Moderator: Redaktörer
av FalloutBoy » 2011-06-06 21:11
Jansson skrev:Du är som vanligt vänligheten själv.
Klart att jag missat att det.
Men som TCM så väl vet finns demens i min familj så därför ber jag dig att ha tålamod med em äldre herre.
Since forming in 2005, Brooklyn's Woods haven't really wasted any time between releases. They have dropped an album each year following their 2006 debut, How to Survive In + In the Woods. So it wasn't much of a surprise when the lo-fi folk rockers announced plans for a new album less than a year after releasing 2010's superb At Echo Lake. Called Sun & Shade, it was recorded winter-to-winter in 2010 and 2011 with production assistance from Glenn Donaldson. He described the album the band's exploration into Kraut and West Coast-influenced sounds, with some psychedelic guitars and wild percussion thrown in for good measure.
-- http://www.prefixmag.com/reviews/woods/sun-shade/50248/
av zidanefromhell » 2011-06-07 14:23
av FalloutBoy » 2011-06-09 20:03
zidanefromhell skrev:King creosotes platta var riktigt vacker!
Berlin-based Will Sansom presents a fragile blend of acoustic pop and ambient electronics through Japan's Nature Bliss/PLOP records - home to music from Rod Modell and F.S. Blumm. 'Hello Friends, Goodbye Friends' is a very canny blend of falsetto vocals strongly reminding of Tom Krell's HTDW album, with tender acoustic guitar, the most tingling brand of lo-fi electronics and decayed piano ambience. We can imagine quite a lot of people falling deeply in love with this release. Check!
-- http://boomkat.com/downloads/404012-wil ... ye-friends
av FalloutBoy » 2011-06-11 13:53
Esmerine enters its second decade with an expanded line-up and a new album – the band's first in six years. As a duo co-founded ten years ago by percussionist Bruce Cawdron (Godspeed You! Black Emperor) and cellist Beckie Foon (Thee Silver Mt. Zion), Esmerine released two critically-acclaimed albums of modern chamber music in 2003 and 2005 that had one foot in the new music/experimental terrain of contemporaries like Rachel's or Town And Country and the other in a more visceral and lyrical landscape populated by the likes of Dirty Three (and GY!BE themselves).
Bruce and Beckie have continued stoking the embers of Esmerine, with occasional special events in their Montreal home town over the past few years, often including invitations to guest musicians. While Esmerine had made deft use of guest players on previous records, their performances over the past two years opened the band up to two new musicians in particular who were invited to join as full members: harp-player Sarah Page (The Barr Brothers) and percussionist Andrew Barr (The Slip, Land of Talk, The Barr Brothers).
La Lechuza documents the evolution of Esmerine under the influence of this expanded membership, and through the lens of a shared trajectory marked by a tragic loss. All four players were brought together through their mutual friendships with Lhasa de Sela, a beloved and internationally-renowned Montreal-based singer. Sarah and Andrew were already part of Lhasa's working band; Beckie and Bruce had been asked to join Lhasa and her band on a planned tour. Lhasa was diagnosed with breast cancer during the making of her album; she was able to complete it, but touring plans were suspended as Lhasa's health deteriorated. Lhasa died on New Year's Day 2010 at the age of 37.
La Lechuza is dedicated to Lhasa de Sela and includes music that emerged in the weeks and months following Lhasa's death. While Esmerine has always forged instrumental songs of high emotive and narrative power, on La Lechuza there is truly a spirit at work, and the group has succeeded in making an album that is both a eulogy to Lhasa and testament to the newfound creative relationships the she helped bring forth.
As with previous Esmerine albums, La Lechuza comprises predominantly instrumental music; the conjunction of Cawdron's mallet playing (marimbas, glockenspiels) and Foon's lyrical cello lines continues to anchor much of the record. Page's harp works in lovely counterpoint to the rhythmic and melodic patterns of the mallet instruments, and at times establishes the song foundation in its own right, most notably on “Last Waltz”, where Sarah also sings. Andrew Barr's additional percussion work and sensibility allowed the group to record more of the album live, in real time and with renewed fluidity. Stunning instrumental opener “A Dog River” includes guest playing by Colin Stetson and Sarah Neufeld (Arcade Fire, Bell Orchestre), who also contribute to “Little Streams Make Big Rivers” on Side 2.
