Dreamt about Dreaming...
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Sunday, November 17, 2019
Teebs - Anicca
<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 4​7 minute LP fuses Teebs’ signature bright and fluid productions with the grounded and colorful elements of his collaborators.<br /> <br /> 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 /> <br /> 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 /> <br /> 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 /> <br /> 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 /> <br /> 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 /> <br /> 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 /> <br /> 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.”
ninjatune.net
mtendereteebs.com
Tuesday, November 12, 2019
Stellaria Nemorum - Knight Rider
<a href="http://detund.bandcamp.com/album/knight-rider"><br /> Stellaria Nemorum<br /> Knight Rider<br /> DU-GRNBRGR1<br /> <br /> 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 /> <br /> '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 /> <br /> released November 11, 2019<br /> <br /> BIO<br /> <br /> 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 /> <br /> 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 /> <br /> Graphic design by: Christoph Grünberger<br /> Taken from the book www.analog-algorithm.com</a>
detroitunderground.net
shootingfootage.net
Monday, November 11, 2019
Max Cooper - Yearning for the Infinite
Artwork by
Renick Bell
<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 /> <br /> <br /> 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 /> <br /> 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>
meshmeshmesh.net
maxcooper.net
OOIOO - Nijimusi
<br /> 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 />
thrilljockey.com
ooioo.jp
Sunday, November 10, 2019
Oval - Eksploio EP
<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>
thrilljockey.com
uovooo.com
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