainbow swirls of bubbles might move and morph to the kick of the bass drum. What you see on the screen behind Shepherd might "look like a cosmos of colour going on," says Shepherd, "but it’s actually a tiny bubble with a macro lens on it being moved by frequencies by my Buchla," which was also the process by which the LP artwork was made." It means, he adds, "putting a lot of Fairy Liquid on our tour rider". </a></iframe><br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="286" src="https://www.youtube.com/embed/0x0t1l7QeeY" width="100%"></iframe><br />
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<a href="https://ninjatune.net/release/floating-points/crush" target="_blank">ninjatune.net</a><br />
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<a href="https://floatingpoints.co.uk/" target="_blank">floatingpoints.co.uk</a><br />
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<a href="https://music.apple.com/jp/album/1475361065?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is1-ssl.mzstatic.com/image/thumb/Music113/v4/69/e0/87/69e087b2-3e6a-7fe7-858d-0f834a7e48e2/5054429138481.png/300x300bf.jpg" width="160" /></a></div>
Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-87264105979153329502019-10-30T20:30:00.000+09:002019-10-30T20:34:40.128+09:00Clams Casino - Rune (from his forthcoming album "Moon Trip Radio")<div style="text-align: center;"><img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7yngM8OKwXSFEEYL9mKefA7si34CgAbAY6eEbLWEz_MeLVCgTKKzH_CHMrauwKNtrzxjAu6FRHVA8UlU9Dw3LurXWsNN2S-oq754bgZhvQLnO_kAk4WHrLHukmEWmDU3vADSrNlm6Lzo/s800/clams-casino-rune.jpg" width="100%" /><br />
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<blockquote class="twitter-tweet"><div dir="ltr" lang="en">Moon Trip Radio Nov 7<br />
🌕🌔🌓🌒🌑🌗🌗🌖🌕<br />
Rune out now: <a href="https://t.co/yHqywdM3kO">https://t.co/yHqywdM3kO</a> <a href="https://t.co/zwxQq1lhkI">pic.twitter.com/zwxQq1lhkI</a></div>— Clams Casino (@clammyclams) <a href="https://twitter.com/clammyclams/status/1189033979548176384?ref_src=twsrc%5Etfw">October 29, 2019</a></blockquote><script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script><br />
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<a href="https://clammyclams.com/" target="_blank">clammyclams.com</a><br />
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<a href="https://music.apple.com/jp/album/1120321991?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is3-ssl.mzstatic.com/image/thumb/Music30/v4/89/65/bf/8965bfdc-b297-cf45-e437-add9bc1c6798/886445910094.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1483050123?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/96/2c/da/962cda41-4aef-b5ea-e767-8976911bdd78/5054526793354_1.jpg/334x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1334853828?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is5-ssl.mzstatic.com/image/thumb/Music118/v4/0b/01/4e/0b014e31-7bdd-fb8c-feee-514fe4be8a91/content_art_2F2shzb4bjT6GwPrbIKYDr_marble-color-black-white.jpg/300x300bf.jpg" width="160" /></a></div>Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-47828405748582644892019-10-14T16:30:00.000+09:002019-10-14T16:39:52.409+09:00Seefeel - Sp/Ga 19<div style="text-align: center;">
<img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOS5dZS2cozJy8sWe7CE6Y9Cc8V5AQygaKFd0eMEPlsUtP0Lyw8SEKtH-_p9pKsHItONtsP3nadGNMnEOosDXj1rK-pA612yAwiWLOAEKmHXD0txEkVjXMlKX5BrrCSPPokf4jBog-6B4/s800/seefeel-spangle-gatha-2019.jpg" width="100%" /><br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2788574799/size=large/bgcol=000000/linkcol=7137dc/artwork=none/transparent=true/" style="border: 0; height: 208px; width: 100%;"><a href="http://seefeelshop.bandcamp.com/album/sp-ga-19">Sp/Ga 19 by Seefeel<br />
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Versions of 'Spangle' and 'Gatha' developed during live shows 2017-19.<br />
Live elements recorded in Aarhus, Lille and Paris.<br />
Edited and mixed in 2019.<br />
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Mixed and produced by Mark Clifford.<br />
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Spangle from Starethrough Ep (1994).<br />
Gatha from Succour (1995).</a></iframe><br />
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<a href="https://www.facebook.com/seefeelmusic/posts/2988885457793353" target="_blank">facebook.com/seefeelmusic</a><br />
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<a href="https://seefeel.ochre.store/release/142528-seefeel-spga-19" target="_blank">seefeel.ochre.store</a><br />