La Lechuza was shaped by another important collaborator, and a dear friend of Lhasa's: Patrick Watson. Much of La Lechuza was recorded by Watson at his home studio in Montreal, and in addition to guest vocals alongside Sarah Page on “Last Waltz”, Watson also sings and plays piano on “Trampolin” and on the album's centerpiece track “Snow Day For Lhasa”.
La Lechuza ends on a genuinely special note, with a previously unreleased version of "Fish On Land" by Lhasa herself, featuring the recording she made with Bruce and Beckie (on bowed marimba and cello respectively). This song was tracked and mixed by Thierry Amar, who had also recorded and mixed the sessions for Lhasa's third and final album.
While primarily tracked in Patrick Watson's loft, La Lechuza was mixed (with the exception of the three aforementioned songs) by Mark Lawson (Arcade Fire, The Unicorns, Islands).
Thanks for listening.
-- http://cstrecords.com/cst080/
av FalloutBoy » 2011-06-15 18:35
phloam skrev:Lite sena kommentarer; uppskattar just nu Aaimon, Salem, Stars of the lid - och skulle vilja se de mörka suggestiva filmer som musiken skulle kunna vara soundtrack till
"The Rookie" is a self-sustaining, consistent breath of ethereal distance and dynamic space. Sounds wave and flex, in and out, from the far end of a rustic warehouse to the inner folds of your ear. The tracks are driven by a funky, electro-house vibe and maintain freshness through progress. Nothing goes stale at any point, and the mysterious vocals give each song, each phrase, and each drop a true purpose.
The New Division is quite the perfect name. Though difficult to categorize, or place in a "division", the sound blends very well with the times. Sometimes 80's in nature with the electronic kits and glitchy bleeps, the tones of each song represent orbs of some large, gelatinous substance sailing through our orbit at a fluctuating, yet never hesitating rate.
Textures and transitions are gradual at times, but unexpected at others, and everybody loves an album that keeps one's interest. Just wait until the last track "Bucharest" and be patient for the extremely unexpected. The group's use of instrumentation really shines through. It is a sign of musical evolution over the past decade and simply feels good.
-- http://www.groopease.com/artist/the-new-division
In an age saturated with soundalikes and retro throwbacks, the truly unique and unconventional can be hard to come by. Storming the 2011 scene with her self-titled debut album, Berlin-based Barbara Panther seems to embody these latter characteristics − and then some. The singer takes risks, blending musical influences and crossing boundaries of musical style innovatively and effortlessly, and the result is a journey through vibrant soundscapes, frenetic arrangements interspersed with moments of beautiful melancholy, and the creative explosion of elements of her past, the present and the future.
Rwandan-born Panther grew up in Brussels, Belgium, before making her home in Berlin five years ago. Describing the minimal role her background plays in her songwriting the artist explains; “I’m intrigued by the universe, water and the moon, and their interdependencies, which is noticeable in both the record’s sound and theme”. In addition to her strong spiritual interest in Mother Earth, Panther touches on themes such as existence in ‘Moonlight People’ and ‘O’Captain’, ethnicity on ‘Rise Up’ and religion on her first single ‘Empire’.
‘Empire’ is a song fraught with variety, tension, arching choruses and a staccato beat. It also incorporates a contrasting gentleness which illustrates well the album’s playful nature. Although her music eludes definition, Panther’s electronic ventures in new musical territories could be described as modern pop with avant-garde and baroque influences. Panther’s debut was produced by no other than Matthew Herbert, renowned house music maestro, also known as Radio Boy and Doctor Rockit. Having produced both Róisín Murphy’s and The Invisible’s debut albums, he has also worked with artists as diverse as Björk, R.E.M. and Yoko Ono. Together, Panther and Herbert create compelling sonic landscapes, designed to generate vivid images in the listener´s mind. “Matthew had the idea of throwing real chains against an electric heater which, in ‘Rise Up’, conveys the feeling of living in a prison in this world. However, the song ‘O’Captain’ communicates a very physical atmosphere as it gives the impression of being on the sea, literally feeling the wind on board”.
