Archive for June, 2011

June 29, 2011

Fabio Orsi – Wo Ist Behle?

Hailing from the coastal city of Taranto in southern Italy, Fabio Orsi has, in the space of barely six years, collated a considerable body of work, scattered on various labels (A Silent Place, Ruralfaune, Low Point, Priviledged To Fail…). Beside a number of solo releases, he has collaborated with the likes of My Cat Is An Alien, Mamuthones, Seaworthy or Valerio Cosi to name but a few. Finding inspiration in the pre-war recordings of Alan Lomax, Orsi’s work, often based on field recordings which he processes into evocative soundscapes, attempts to document his surroundings.
Having recently moved to Berlin, where he found himself in the midst of the German capital’s harsh and cold winter, this is very much what he does here. Working with sparse electronics, which he loops into vast hypnotic progressive pieces, Orsi appears to reflect the icy weather with equally wintry sound formations. If he had simply stuck to loops, Wo Ist Behle? would have been a very desolate affair. Instead, he develops here slow evolutive soundscapes, which, although often appearing irremediably static, continuously develop and change, through imperceptible nudges of modular synthesis. Like anonymous shadow-like bodies moving through a thick freezing fog, these alterations are too slight to register and be acknowledged for definite, yet they undeniably exist and actually prove essential to the balance of the record.
Perhaps the most haunting piece on here, Loipe 1 is a masterful slice of hypnotic electronic music. Opening with a heavy drone, Orsi slowly brings a pulsating loop nearer the surface over the next few minutes, then, from the halfway mark, applies a second, much sharper loop, over it as the backdrop becomes more expansive. As the track progresses, it becomes criss-crossed with acerbic sonic streaks until the whole piece eventually dies down twelve and a half minutes in. Clocking at almost fifteen minutes, Loipe 3 is of an even more cosmic disposition, but while basing himself once again on a hazy drone, Orsi chooses here to focus almost entirely on its evolutive characteristic. As more components are introduced, from tonal nuances and astral winds to rhythmic sequences, there are hints of dreamy electronic textures pioneered by Rubycon-era Tangerine Dream.
Although much shorter, Loipe 2 and 4 are equally as atmospheric and spellbinding, their sprawling soundscapes almost entirely obliterating their more restrictive scope. Of the two, the latter is the more sombre, its vaporous backdrop, placed in sharp contrast to the much more linear pulses which are left floating above it, appearing like an ominous storm cloud brewing in the distance.
After the calm progressive aspect of the first four tracks, Loipe 5 comes as something of a shock. Here the electronic textures are simply used to wrap incisive guitars in effects, creating something more akin to shoegaze than to kosmische, creating a clash with the rest of the album, as if Orsi was doing this to bring his audience out of the torpor he instilled on earlier pieces.
Wo Ist Behle? is an uncompromising record which sees Fabio Orsi moving away from using field recordings and experimenting with documenting his environment with artificial sounds instead. The result is, quite simply, nothing short of breathe-taking.

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June 28, 2011

Biosphere – N-Plants

News of a new Biosphere record is always exciting, but it’s not normally as freaky as this…

The following text is taken from the intro to the album on Biosphere’s label, touch.

Geir Jenssen (Biosphere) writes: “Early February 2011: Decided to make an album inspired by the Japanese post-war economic miracle. While searching for more information I found an old photo of the Mihama nuclear plant. The fact that this futuristic-looking plant was situated in such a beautiful spot so close to the sea made me curious. Are they safe when it comes to earthquakes and tsunamis? Further reading revealed that many of these plants are situated in earthquake-prone areas, some of them are even located next to shores that had been hit in the past by tsunamis.

A photo of Mihama made me narrow down my focus only to Japanese nuclear plants. I wanted to make a soundtrack to some of them, concentrating on the architecture, design and localizations, but also questioning the potential radiation danger (a cooling system being destroyed by a landslide or earthquake, etc). As the head of the Nuclear and Industrial Safety Agency said: “the plants were so well designed that ‘such a situation is practically impossible’.