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<a href="https://music.apple.com/jp/album/332850496?i=332850952&l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is5-ssl.mzstatic.com/image/thumb/Music/6b/c2/72/mzi.gsqupqcf.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/217966908?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is5-ssl.mzstatic.com/image/thumb/Features/cb/8e/b9/dj.hjhpgzpq.jpg/334x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/332971355?i=332972414&l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is1-ssl.mzstatic.com/image/thumb/Music/18/aa/e4/mzi.tqeoohcn.jpg/300x300bf.jpg" width="160" /></a></div>
Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-32625539092818673982019-10-14T15:00:00.000+09:002019-10-14T16:14:03.201+09:00Broken Note - Exit The Void (Preview Mix)<div style="text-align: center;">
<img border="0" data-original-height="1600" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnFfqI0kifCloJnu8831XG_0rRqlxaAwcS8epKcLbE8Hh2rm0ql_w1egEZ3YKpQvYJ32Xto8iQLJ3_rHM7-DOfmhIcOw-ERtcpsnDDTSgrXJJEfQA6cAiYLxRCe_LfLkAv5W1xQB8I-wQ/s800/broken-note-exit-the-void.jpg" width="100%" /><br />
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<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/692723236&color=%23545454&auto_play=false&hide_related=true&show_artwork=false&show_comments=false&show_user=false&show_reposts=false&show_teaser=false" width="100%"><br />
Sonic innovators BROKEN NOTE are proud to present their long awaited second album instalment, 'EXIT THE VOID'. Marking the cutting edge of bass music across a canvas of 15 tracks, displaying an unerring commitment to the creation of boundary breaking sonic sequences. A symbol of social cohesion in divided times manifested through the collaboration of independent labels and artists, EXIT THE VOID serves as a soundtrack for a disenfranchised generation.<br />
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Tracklist: <br />
01. The Nothing<br />
02. Motion Shifter<br />
03. Alternative Facts<br />
04. Nightcrawler<br />
05. Iron Sky<br />
06. Obelisk<br />
07. Upward Spiral<br />
08. Cold Sweat<br />
09. Augmented<br />
10. Machine Dreams<br />
11. Parabolic Hex<br />
12. Pressure Chamber<br />
13. Suspect Device<br />
14. MurderBoii<br />
15. End Game<br />
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<a href="https://music.slugwife.com/album/exit-the-void" target="_blank">music.slugwife.com</a><br />
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<a href="https://methlabagency.bandcamp.com/album/exit-the-void-lp" target="_blank">methlabagency.bandcamp.com</a><br />
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<a href="http://www.brokennote.com/" target="_blank">brokennote.com</a><br />
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Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-24872624548803266902019-10-14T10:00:00.000+09:002019-10-14T10:00:30.386+09:00Steve Hauschildt - Nonlin<div style="text-align: center;">
<img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinGwU-kt_QqTySUlh8BbJLvL9uyWraI-Ak0goIr2Lz2Kz4hGbq23w0Ts-hdsQSojjGO-w7fZLypUoGx-c2HafYAJFYvfX8C1adOn19OLHHGda8o2Q9cv_QxJxC1RBfedk1TdkFM0pdizk/s800/steve-hauschildt-nonlin.jpg" width="100%" /><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2929986997/size=large/bgcol=333333/linkcol=4ec5ec/artwork=none/transparent=true/" style="border: 0; height: 439px; width: 100%;"><a href="http://stevehauschildt.bandcamp.com/album/nonlin"><br />
Chicago-based contemporary electronic musician Steve Hauschildt has composed panoramas of synthesized sound for over a decade. First within his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music, and later across a steady and critically-acclaimed stream of solo releases spanning ambient techno, arpeggiated electronica and post-kosmische styles utilizing synthesizers, computers, and digital processing. In 2018, he extended a collection of rich, visceral tracks titled Dissolvi, his first release on Ghostly International and his most collaborative work to date. Just a year later, Hauschildt returns with Nonlin, an album that’s freer, leaner, and looser, both structurally and conceptually; less linear compared to its predecessor, but still captivating. Developed and recorded in several studios during and around the edges of tour — Chicago, Los Angeles, New York, Tbilisi, and Brussels — this material emulates an alienating encounter with a smattering of places, a replicant of culture shock, a solitary and stark experience with uncanny environments, melody and dissonance as oblique locales.<br />