Despite the depth of lyrical meaning, the 12 tracks on Barbara Panther also allow room for all sorts of interpretation. Panther’s energetic and eclectic vocals blend elements of pop, rap and soul music, also incorporating an opera flavour on the track ‘Rollercoaster’. The latter song is full of skilfully arranged stylistic contrasts, combining a big band with playful synth and operatic vocals. Considering her offbeat style and the air of mystery surrounding Panther, it comes as no surprise that she has already been compared to the likes of Grace Jones and Bjork.
The singer’s futuristic, outstanding melodies and style are implemented into honest and passionate live performances, seeing Panther set her vocal stylings and expressive movements to visuals. To mark the occasion of the release of her debut EP ‘Empire’ on the same day, she played a one-off show on the City Slang stage at the Berlin Festival, accompanied by a five-strong live band of cellos, violins and trumpet, and is set to bring a little more of her own brand of voodoo to the stage in 2011!
-- http://soundcloud.com/cityslang/sets/ba ... er-barbara
av phloam » 2011-06-17 03:00
shifts skrev:Explosions in the sky - Take care, take care, take care
http://open.spotify.com/album/4lrd6mzglWeT4cSoP0iC1G
(inte menat som kritik! 
)av phloam » 2011-06-17 03:56
av zidanefromhell » 2011-06-17 19:40
av FalloutBoy » 2011-06-18 16:01
Hmm... har inte riktigt fastnat för hans musik tidigare, men får väl ge honom en ny chans.phloam skrev:Nytt från Dominik Eulberg (Traum Schallplatten) - "Diorama"
zidanefromhell skrev:Cults- Cults
Rock musicians lose their edge once they settle down and get married, goes the old adage. Whether that’s a statistically viable generalization or just a convenient explanation for an artist mellowing with age is still debatable, but the Submarines are doing their best to dispel that myth: The LA-via-Boston husband-wife duo make witty, conflicted nuptial pop about the tribulations and rewards of marriage and commitment, with each album more conflicted and more insightful than the last. In fact, John Dragonetti and Blake Hazard had dated and split before they even formed the band. Recording each other’s break-up songs had a therapeutic effect, and they eventually reconciled and released their debut, Declare a New State!, in 2006.
Love Notes / Letter Bombs continues that chronicle of Dragonetti and Hazard’s relationship, and because of their lyrical candidness and percolating pop production, the subject matter has only grown more compelling. They studiously avoid even the hint of sentimentality and instead embrace devastating observations and lump-in-throat humor, which give them more heft and gravity than likeminded duos such as Mates of State and the defunct Georgie James. For this album, the couple worked with Spoon’s Jim Eno to track live drum parts, which form a strong foundation for these songs. This is the most organic their synth-heavy pop has sounded, with a greater depth and dynamism on “A Satellite, Stars and An Ocean Behind You” and first single “Birds.”
If Love Notes is their best album, it’s because it’s also their most emotionally conflicted. As usual, Hazard sings lead on most of these songs, and where other singers might milk these lyrics for every bit of emotionalism, her bright vocals and breathy phrasing prove cooler and almost matter-of-fact, as if these are matters of the head more than of the heart. As songwriters, she and Dragonetti are incisive enough that these sure songs never come across as one-sided. There’s real tragedy here, but also undeniable happiness: “Maybe I can never be everything you’ll ever need,” she sings on the propulsive “Tigers,” “but I can wrap my arms around you.” And that’s the Submarines’ secret appeal: They specialize in the sneaky juxtaposition of dark thoughts over bright hooks. Rarely does postmillennial pop music sound so energetic and balanced in its contradictions.
