Archive for May, 2011

May 26, 2011

Field Rotation -And tomorrow I will sleep

May 25, 2011

kangding ray – OR (Raster Noton)

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 ». 
Raster Noton

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kangding ray – OR (Raster Noton)

May 23, 2011

Loscil – Coast/ Range/ Arc

Loscil – Coast/ Range/ Arc
Genre : Ambient, Electronic

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01. Black Tusk
02. Fromme
03. Stave Peak
04. Névé
05. Brohm Ridge
06. Goat Mountain


Loscil is a recording project of the Canadian composer Scott Morgan. His career in the ambient music genre began in 1999 with the debut self-produced work A New Demonstration of Thermodynamic Tendencies which drew the attention of American label Kranky. Working primarily with Kranky and Ghostly International, loscil has released some wonderful works which led him to be defined by worldwide media as one of the most authoritative composers of electronic music of our times. One of loscil’s main features is to write environmental weavings which revolve around a well-defined subject. For example, the subject of thermodynamic principles with Triple Pointor the subaquatic work Submers, where every composition takes its name from that of a historic submarine.

This aspect of the Canadian artist perfectly merges with the Glacial Movements theme and philosophy; that of glacial and isolationist ambient music.

In fact, coast/range/arc is centered around the coastal mountains of the Pacific Northwest, studded with glaciers, lakes, waterfalls, canyons and epic views. The majestic ranges form a striking mountain landscape. These tracks explore the timelessness of mountainous elevations; oxygen deprived and surrounded by boundless skies. Mountains are hardly static – in fact they are dynamic on a time scale beyond the human experience. They grow, buckle, twist, erupt and erode at an epic pace. The Coast Range Arc is filled with such mountains and valleys, their dynamics nearly imperceptible. They evoke awe and a connection to an imperceptible past. They are constantly changing, yet represent such a seemingly stoic fixture in our relatively short lives.

May 17, 2011

Keith Berry – The Ear That Was Sold to a Fish

The Ear That Was Sold… is one of a handful of texturally intricate releases that British sound artist Keith Berry has issued either of his own name or as Brown Bunny. Delicate and deliberate in pace and seemingly low on events, the nine pieces here unravel in much the same way as stray notions do when one is on the brink of sleep. The body of each piece here is filled by a drifting drone mass underneath which a gentle rustle of incidental events occurs. Each of the nine is constructed with a rare level of patience and concentration, resulting in a rather subtle but interconnected whole. The disc was issued in a small box containing several blue flower petals, revealing a refreshing fragrance upon its opening.

The Ear That Was Sold to a Fish

May 17, 2011

Ryoichi Kurokawa

May 17, 2011

William S. Burroughs: A Man Within [2010] / DVDRip

William S. Burroughs: featuring never before seen footage as well as exclusive interviews with his closest friends and colleagues… See full summary »

Plot: William S. Burroughs: featuring never before seen footage as well as exclusive interviews with his closest friends and colleagues. Born the heir of the Burroughs’ adding machine estate, he struggled throughout his life with addiction, control systems, and self. He was forced to deal with the tragedy of killing his wife and the repercussions of neglecting his son. His novel, Naked Lunch, was one of the last books to be banned by the U.S. government. Allen Ginsberg and Norman Mailer testified on behalf of the book. The courts eventually overturned their decision in 1966, ruling that the book had an important social value. It remains one of the most recognized literary works of the 20th century. William Burroughs was one of the first to cross the dangerous boundaries of queer and drug culture in the 1950s, and write about his experiences. Eventually he was hailed the godfather of the beat generation and influenced artists for generations to come. However, his friends were left wondering, did William ever find happiness? This extremely personal documentary breaks the surface of the troubled and brilliant world of one of the greatest authors of all time. “William S. Burroughs: A Man Within” is the first and only posthumous documentary about this legendary figure. Written by Yony Leyser
Genre: Documentary
Country: USA
Languages: English
Runtime: 87 minutes
Director: Yony Leyser,
Writer: Yony Leyser
Casts: Fred Aldrich, Laurie Anderson, Amiri Baraka, Jello Biafra, Victor Bockris, …


Por William S. Burroughs.
Gracias por los pavos salvajes y las palomas mensajeras, destinadas a ser cagadas por las tripas de los americanos. Gracias por un continente devastado y envenenado. Gracias por los indios, que nos proveen un poco de reto y peligro. Gracias por las grandes manadas de búfalos por matarlos y despellejarlos, dejando que la piel se pudra. Gracias por los trofeos de caza de lobos y coyotes. Gracias por el sueño americano, por vulgarizar y falsificar hasta que el fraude sale a la luz. Gracias por el Ku Klux Klan, por los policías que matan negros y se los apuntan en sus libretas. Por las mujeres religiosas y decentes, con sus caras mezquinas, amargas y perversas. Gracias por el slogan “Mata a un maricón en nombre de Cristo”. Gracias por el SIDA de laboratorio. Gracias por la prohibición y la guerra contra las drogas. Gracias por un país donde a nadie se le permite hacer lo que más desea. Gracias por una nación de soplones. Sí, gracias por todos los recuerdos. Y ahora veamos tus brazos. Siempre has sido un estorbo y siempre has sido un pesado. Gracias por la última y más grande traición del último y más grande de los sueños humanos.