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Nonlin finds Hauschildt evolving his palette of tools, integrating modular and granular synthesis. The improvisatory and generative nature of modular systems, when paired with his signature grid-oriented and hand-played techniques, guides these compositions slightly out of line to hypnotic effect. Opener “Cloudloss” permeates the mix with an unsettling smog, which reappears and all but engulfs “A Planet Left Behind.” On cuts like “Attractor B” and “Subtractive Skies,” pockets of air rest between sequenced pulses, whose crumpling and flattening folds build into a restrained rapture of crisp frequencies and milky reverb-swallowed coruscations.<br />
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The album’s title track and centerpiece logs on to a foreign network, a fractured percussion signal that modulates and stutters into static amidst curious melodic sparkling in the hazy bandwidth. “Reverse Culture Music” casts an elegant and brooding stream of strings, pizzicato and churning bow from Chicago cellist Lia Kohl, against chiming minimalist synth frameworks. A surprising pattern emerges in the taciturn systems at work. Hauschildt continues to expand his already horizon-wide repertoire, here exploring the effects of corrupting coordinates; a flight subject to the collapsable abilities of time in remote spaces, a smearing of the axis to elegiac ends. </a></iframe><br />
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<a href="https://ghostly.com/products/nonlin" target="_blank">ghostly.com</a><br />
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<a href="https://www.stevehauschildt.com/" target="_blank">stevehauschildt.com</a><br />
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<a href="https://music.apple.com/jp/album/1398002439?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music125/v4/71/86/7f/71867f58-10f0-9b70-3616-50a3f06bad07/804297832029.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1478041512?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/31/d9/f2/31d9f2e3-2591-acec-1681-3d79f1a64b53/804297834603.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1149164956?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is3-ssl.mzstatic.com/image/thumb/Music62/v4/14/f3/f7/14f3f73a-bce4-be8d-223b-af90903ed3fd/191018034887.jpg/300x300bf.jpg" width="160" /></a></div>
Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-72872768696686035752019-10-13T23:55:00.004+09:002019-10-13T23:55:44.414+09:00Leo Okagawa - Something Veiled<div style="text-align: center;">
<img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA_9rt_TPq5gqxiOoUSJqRUTdU85KZ-k-y15XohTKKNVfG4_zeQY5tKBv2AWtn5iyVpzc8Rxhb7mtklla1iMw1CQVt9epSB7MbDdXHMfsfdqAVvRByFSCXNVIT8gbymlcrqiIbkYPfJdg/s800/leo-okagawa-something-veiled.jpg" width="100%" /><br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1105545959/size=large/bgcol=333333/linkcol=e99708/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://unfathomless.bandcamp.com/album/something-veiled">Leo Okagawa - Something Veiled<br />
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This work consists of recorded materials at ‘Abukuma’ and ‘Irimizu’ limestone caves on Abukuma highland, Fukushima.<br />
Water is plentiful there, and we can see a long waterfall near our route in Irimizu limestone cave.<br />
Both caves are developed and open for public as tourist spots, however, there are some areas that require a guide to enter, and some others prohibited.<br />
And also, they are still under survey and possibilities are pointed out that deeper spaces than the deepest spots we recognize now exist.<br />
<br />
I visited there on October 2018 and January 2019, and brought my small recording set to carry and record in narrow spaces.<br />
My aim with this work is not recording sounds in these caves just as archives, but transforming what I was much impressed with into an audio piece.<br />
Lots of inaudible things are also included in temperature, humidity, weight of atmosphere.<br />
These are what my skin felt.<br />
Therefore, I thought I need to record what we often overlook.<br />
Waters that fall from stalactites or run down the walls, a subtle hum from lighting equipment , echoes of my shoe soles on wet floors…<br />