The album was finished on February 13th. On March 17th I received the following message from a Facebook friend: ‘Geir, some time ago you asked people for a photo of a Japanese nuclear powerplant. Is this going to be the sleeve of your new coming album? But more importantly: how did you actually predict the future? Kind regards, David.”

It’s extremely haunting listening to some of these tracks, with everything that happened in mind. ‘Sendai’ especially, has a repetitive alarm/siren sample which seems to evoke a serene sense of destruction and panic. Weirdly though, not all of the tracks are melancholic and dark, and it doesn’t seem like you’ll finish up feeling saddened over the whole affair. Instead, (and as Geir intended), this music is about the industrial structures and surroundings, which at the time, may have represented something entirely different to the comparison we now make.

As with most Biosphere productions, there’s a range of pure ambient and more electronic moments, which overall make for a highly anticipated full length. For now, we’ve just got the sample below, but it’s on my pre-order list – shipping begins 22nd June. See the release details on touch for links and more information.

1. Sendai-1 (08:01)
2. Shika-1 (07:54)
3. Jy-1 (05:31)
4. Ikata-1 (05:05)
5. Monju-1 (02:42)
6. Genkai-1 (06:37)
8. Monju-2 (03:58)
9. Fujiko (04:56)



June 28, 2011

Biosphere – N-Plants

June 28, 2011

La Propia Cartonera: Cartón, Cumbia y Amor / Proyecto

La Zanja Producciones es un colectivo independiente uruguayo formado por la unión de profesionales de las áreas del Diseño y Arte Gráfico, la Realización Audiovisual y el Diseño de Sonido. La Propia Cartonera es una editorial independiente que hace libros con cartón sacado de la calle, que baila al son de la cumbia, y que tiene su sede en la barriada de La Teja, Montevideo, Uruguay. La unión de ambos resulta en este sencillo, honesto y motivante documental, enviado y compartido por su realizador, Ramiro Cabrera, y que refleja, mediante entrevistas a sus protagonistas, la emoción y el altruismo puesto de manifiesto en el quehacer diario de La Propia Cartonera, que con decisión y valentía demuestran que la cultura independiente puede ser creada y distribuida sin intermediarios y sin otro objetivo que el de compartir deseos y experiencias.




June 28, 2011

Nick Cave & The Bad Seeds – BBC Four Sessions [2008] / DVDRip

30 de Junio del año 2008 fue la fecha elegida por el frontman Nick Cave y sus cautivantes Bads Seeds, para presentarse en la St. Luke’s Church de Londres, frente a una mínima y privilegiada audiencia, y frente a las cámaras de la BBC Four inglesa. Como si se tratase de una zapada en una bar irlandés, el estilo auténtico y frontal del legendario cantautor, irradia intimidad y energía vital, que desparrama por las mesas de los atónitos presentes, a través de la fuerza sonora de clásicos como Tupelo, Red Right Hand o Stagger Lee, convirtiendo al escenario de la iglesia británica en un místico y potente desfibrilador de almas. El video incluye una mini entrevista a Nick Cave antes del show, con los subtítulos en español correspondientes.

June 28, 2011

Quiet Evenings – Transcending Spheres

The Preservation label presents Transcending Spheres, the debut full-length album from Georgia’s Quiet Evenings. In a little over two years, the duo that comprise Quiet Evenings — Grant and Rachel Evans — have become two of the most prolific and active artists in the American underground. Each also has solo projects: Grant’s Nova Scotian Arms and Rachel’s Motion Sickness Of Time Travel. Between those as well as Quiet Evenings, they’ve amassed well over 50 releases for various labels in various editions. They also co-run the Hooker Vision label, clocking up a similar amount of releases for other kindred spirits. With minimal instrumentation of guitars and synthesizers as well as voice, the pieces on Transcending Spheres curl out to seize a moment, then carry it forward with beauty and grace. Far from the realm of pure ambient drift, subtle forces build within their disarming restraint to give the album a vital pulse and provide a stunning balance between light and shade. Quiet Evenings inhabit a ghostly space of unique elegance, and as this highly-spirited work’s title suggests, this is a duo that can carry their craft well beyond standard shapes. In a lovely twist of serendipity, Transcending Spheres was mastered by long-time friend and musical mentor Mitchell Turner, Music Professor at the college where Grant and Rachel first met and began making music together. Transcending Spheres is the fourth work in a new limited edition CD series from Preservation called Circa. Only 300 copies of each release in the series will be available and will feature a design by Mark Gowing. Each design for 2011 will be realized using a specially-created abstract alphabet of shapes, determined by artist, title and catalog number for something both fixed and random.