-- http://www.pastemagazine.com/articles/2 ... bombs.html
av FalloutBoy » 2011-06-19 15:16
After the Pruitt Igoe E.P, Kangding Ray returns with his third album for raster-noton, pushing further his explorations on the edge of digital and analog sounds. With OR, Kangding Ray continues to blur the borders between experimental and bass music, and brings his signature sound to another level, somewhere at the darkest fringe of club culture.
With the massive metallic beats of « athem », the frightening distorded waves of « Mojave », the elevated groove of « Odd Sympathy », the modulated guitar walls of « Leavaila Scheme », or the low-bitrate Everest of « La Belle », KR creates deep atmospheres, loaded with echoes of collapsing economies, dysfunctional political systems, and corporate alienation.
In an abstract manner, OR depicts the desillusions of modern civilizations, while initiating a positive reflection on crisis as a creative state.
OR (« gold » in french), as the only chemical element that seems to keep its value for eternity, refers to the cult of endless consumption and the absurdity of fluctuating currency valuations, while in english, as a logical operator or grammatical conjunction, OR represents the possibility of another choice, an « inclusive disjunction » which suggests that there might be another answer, a different path to follow.
Noticeable inputs have been provided by Ben Frost, who composed a keyboard line for « Or », Rose Tizane Merrill who lend her voice to the anarchist poem « Monsters », and Magne Mostue who wrote the words and sang on « Coracoid Process » as well as the vocal version of the prophetic electronic mantra « Pruitt Igoe ».
-- https://shop.raster-noton.net/
av FalloutBoy » 2011-06-19 15:20
Bit of a quiet legend is this guy, Laurent Girard. He's been making sublime melodic electronica & sound-art with an organic edge for years, releases for electronische labels colossuses such as Static Caravan, Bad Boy Budgie and My Dad is an Antelope amongst others. The last two may be made up. Flicking through there's plenty of rich sonic detail here. The songs all appear to be miniatures - pieces of incidental music if you like. Melancholic piano rubs up against industrial beats, ricocheting techno disappears into a plumbing vortex, pastoral psychedelic folk will be found curling up next to clickety badminton style liquid glitch & wistful curious electronica ala AFX's tenderest moments is found just lounging around in tiny "song chairs" situated near the central hub of the album. There's plenty here, especially for those who enjoy music in soundtracky snippets. This is one of them & it is another little gem from the hardy Frenchman. I'd like to say stalwart but it's a dreadful word so I won't!
-- http://www.normanrecords.com/cd/124972- ... -coloribus
av FalloutBoy » 2011-06-19 18:47
The debut album from London-based solo musician Petrels is described by Tartaruga records as ‘A swirling cataract of a record, a deluge of beautiful noise and crushing melody’; it’s a fitting description for an album that is a unique and mesmerizing ride.
‘Haeligewielle’ is a mostly instrumental record, combining multiple layers of wailing strings, warped electronic noises, occasional haunting vocals and jaunting percussion. At over fifty minutes in length, the album is a mammoth trip of musical intoxication and feels like the kind of listening experience that will have a profound effect on how you look at the core of all music, which is a fantastic accomplishment for any artist.
The album starts with a distant hum at the beginning of ‘After Francis Danby’; a track that sounds initially like whale song, hidden beneath layers of whistling wind. This droning is atmospheric in a way that is both enchanting and strange, sometimes drifting into the soundtrack of a morbid sequence in a horror movie, but pulling you out before you get the chance to feel the chill up your spine. The second track, ‘Silt’, continues the tension and is a disjointed instrumental with a macabre twist. An uplifting feel begins to coast through about halfway through the song with a looped sample spinning beneath the strings.
The tracks coast along almost seamlessly, allowing the dreamy ‘Canute’ to shimmer like gold dust upon a canvas of static feedback, samples from a new-age orchestra and a pulsing undercurrent of noise. The experimental essences continue to shine on ‘The Statue Is Unveiled With The Face Of Another’ with numerous influences from the music of world cultures evident. ‘Concrete’ includes the first clear use of vocals, with a low choir adding to the ambience, conjuring images of colour.