I recorded sounds from various distances and angles and mixed them in multilayers.<br />
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The length of this work is shorter than the time I spent in those caves, but I would be glad if I could share what I felt there.<br />
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(Leo Okagawa, 31 July 2019)<br />
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LOCATIONS : 'Abukuma' and 'Irimizu' limestone caves, Abukuma Highlands, Fukushima, Japan.<br />
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Recorded and mixed 2018-2019.<br />
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Cover design & treatments by Daniel Crokaert.<br />
Based exclusively on photos by Leo Okagawa and Jun Okagawa.<br />
Portrait by Jun Okagawa.</a></iframe><br />
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<a href="https://unfathomless.wordpress.com/2019/10/07/pre-order-now-open-for-both-u60-leo-okagawasomething-veiled-u61-grisha-shakhnes-being-there/" target="_blank">unfathomless.net</a><br />
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<a href="https://prtcll.tumblr.com/" target="_blank">prtcll.tumblr.com</a><br />
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Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-68887921555738350472019-10-07T16:16:00.000+09:002019-10-09T10:41:17.043+09:00Merzbow, 灰野敬二, Balázs Pándi - Become the discovered, not the discoverer<div style="text-align: center;"><img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsjerRAtJ1XCKDbJKrQVfrnKfHyCfBMaueeH5rYQ_yh0aQK0ecFNkiM95iIF544nOgVLuaG7k3cC5bEThApvbL7033Vg3p9gmJejg1B1joE5anHV3MoO-fyQ_V3hD9LM2BoW_dCA3vZts/s800/merzbow-keiji-haino-balazs-pandi-become-the-discovered-not-the-discoverer.jpg" width="100%" /><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=121846026/size=large/bgcol=333333/linkcol=e94708/artwork=none/transparent=true/" style="border: 0; height: 274px; width: 100%;"><a href="http://merzbow-haino-pandi.bandcamp.com/album/become-the-discovered-not-the-discoverer"><br />
A certain magic floods the room when free improvisers of the highest order get together to make music. And when said improvisers are also kindred spirits who know and can anticipate each other’s moves, a kind of wonderful telepathy takes over. Such was the case when enigmatic Japanese noise legend Merzbow (Masami Akita) got together in the studio with fellow countryman Keiji Haino and Hungarian drummer Balazs Pandi for Become The Discovered, Not The Discoverer. For their second encounter for RareNoise Records, following 2016’s An Untroublesome Defencelessness, the three intrepid improvisers explore a threshold of sound so blisteringly intense, that it passes into a zone of divine cacophony.<br />
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Comprised of four lengthy, uninterrupted suites, each containing dense, sometimes harsh sonic onslaughts, Become The Discovered, Not The Discoverer is fueled by Merzbow’s cathartic sheets of electronic sound and guitar, Haino’s slashing guitar, bass and vocal work and Pandi’s pummeling intensity on the kit. And as Pandi explained, “It was 100% improvised, nothing added in post-production, just like every time we record together. No limitations, no concepts, nothing. Just listening, and playing.”<br />
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Merzbow has found a true kindred spirit in Pandi, who has also become a kind of ‘house drummer’ for RareNoise. “The chemistry between us was there right from the very beginning,” said Pandi, who began collaborating with Merzbow in 2009. “My way of playing fits his music perfectly, as I play both improvised music that is changing shape all the time and heavy amplified music. We don’t have things anchored, we just have a continuously expanding vocabulary and we pay attention to each other and find immediate hooks in each other’s playing.”<br />
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The third member of this formidable triumvirate, singer-songwriter-guitarist Keiji Haino, had previously worked with Merzbow under the moniker Kikuri. “Keiji is like an infinite well of ideas, said Pandi. “It’s incredible how he can push music and sounds into new directions. Sounds coming from him have way more qualities than the ones coming from most musicians, as he uses every possible way to alternate sounds and give them extra qualities that people just don’t know about.”<br />