Quiet Evenings-Transcending Spheres Download mp3 free


June 28, 2011

Saåad – Raincoats

Label:Self Release
Released:01 July 2011


1 – Love Is A Rent (5:00)
2 – She Is Electricity (3:38)
3 – The Frontier (2:50)
4 – Back Pain / Pain Back (5:40)

The idea behind this release was born during a stormy evening in january. I was recording ‘Love Is A Rent’ when electricity started to hardly wave. When I listened to the recording, the rain changed into thunder and the sound was strangely undulating, sometimes cracking and clicking. I had to wait until june to record ‘She Is Electricity’ which ends this work of waiting. These four songs have been recorded at different times and possess their own alterations.

For me this is the best of Saåad so far


LINK (Multiupload)


June 24, 2011

Surgeon – Breaking The Frame (2011)

Con Berlín convertido en epicentro de la escena techno y los italianos pujando por hacerse con el trono, Surgeon vuelve reivindicando el lugar de los ingleses. Durante su ausencia muchos nombres emergentes han peleado por ser el nuevo Surgeon, pero hay poco que hacer, Surgeon es el nuevo Surgeon y por algo forma parte del olimpo technófilo británico, justo a la altura de James Ruskin, Regis o Ben Sims.

Su sonido ha sufrido un crecimiento exponencial y en Breaking The Frame se debate mejor que nunca entre la psicodelia, con múltiples homenajes a la estética warpiana y el sonido industrial de la ciudad del motor. Esto no quiere decir que sea un simple crossover entre Robert Hood y Aphex Twin, la capacidad narrativa de Surgeon está llena de grietas a través de las cuales se cuelan desde sonidos típicamente Birmingham al IDM de principios de los noventa sin despreciar las nuevas tendencias del techno alemán y el dubstep, todo mezclado con precisión quirúrgica.

Como la gran mayoría de álbumes de productores techno no está especialmente diseñado para la pista, Those Who Do Not es el único tema que sigue una estructura más tradicional y propicia para mezclar, pero los devotos del techno sabrán liberarse de prejuicios y disfrutar de un trabajo tan revulsivo y visceral.

01 Dark Matter
02 Transparent Radiation
03 Remover Of Darkness
04 The Power Of Doubt
05 Radiance
06 Presence
07 We Are All Already Here
08 Those Who Do Not
09 Not-Two