‘Winchester Croydon Winchester’ chimes in and feels like a track with a different purpose. The keys and possible woodwind have starker melodies and the track takes the shape of a song better than anything on the album so far. The final track, ‘William Walker Strengthens The Foundations’ is a fifteen minute monster with a low underwater rumbling and electronic hums and whirrs; blocks of sound trying to drown out the various sound effects that struggle to pull to the surface. The odd mix of vocals and distant percussion brings the whole thing to a close, possibly leaving you feeling like you’ve just returned from another planet with information on a distant race of alien beings. Well, maybe not like that, but you’ll certainly feel mysteriously different.
-- http://www.live-music-scene.co.uk/cd-re ... asp?id=449
av shifts » 2011-06-20 12:57
FalloutBoy skrev:Kangding Ray - OR (2011, Raster-Noton)
av zidanefromhell » 2011-06-21 22:37
av FalloutBoy » 2011-06-23 15:26
Ja, den är bland det bättre som släppts i genren på senare tid.shifts skrev:FalloutBoy skrev:Kangding Ray - OR (2011, Raster-Noton)
Stenhård och ett givet köp för mig. Har lyssnat på albumet ett tag och tycker
han kanske inte direkt skapar något nytt, men gör det han gör mycket bra.
Tycker den är bättre än "For Emma, Forever ago" (som ärligt talat är en aning överskattad).zidanefromhell skrev:Nytt från Justin vernon. Lite mera, hmm vågat, den här gången om man ska jämföra mot förra avskalade For Emma...
av FalloutBoy » 2011-06-23 16:15
av FalloutBoy » 2011-06-23 18:24
Mention Fink (real name Fin Greenall) and you surprisingly get one of two reactions: head-scratching non-familiarity; or the impassioned response that prompts artists such as John Legend and Professor Green to wax lyrical about him live on air. It is a remarkable void, one which looks set to finally close upon the release of Fink’s latest studio album Perfect Darkness on June 13th.
Recorded and mixed by producer Billy Bush, Perfect Darkness is a smouldering, pulsating, and purposeful book of songs. From its emotion-rousing, self-titled opener, to the darkly cinematic "Fear Is Like Fire", and the uplifting nostalgia of album closer "Berlin Sunrise", the Perfect Darkness LP bristles with tense passion and hypnotic charm. It is in two words, bewitching and addictive.
“Singer-songwriters always get criticised – fairly – for sometimes sounding like a scratched record,” says Greenall. “…moaning about this, moaning about that, girlfriend’s left you, blah blah, blah. With Fink we do sing about relationships and love and emotions – but we also sing about other stuff: embracing fear, Berlin dawns, looking forward. Perfect Darkness was written about a friend of mine who’s just signed a massive record deal and it’s all about to kick off. And I’m saying, 'just roll with it man. It’s gonna get dark but you’ll survive and you’ll come out the other side.’"
Following three critically-acclaimed albums, Perfect Darkness marks the next chapter of an incredible musical journey for the Bristol-born artist. The first and pre-eminent singer-songwriter signed to legendary British label Ninja Tune - after making the transition from world-class club DJ and electronic producer - Fink is also an in-demand collaborator having written for the likes of John Legend, Ximena Sarinana, Amy Winehouse and Professor Green. He has also graced some of the world’s most prestigious stages, and with bandmates Guy Whittaker on bass and Tim Thornton on drums, has toured the globe several times over.
Up until now Fink has remained in the shadows, working quietly and diligently in the background, but judging by this new record he is set to emerge into the bright lights of long-deserved mass recognition.
-- http://ninjatune.net/se/release/fink/pe ... t-darkness
av phloam » 2011-06-24 05:26
shifts skrev:FalloutBoy skrev:Kangding Ray - OR (2011, Raster-Noton)
Stenhård och ett givet köp för mig. Har lyssnat på albumet ett tag och tycker
han kanske inte direkt skapar något nytt, men gör det han gör mycket bra.
av FalloutBoy » 2011-06-25 21:03
It’s a pleasing synchronicity: the very day that Kate Bush, the reclusive queen of quirk-pop, finally leaves her castle in the clouds to release her first album in six years, another Kate with a voice made for echoing around bleak landscapes, and a penchant for drama and the otherworldly, brings out her debut with Austra.