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For Pandi, this latest is also the fifth recently RareNoise release involving both him and Merzbow, following 2013’s Cuts (a trio with Swedish saxophonist Mats Gustasfsson), 2015’s Cuts of Guilt, Cuts Deeper (a quartet with Gustafson and skronk guitar hero and Sonic Youth founder Thurston Moore), 2018’s live Cuts Up, Cuts Out (a quartet again with Gustafsson, and Moore) and 2016’s An Untroublesome Defencelessness (as aforementioned, with Haino). And for the powerhouse drummer, the thrill is definitely not gone. “It’s been almost 10 years since I first played together with Masami as a duo,” he said. “That was a string of four shows, and even on that tour there was a difference between the first and the last gig. So its obvious that we continue to do different things, and our relationship on a human and an artistic level also strengthened throughout the years. For obvious reasons we can’t play too many shows. In a busy year, we have about a handful of shows, but it’s always exciting to play and we always discover new things within our music. Masami never uses the same setup twice, and I always do my best to have something new to drop on him every time we play together.”<br />
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As far as the particularly intense nature of this latest invocation in the studio with Merzbow and Haino, the drummer said, “All we do is listen and play. Wherever we go with the music, the moment takes us there. Even if we make a plan, we just go with whatever we feel like doing. Haino-san decided on the spot to use the bass guitar, an instrument he never played on previously on recordings, if ever. Also Masami plugged in a guitar he found in the studio, so for a part of this recording we were a rock trio. The only thing we talked about the night before was to do five to seven-minute takes, but then the first take we actually did was over one hour.”<br />
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While Masami and Haino strike such a seamless blend with their electronic onslaughts, Pandi fuels the proceedings with his signature skills, drawing on the power of grindcore and death metal while also listening intently and reacting in the moment. “I just play whatever feels good to play,” he said. “It’s funny that even though I try to not play in tempo anymore and approach drumming more as coloring to give the music another texture, this one turned out more like a classic rock record. And at some parts I am even playing a backbeat kind of thing. So it’s definitely more straight-forward drumming than what I usually play these days.”<br />
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“I basically grew up with playing and being surrounded by all kinds of music.”, continues Pandi, “Back then it was Morricone scores, Verdi, Bill Haley & The Comets. One day I would play Dead Kennedy songs with my high school punk band, the next morning I would play “Slavonic Dance No. 8” by Dvorak on tympani. And still today, I have varied music tastes. So whether I’m playing with Merzbow, Obake or Kilimanjaro Darkjazz Ensemble, it’s all music to me.”<br />
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Like the music itself, the titles of Pandi’s latest outing with Merzbow and Haino — “Become the discovered, not the discoverer” and “I want to learn how to feel everything in each single breath" — are intriguing. “The titles came from Haino-san and are inspired by the music,” the drummer explained. “The titles, just like the music doesn’t need to be understood, or doesn’t need a strict interpretation.”<br />
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BIOGRAPHIES<br />
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Born in Chiba, Japan on May 3, 1952, Keiji Haino has been active on Japan’s underground music scene since the 1970s and remains active at age 67, ever-exploring on the fringes. His main instruments of choice have been guitar and vocals. Known for intensely cathartic sound explorations, he has lent his distinctive voice to recordings by a variety of groups, including Vajra (with underground folk singer Kan Mikami and drummer Toshiaki Ishizuka), Knead (with the avant-prog outfit Ruins) and Sanhedolin (with Yoshida Tatsuya of Ruins and Mitsuru Nasuno of Korekyojinn, Altered States and Ground Zero). He has also collaborated with such artists as Derek Bailey, Peter Brötzmann, Loren Mazzacane Connors, Charles Gayle, Makigami Koichi, Jim O'Rourke, Yamantaka Eye, Fred Frith, Charles Hayward and John Butcher. He also appeared on John Zorn’s 1993 album Painkiller with bassist Bill Laswell and drummer Mick Harris.<br />