May 17, 2011

Vladislav Delay Quartet – Debut

It may be cliché to describe a Finnish artist’s music as glacial, but Sasu Ripatti (aka Vladislav Delay) has always had a knack for crafting enormous, slow-moving sound structures. His new band (presumably inspired by whose live shows preceded his work with the Moritz von Oswald Trio) includes fellow Finn Mika Vainio (aka Ø) who is also known for creating powerful noises. Lucio Capece (who has collaborated with Vainio in the past) plays bass clarinet and soprano sax, and Derek Shirley is on double bass. This is not easy listening. “Minus Degrees, Bare Feet, Tickles” begins with crackling layers of static. High pitched saxophone tones become more frequent and less mechanical until they are joined by rhythmic metallic pounding. This piece refuses to be background music—you have to close your eyes and let it envelop you.  At first, “Sonta Teresa,” is quieter, with light percussion and bass notes that alternate at a slow rowing pace. Eventually Capece’s blowing enters free jazz territory. Vainio’s synth work ranges from subtle to overpowering as the composition progresses. “Des Abends” allows Shirley to toy with jazzy motifs, but the loud processed noises over top are more distracting than complementary. “Hohtokivi” definitely has a Vainio feel to it, starting with rhythmic electric hums. They are joined by wind instrument puffing, weird percussion, and screeching feedback. Even after three listens in a row, I find description difficult. The group begins to gel on “Killing the Water Bed.” Saxophone riffs are processed and multiplied while the rhythm section meanders. At the end it breaks down to cymbals and squeaks.  Compared to the other tracks, “Presentiment” is short at a mere four minutes. Orchestral flourishes and slow bass are caressed by electric piano. Hums and horns creep in at the edges. It is a beautiful piece, though I could do without the overused sonar sounds. I can honestly say I haven’t heard anything like “Louhos” before. It lurches along at 3/4 time with swarming horns over industrial noise makers. You could head bang to it. After such a rousing climax, the drone outro “Salt Flat” falls flat. An album as wild and powerful as this one should go out with a roar. gridface
May 17, 2011

M. Ostermeier – The Rules of Another Small World

With The Rules of Another Small World, M. Ostermeier has arrived at an elegant voice – otherworldly and strangely beautiful, much like the desolate Taiwanese San-Zhr Pod Village gracing the album cover.

While elements of electroacoustic, modern classical, jazz, glitch, drone, ambient, and even lounge weave in and out of the record’s eleven compositions, The Rules of Another Small World is the converse of an eclectic collection of songs.

Instead, a cohesive album springs forth from the subtle commonalities in texture and structure etched into every song. These commonalities derive in part from the “rules” of the album title, a reference to M. Ostermeier’s self-imposed limitations adopted during the composition of these pieces.

Despite its minimalistic leanings, The Rules of Another Small World paints a melodic, freeform world full of detail.  Slow melodic fragments dance in and out of focus, while small sounds both tinker about in the foreground and percolate curiously in the aural architecture underneath.
The striking superposition of unadorned piano melodies and unpredictable sonic microorganisms lifts the melancholic darkness M. Ostermeier explored on Lakefront (Hibernate, 2010) revealing a tone that is more optimistic – even playful (think Cluster, Benjamin Lew, Carpet Musics, Pawn, or Opitope).
Towards that end, most compositions are constructed in the three-minute pop-song format, blossoming with lives lasting only long enough to explore their environment before they metamorphoses into something new. Experimedia
May 10, 2011


May 10, 2011

Fourcolor – As Pleat (12k)

The solo project of Keiichi Sugimoto of Minamo, Fourcolor is his chance to explore a more minimal, pensive sound. ‘As Pleat’ is Sugimoto’s third album, and follows its well-received predecessors with a bubbling stream of choppy DSP and haunting, nostalgic instrumental samples. As with many recent 12K releases, the guitar is at the center of the album, but Sugimoto expertly manipulates these peculiar strings almost beyond recognition, making them chime, drone, buzz and sing. Rhythms fizz and erupt from a soupy slop of ambience, occasionally bringing to mind Alva Noto if he’d thought about collaborating with Robin Guthrie instead of with Ryuichi Sakamoto. The very essence of dream pop is at the center of ‘As Pleat’ and feels like its guiding force; from the bliss-inducing harmonies down to the prickly percussion it feels like Sugimoto has a mind set on giving his music that downy warmth that only dream pop can. While this tendency is far more hidden than would usually be the case from others working in the genre, underneath the Max/MSP hiccups and layers of effects is the same rich compositional element and the same glow we know and love. I think when it comes down to it that is exactly why people keep coming back to Fourcolor, and when he introduces Moskitoo’s silken vocals it seems like all could be right with the world. Gorgeous stuff. Boomkat
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