Former opera student Katie Stelmanis has been filling Toronto with the sound of music since she hit double figures – first as a chorister, then with post-punked-up gay grungers Galaxy; solo, and now, as singer-songwriter in this goth electro trio that bears her (middle) name.
She clearly hasn’t forgotten her training. Feel It Break is full of theatrical intensity, its set hung with murky, velvet synths on which her darkly luminescent vocals soar and swim, inherently melancholic, however exultant they appear. With its dancefloor-friendly beats (think The Knife with soul), it’s the sort of record you might stick on just before heading to an alternative club.
Which would be a bad idea, unless you have 47 minutes (or more – it’s addictive) to spare, for Stelmanis, bassist Dorian Wolf and drummer Maya Postepski have created something that plays as a carefully balanced, organic whole, like an inadvertent concept album. That’s more a testament to the skill with which it’s been put together than because it lacks standout moments; in fact, half the songs here could be released as singles, as Austra are as melodic as they are melodramatic.
Opener Darken Her Horse is a fitting curtain-raiser of a spellbinding debut which revives the heavily-eyelinered, Elnett-sprayed corpse of British new wave, and casts it in mists of ethereal magic. Hymn-like, all chords and church choir vocals, it slowly builds to surging, Japan-inflected heights which lead you to the ‘floor to bust your best robot moves. As does last single Beat and the Pulse, which evokes the era’s sleazier Soho scene with keyboard lines redolent of 80s revivalists Fischerspooner and Soft Cell chimes. Elsewhere, Hate Crime, with its plentiful "oohoo"s (as beloved by Katie as Kate) and the gorgeous, incantatory The Choke (which is reminiscent of fellow Canadians The Organ) are hook-heavy enough to get you repeating such unlikely mantras as "Sign / The consent forms" as you make extravagant arm movements around the living room. You might feel a little daft, but the odd lyrics only add to this band’s appealing mystery.
Let’s just hope Austra don’t find their inner recluse any time soon.
-- http://www.bbc.co.uk/music/reviews/qwvh
av KarlXII » 2011-06-28 13:47
FalloutBoy skrev:
Fink - Perfect Darkness (2011, Ninja Tune)
http://open.spotify.com/album/3s8cIQuGT45N56XsJehuvE
av FalloutBoy » 2011-06-28 15:39
Ja, herr Greenall levererar som vanligt.KarlXII skrev:Jäklar vad bra den är!
av FalloutBoy » 2011-06-28 15:53
John Maus lives in his birthplace of Austin, Minnesota. Whilst working towards his PhD in Political Science he also composes music that taps into melancholic fantasy and affirms that we are all truly alive. Questing synthesisers, tensely strung bass lines and chasing drum machines providing the perfect backdrop for John's deeply resonant reverb-drenched vocal. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager’s wall. It’s this curious conflux of influences that partially helps to describe John’s music. It’s a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of 80’s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in John Maus.
John Maus’ debut album proper entitled ‘Songs’ was released in 2006. It was a record permeated with aching memories; a perfect testimony to lost romance and longing. It’s awe-inspired follow-up ‘Love Is Real’ (released on UTR, 2007) proved a more cohesive listen in terms of focus and emotional depth. Maus finally returned last year to the heavy snows of the Midwest to finish album number three, ‘We Must Become The Pitiless Censors Of Ourselves’, set for release this June.
‘We Must Become The Pitiless Censors Of Ourselves’ breaks new ground for Maus. The shirt pulling and air punching of his impassioned live performance is finally captured in all its frenzied appeal alongside a tender inner space. ‘Pitiless Censors’ looks towards the future in all its absurdity. It’s a record where promise takes the lead for the first time, providing a counterpoint to John’s default existential calling. This is perhaps best shown with new track ‘Quantum Leap’ available through the link above and via iTunes as of now. ‘Quantum Leap’, a song full of dead zones, glancing slaps and oscillating solos. “Heart to heart, mind to mind, we are the ones who seem to travel through time,” intones Maus resolutely through the mist. John’s lyrics are as likely to touch upon themes of Cronenberg gore just as much as the musings of Jacques Rancière. It’s this no-brow approach that makes things interesting, casting Maus as a savant and allowing his music to startle us in ways whereby we open up to the unimaginable.