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Haino’s initial artistic outlet was theatre, inspired by the radical writings of Antonin Artaud. He had his musical epiphany after hearing The Doors' “When The Music's Over” and immediately changed course towards music. After brief stints in a number of blues and experimental outfits, he formed the improvised rock band Lost Aaraaf in 1970. By the mid 1970s, he collaborated with psychedelic multi-instrumentalist Magical Power Mako and in 1978 formed the rock duo Fushitsusha. The lineup expanded to a trio and continued to perform, with shifting personnel, through the 1990s. In 1998, Haino formed Aihiyo, which performed covers of tunes by The Rolling Stones, The Ronettes and the Jimi Hendrix Experience, filtered through his own unique garage-psychedelia prism. In recent years, Haino has made some of his most profoundly intense musical statements in the company of fellow countryman Merzbow and Hungarian drummer Pandi.<br />
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Merzbow's onslaughts of sound employ the use of distortion, feedback and noises from synthesizers, machinery, and home-made noisemakers. Utilizing two laptops, four stomp boxes and a homemade sound-maker, he creates a world of sound ranging from ambient drones to fusillades of frightening intensity. One of the most recognizable figures on the international noise scene, he began his recording career in 1980 with Fuckexercise and Rembrandt Assemblage. He followed in 1982 with his landmark recording, Solonoise, which incorporated tape loops and creatively recorded percussion and metal. He has since released over 400 recordings, collaborating with dozens of musicians, contributing tracks to compilations and making numerous guest appearances on recordings by other artists. His stage name Merzbow comes from the German dada artist Kurt Schwitters' artwork Merzbau, in which Schwitters transformed the interior of his house using found objects.<br />
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Born in Tokyo on December 19, 1956, Akita listened to psychedelic music, progressive rock and free jazz in his youth. He became the drummer of various high school bands and shortly after began playing improvised rock at studio jam sessions with high school friend Kiyoshi Mizutani. A graduate of Tamagawa University, where he majored in Painting & Art Theory, Akita commenced work as an editor of several magazines upon getting his degree. He subsequently became a freelance writer for several books and magazines and has written several books of his own on a variety of subjects, including music, modern art and underground culture. His other interests include painting, photography, filmmaking and Butoh dance. He has cited a wide range of influences on his own music, from progressive rock, heavy metal, free jazz, and early electronic music to non-musical influences like dadaism, surrealism and fetish culture. His 2010 project, 13 Japanese Birds, was a 15-album series highlighting his ongoing ecological and vegetarian activism.<br />
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The youngest member of this powerhouse improvising trio is drummer Pándi Balázs. Born on August 6, 1983 in Budapest, Hungary, he has worked and toured with various acts from all around the world including Venetian Snares, Otto von Schirach, Last Step, To Live and Shave in L.A., The Blood of Heroes, The Kilimanjaro Darkjazz Ensemble and the Italian experimental instrumental group Zu. His current projects include Italian doom band Obake, Metallic Taste of Blood (featuring Colin Edwin of Porcupine Tree, Eraldo Bernocchi of Obake and RareNoise Records’ resident keyboardist, Jamie Saft), Slobber Pup (with Saft, guitarist Joe Morris and bassist Trevor Dunn) and the black metal/punk band Wormskull. From 2012, he started to play solo shows at festivals under his own name. Since 2009, he has frequently played drums live with Merzbow, headlining at experimental music festivals around the world. Pandi’s muscular drumming style, marked by high-speed churning, intense blast-beats and thunderous double bass drum pedals, has been informed by free jazz, breakcore, doom metal and noise. It’s always pedal to the metal with Pandi.<br />