June 23, 2011

Daniel Menche and Anla Courtis – Yagua Ovy

“I looked back for my comrade; he had stripped off all his clothes and laid them down by the wayside. My heart was in my mouth; and there I stood feeling like a dead man. Then he made water all round the clothes, and in an instant changed into a wolf.”
The werewolf has gripped the human imagination in its clawed paw for centuries. The quote above is from Petronius’s Satyricon, thought of as one of the earliest novels in Western literature, dating from the first century AD (the word lycanthrope too is derived from the Greek). But ancient Greece can by no means claim to be the source of the legend: in fact, wherever there are wolves, you’ll come across fables and superstitions about werewolves. Hence you’ll find them elsewhere in Europe: the Norse had their version of the tale, as did the Finns and the Russians.
However, some of the deepest-held beliefs and fears on the subject are to be found across the Atlantic Ocean. In some parts of Mexico, parents lay out mirrors and knives in their children’s bedrooms, emblems thought to ward off werewolves. In Paraguay and Brazil, seventh sons are feared as potential lycanthropes (or “lobison”), and in Argentina they had to take extraordinary legal measures to prevent parents killing such offspring – the president of the country is automatically appointed the godfather of any seventh son. Even in areas where the wolf is not the most feared predator, the story remains essentially the same: for example the Quechua people had the tale of the “runa uturunco”, the were-jaguar, which walked through the forest on its two hind legs, and was famed for its strength and bloodthirstiness.
“Runa Uturonco” is also the name of the first track on the new collaboration between the prolific sound artist Daniel Menche, and the experimental guitarist Anla Courtis. That the project has resulted in an exploration of such a shocking topic is in itself no huge shock: when you expose Courtis’s Argentinian roots to Menche’s particular interests, it seems almost inevitable. Other Menche releases have included albums entitled Beast Resonator, Wolf’s Milk, Unleashed, and Feral, but the theme he keeps coming back to is that of blood: Blood Sand, Bleeding Heavens, Radiant Blood, Beautiful Blood. Even his blog is called “What Does Blood Sound Like?”. The title of this new album refers to a tribe in northeastern Peru who paint themselves red, and whose name means ‘blood’ or ‘the colour of blood’. It seeps everywhere.
Such organic subject matter may initially seem to be somewhat at odds with Menche’s methods, which often involve the recording and processing of inorganic environmental sounds. His Kataract record famously involved recordings from waterfall “white noise”, and Yagua Ovy takes from the land, from snow and from rocks. When Jackson Pollock was asked if he worked from nature, he responded “I am nature”, and Menche through his art merges the meanings of the word: the external (the natural world), and the internal (the instinctive). He is interested, to invoke another of his album titles, in the Blood Of the Land: the idea of Earth itself as a living organism which is to be respected and feared, a concept that dates back through time, linking civilisations as otherwise disparate as ancient Greece and the tribes of Latin America.
While often building from these simple, quiet sources, his live performances can become extremely visceral, physical affairs. Last year in a solo performance, I saw him holding contact mics to his throat like he was about to slice through his own jugular: he really doesn’t need anyone else’s help to construct something intense and terrifying. Here though he has the sympathetic ear of Anla Courtis, who has previously worked with the musically malicious likes of Lasse Marhaug and Birchville Cat Motel, and who brings an unconventionality of approach that equips him well for working with Menche. On “El Relincho” (which means “the neighing”, and is also a place in Venezuela), it is in fact difficult to attribute the sounds to the respective artists: there is lot of metal on here, both guitar-based and otherwise, and the clanging, screeching sounds ultimately twist, bend and splice themselves into one gnarled, horrifying narrative.
On the aforementioned “Runa-Uturunco”, Menche leads the listener into a dark wilderness through shingle and stone, while around him Courtis builds a sense of menace into the story, a deep sense of foreboding, with his cracked guitar rumbling like a gathering electrical storm, an impending violent transformation. When it breaks, the downpour builds in intensity until it becomes a howl, a savage roar from an indefinable form that indeed sounds part nature, part beast, part human. As it retreats back into the shadows, I’m left musing that, as thrilling as the recording is, there is in fact nothing new to what Menche and Courtis are doing here. Yagua Ovy is merely the latest addition to a canon which stretches back millennia. The Liminal

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Daniel Menche and Anla Courtis – Yagua Ovy

June 23, 2011

offthesky – Subtle Trees

Offthesky aka Jason Corder returns to Ian Hawgood’s family of labels with an atmospheric suite of plangent piano and electro-acoustic ambience. ‘Enter Off Color Tear’ makes an arresting entrance, sparse keys fragrance an undecided and wide open space while closer concrète textures and lustrous drones toy with our spatial perceptions. In ‘Swallow Shallow’ a similar blend of acousmatic sound sources texture glassy half-melody and sighing strings, while the cicadas and hushed electronics of ‘Gemutcycle’ suggest a more unnerving, ghostly and nocturnal scene. ‘Tight Phase Of Pollen Inertia’ offers looping, almost Reichian glockenspiel phrases, drifting woodwind and low, humming bass, and closer ‘Symphony For Exiting Entropies’ departs to struck Gamelan-like tones and mottled electro-acoustic drones. Quite lovely. Boomkat

offthesky – Subtle Trees