-- http://hangout.altsounds.com/news/12678 ... nsors.html
av FalloutBoy » 2011-06-28 15:57
Okay so this is weird – in February 2011 Gier Jenssen finished an album dedicated to the Japanese post-war reconstruction and, specifically, the country's futuristic nuclear program. After surveying numerous photos he became fascinated by the idea that nuclear power plants could be built so close to the sea in earthquake-prone areas, and this slowly became the focus for his recordings. A few months later and, alas, the album has gained considerable poignancy – we are now in the aftermath of one of Japan’s most serious disasters and Jenssen’s concepts have a strangely prophetic quality to them. The music itself is hardly melancholy, but has a damaged, cold, digital edge which mirrors the clean architectural perfection of the ominous structures, pre-earthquake of course. As Jenssen’s clipped, purposeful rhythms slowly make their way into synthetic patterns, they guide the record and imbue proceedings with a fitting Kubrickian haze. ‘N-Plants’ almost reminds of early SND (think ‘Stdio’ or ‘Makesndcassette’) but played at the wrong speed. These are slow, booming passages of sound carried out with a masterful ear, displaying the razor sharp precision of a true veteran of the field. Lazy, lackadaisical witch-house this is not, but ‘N-Plants’ shares threads with its purposeful slow-down of dance music tropes. It's a powerful record: without the context ‘N-Plants’ is an affecting, engrossing listening experience, but with the added air of melancholy, it becomes all the more haunting and memorable. Highly Recommended.
-- http://boomkat.com/downloads/411866-biosphere-n-plants
av FalloutBoy » 2011-07-05 15:44
“A Static Place is about the journey of sound. Between 1928 and 1932 the earliest recordings of historically informed performances of music from the late Gothic, Renaissance and Baroque era were etched into 78RPM records. I used some of these records from my collection, playing them back with two mechanical acoustic HMV Model 102 gramophones. The initial soundwaves produced back then by period instruments like the clavichord, viols, lute, hurdy-gurdy are read from the grooves by a cactus needle to be amplified by the gramophones diaphragm housed in a soundbox. Those vibrations travel through the tonearm which is connected straight to the gramophones horn, which releases the music to my space.Here the sound is again picked up by a pair of customized microphones and send to my computer, to be transformed by spectral analysis and convolution processes.”
- Stephan Mathieu, Madrid, Nov. 31, 2010
http://www.12k.com/index.php/site/relea ... tic_place/
Fourcolor is the solo project of Keiichi Sugimoto (Minamo, Filfla) and should be well known to the 12k audience with his two previous releases, Air Curtain (2004) and Letter of Sounds (2006) both highly regarded and now out of print, which established him as one of the label’s leading roster figures.
As Pleat takes the familiar sound of Fourcolor and explores some subtle new sonic territory. It’s as tonal and warm as always but he expands on his style by including more fractured, accidental sounds and an obvious growth in experience and talent. What makes Fourcolor’s music so engaging is how Sugimoto manages to coax a lovely spectrum of sounds from his guitar without it ever sounding too over-processed or digital. From bubbling, low bass that provides a foundation to woven harmonies, pulses, and shimmers, there is a rich palette of sounds created. Add in a bit of careful, jittery skip-editing and implied rhythms and a groove starts to emerge from the ambience. Hints of his poppier Filfla project also come into play once again as Fourcolor brings in some guest-vocals courtesy of Sanae Yamasaki (aka Moskitoo) who lends her angelic voice to “Quiet Gray 1” and “Iris (Familiar)” adding further dimension to the works.
As Pleat is unquestionably Fourcolor, but there is a pillow-like quality to the sound, a softness that plays beautifully off of the more organic edits and sharper plucks that all combines to create the most engaging Fourcolor album to date.
http://www.12k.com/index.php/site/releases/as_pleat/
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