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Together these three intrepid explorers and noise renegades arrive at some intense, harsh and ultimately compelling on Become The Discovered, Not The Discoverer, their latest RareNoise release. <br />
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<br />
credits<br />
released September 27, 2019<br />
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Keiji Haino (灰野敬二): Vocal. Guitar, Bass, Electronics, More decorous than duty<br />
Masami Akita (秋田昌美): Electronics, Guitar<br />
Balázs Pándi: Drums<br />
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<br />
BECOME THE DISCOVERED, NOT THE DISCOVERER<br />
<br />
1. Become the discovered, not the discoverer I<br />
2. Become the discovered, not the discoverer II<br />
3. I want to learn how to feel everything in each single breath I<br />
4. I want to learn how to feel everything in each single breath II<br />
<br />
All compositions by Masami Akita, Keiji Haino, Balazs Pandi<br />
Published by RareNoisePublishing (PRS)<br />
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Recorded on 18th of February 2018, Recorded @ la Cave 38 Recording Studio. Recorded by Kevin Le Quellec, assisted by Julien Rosenberger .<br />
Mixing by Daniel Sandor<br />
Mastering James Plotkin @ Plotkinworks<br />
<br />
Artwork and Design by ROK<br />
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© RareNoiseRecords 2019</a></iframe><br />
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<a href="https://www.rarenoiserecords.com/merzbow-haino-pandi" target="_blank">rarenoiserecords.com</a><br />
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<a href="https://merzbow.net/" target="_blank">merzbow.net</a><br />
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<a href="http://www.fushitsusha.com/" target="_blank">fushitsusha.com</a><br />
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<a href="https://www.facebook.com/Balazs-Pandi-198964333447092/" target="_blank">facebook.com/Balazs-Pandi-198964333447092/</a><br />
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<a href="https://music.apple.com/jp/album/1131181522?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is3-ssl.mzstatic.com/image/thumb/Music18/v4/69/7e/1c/697e1c1b-8012-3f06-9f5f-7c2edd1e7cd5/cover.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/1478900374?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music113/v4/41/ce/0a/41ce0a95-9c91-0006-439a-f1b29b960146/cover.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/album/607138103?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music/v4/bc/c4/06/bcc4065b-c69f-26f9-26d5-10deb9a65e03/8M00071957.jpg/300x300bf.jpg" width="160" /></a></div>Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0tag:blogger.com,1999:blog-7649988800938514511.post-15840750575833920852019-10-06T13:00:00.000+09:002019-10-06T13:01:46.536+09:00SUNN O))) - Pyroclasts (pre-order)<div style="text-align: center;">
<img border="0" data-original-height="1200" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh01ByQY07dH1QThHIs3OSm4wMz4XqzyKPMTfamOzp27SNXkGM_FDk1yyCdbmTLkzLz1CwA1BM61niAURIkoepWINw69ww7vX0L13jZFxExtU3TmxLr_7_Zb80u-uV7575fZnsHnwh8wUY/s800/sunn-pyroclasts.jpg" width="100%" /><br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2113934168/size=large/bgcol=333333/linkcol=e99708/artwork=none/transparent=true/" style="border: 0; height: 274px; width: 100%;"><a href="http://sunn.bandcamp.com/album/pyroclasts"><br />
The Pyroclasts album is the result of a daily practice which was regularly performed each morning, or evening during the two week Life Metal sessions at Electrical Audio during July 2018, when all of the days musical participants would gather and work through a 12 minute improvised modal drone at the start and or end of the day’s work. The piece performed was timed with a stopwatch and tracked to two inch tape, it was an exercise and a chance to dig into a deep opening or closing of the days session in a deep musical way with all of the participants. To connect/reconnect, liberate the creative mind a bit and greet each other and the space through the practice of sound immersion. The players across the four pieces of Pyroclasts are Tim Midyett, T.O.S., Hildur Guðnadóttir, and as always Stephen O’Malley & Greg Anderson.<br />
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The music on Pyroclasts is inextricably woven to Life Metal. It exists on the very same tape reels, was explicitly recorded by Steve Albini. The brightness and vividity of that glorious session glares through these four tracks, the precision and radiance, prismatic lustrousness of the saturation, the elemental sculptural shapes, the abstract renderings. It is a sister, or perhaps a shadow album. Or perhaps the now apparent miasma or aether. But it also exists in a form of a pause, a time space which exist in between and around the compositional structures of Sunn O)))’s titanic works.<br />
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For the listener or recipient/participant there are deep rewards within the patience of pulling down the walls and letting the music feel, and feel the music. To be immersed will reveal great detail and colour, clarify image, encourage a depth of focus and stillness which may lead to a quite profound experience. Sitting inside the space of time. A deep form of elementalism, even atomism, and connection with presence moment, time and reality.<br />
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Sunn O))) would invite their audience to consider these points of perception when experiencing and listening to Pyroclasts. Sunn O))) would also invite and encourage the audience to use Pyroclasts as a lens to review and reexperience the complexity of the Life Metal album, and even to interrupt its sequence with Pyroclasts. This elaboration can bring the astute listener both abyssal, hallowed rewards.<br />
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Pyroclasts was recorded and mixed by Steve Albini at Electrical Audio on two inch tape July 2018, and mastered by Matt Colton through all analogue AAA process at Metropolis July 2019. Four of Samantha Keely Smith’s incredible consciousness memory landscape paintings grace the album sleeve – album cover below.<br />
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Stephen & Greg would like to dedicate this album to the memories of Ron Guardipee, Kerstin Daley & Scott Walker.<br />
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Sunn O)))<br />
PYROCLASTS<br />
LP NOTES<br />
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A)<br />
FROST (C) +<br />
KINGDOMS (G) -<br />
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B)<br />
AMPLIPHÆDIES (F) °<br />
ASCENSION (A) ¨<br />
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Greg Anderson (Electric Guitar + - ° ¨)<br />
Stephen O’Malley (Electric Guitar - ° ¨, Electric Bass Guitar + )<br />
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T.O.S. Nieuwenhuizen (Moog Rogue + - ° ¨ )<br />
Hildur Guðnadóttir (Electric Cello + - , Halldorophone ¨ )<br />
Tim Midyett (Electric Baritone Guitar + - )<br />
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Performed and arranged by Sunn O))) in constellations.<br />
Recorded & mixed by Steve Albini at Electrical Audio, Chicago July 2018.<br />
Digital AAD mastered by Matt Colton at Alchemy, London November 2018.<br />
Vinyl AAA mastered & cut by Matt Colton at Metropolis, London July 2019.<br />
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Paintings by Samantha Keely Smith. Photos by Joshua Ford.<br />
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Published by Ideologic Organ Music (SACEM) & Sabbath Rehash (BMI)<br />
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More frost, more kingdoms…</a></iframe><br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="286" src="https://www.youtube.com/embed/5UYsN4aCeWw" width="100%"></iframe><br />
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<a href="https://sunn.southernlord.com/" target="_blank">sunn.southernlord.com</a><br />
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<a href="https://music.apple.com/jp/album/1452306890?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is5-ssl.mzstatic.com/image/thumb/Music124/v4/65/21/33/652133fb-0d33-8bc0-74a3-c2a46e183e2d/808720030051.jpg/300x300bf.jpg" width="160" /></a> <a href="https://music.apple.com/jp/artist/206246072?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh01ByQY07dH1QThHIs3OSm4wMz4XqzyKPMTfamOzp27SNXkGM_FDk1yyCdbmTLkzLz1CwA1BM61niAURIkoepWINw69ww7vX0L13jZFxExtU3TmxLr_7_Zb80u-uV7575fZnsHnwh8wUY/s300/sunn-pyroclasts.jp" width="160" /></a> <a href="https://music.apple.com/jp/album/1050015175?l=en&at=11lc62" target="_blank"><img border="0" height="160" src="https://is4-ssl.mzstatic.com/image/thumb/Music111/v4/6b/cc/fe/6bccfe54-d06e-9ccd-0624-0485a0a4cbf4/886445570908.jpg/300x300bf.jpg" width="160" /></a></div>
Carl Sauerhttp://www.blogger.com/profile/11330500628513890210noreply@blogger.com0