The universe is making music all the time

Chosen One: Candoco Dance Company

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Interview with Pedro Machado (Candoco’s Artistic Co-Director).

I think Dance has this ability, it breaks barriers when you do it, it allows you to tap into a different state of mind and body but it also creates intriguing and captivating ‘things’ to look at.”

—Pedro Machado (Candoco’s Artistic Co-Director).


Candoco, the leading company of disabled and non-disabled dancers is celebrating its 25th anniversary in London with two special performances at Sadlers Wells (tonight and tomorrow).

Beheld features music by German composer Nils Frahm reworked by fellow musician Machinefabriek. Set and Reset/Reset features music by Amercian avant-garde artist Laurie Anderson.

Founded in 1991 by Celeste Dandeker-Arnold OBE and Adam Benjamin, Candoco quickly grew into the first professional dance company of disabled and non-disabled artists in the UK. The rich beginnings of Candoco happened out of workshops, where disabled and non-disabled people got together to dance, create and have fun.

Candoco’s current Artistic Co-Directors Stine Nilsen and Pedro Machado were appointed as Celeste’s successors in 2007 having danced with the company for seven and nine years respectively. They have taken Candoco from the Bird’s Nest in Beijing to the Olympic Stadium in London, performing at the handover ceremonies in 2008 and returning, alongside Coldplay, at the Paralympic Closing in 2012 and have commissioned works for the company from leading choreographers Emanuel Gat, Rachid Ouramdane, Wendy Houstoun and Javier de Frutos.

Candoco’s ‘Beheld’ & ‘Set and Reset/Reset’ take place London’s Sadlers Wells on 21-22 October (tonight and tomorrow), performance commences at 7:30PM. For ticket bookings visit HERE.


Interview with Pedro Machado (Candoco’s Artistic Co-Director).


Please discuss the relationship between music and dance, and where you feel both these worlds intersect?

Pedro Machado: They both make us aware of rhythm and form and can be evocative of imagination and emotion. They are also ephemeral, you can reproduce and record it but the experience or listening to music or seeing dance disappears the second it happens. I like that specially as society tend to put some much emphasis on consuming and owning.

The Candoco Dance Company celebrates its 25th Anniversary this year and the forthcoming London production is to reworks of music by Nils Frahm and Laurie Anderson. I would love to gain an insight into the music program itself and your approach (and preparations) to reworking the music of Nils and Laurie Anderson? Also, what are the qualities and particular aspects to the music of Nils Frahm and Laurie Anderson that makes for such a compelling dance performance?

PM: Nils Frahm’s work is atmospheric, cinematographic, evocative… with plenty of space for contemplation, it’s a great match for dance and it’s capable of subtle but powerful emotional responses.  Laurie Anderson score for Set and Reset is full of layers and surprises, with a quirky humour and an engaging beat. Just like the dance.

Please discuss the aura of live performance and the feelings involved when it comes to the dance performance, live onstage and witnessing the production bloom into life?

PM: I love the communion aspect of live work, the fact that is experienced by lots of people at the same time… In one way the music and sounds help us to connect. When we work in the studio the music is a driving force and also guides dancers but sometimes it can take over and we also rehearse without music a lot. One of our performances at Sadler’s has a special aura as it will be audio described on the spot, to support further access to blind people.

As an integral force behind this world-renowned dance company, can you talk me through the rise of dance (in general) and your artistic vision (from the outset) when it comes to the inception of a particular dance piece, and its evolution to the final, end result?

PM: Candoco is an international reference in the field of dance and disability and it’s one of Britain’s most eclectic repertory Company but 25 years ago we didn’t set off to become a company, that happened out of workshops, where disabled and non-disabled people got together to dance, create and have fun.

I think Dance has this ability, it breaks barriers when you do it, it allows you to tap into a different state of mind and body but it also creates intriguing and captivating ‘things’ to look at. It’s like seeing a sportsperson performance where you have to decide for yourself what are the rules… What audiences see on stage is just the tip of the iceberg of months of preparations and hard work, many many hours that culminate in a one-hour event.

Can you describe the dance choreography and sequencing to the ‘Beheld’ movement, which sees a visually striking dance piece performed to the backdrop of Nils Frahms’ score? Please discuss the symmetry between the dance movement itself and movement of Frahms’ music?

PM: Beheld is beautiful to look at but it’s much more than that. There are great odd harmonies and collective effort and exhilarating dance sequences. Nils’ music creates an intimate still epic atmosphere that supports and extrapolates the action on stage.

What other composers and musicians would you love to collaborate with in the future? What other projects do you have planned, Pedro?

PM: We are working with Yasmeen Godder next year, she is very cool and has great taste, in our early conversations names like PJ Jarvey and Radiohead came up but we are aware these are big artists so we are also looking for other artists who can be political and emotional without being preachy or sentimental.

Candoco’s ‘Beheld’ & ‘Set and Reset/Reset’ take place London’s Sadlers Wells on 21-22 October (tonight and tomorrow), performance commences at 7:30PM. For ticket bookings visit HERE.


Written by admin

October 21, 2016 at 6:26 pm

Fractured Air x Blogothèque – S01E10 | October mix

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October’s mixtape contains an exclusive unreleased track by the world-renowned electronic composer Loscil (Canada/Kranky) ahead of the release of his forthcoming album “Monument Builders”, due for release on November 11th via Kranky.

For over nearly two decades Loscil (Vancouver-born Scott Morgan) has been amassing a constantly evolving, soul-stirring body of work. Beginning with his 2001 debut “Triple Point”, Loscil has developed his own unique style of textural rhythms that ceaselessly blur the lines of ambient, techno, drone and modern-classical. Next month sees the hugely anticipated release of Loscil’s “Monument Builders” (his eighth release for the Chicago-based independent Kranky) and follow-up to 2014’s magnificent “Sea Island” full length.

Also included in October’s mix are two selections from the latest masterful guest mix by Late Night Tales – this time with Belfast-born producer extraordinaire David Holmes at the helm – which ranks amongst the most irresistible contributions in the vast Late Night Tales archive to date. Featured here is the heart-stopping tribute to the late Henry McCullough, the Northern Irish guitarist who was a member of Spooky Tooth, Paul McCartney’s Wings, Sweeney’s Men and also performed with Joe Cocker. Holmes collaborates with the Irish DJ, musician and author BP Fallon for the gorgeous “Henry McCullough”, a most loving and poignant tribute to his memory.

October’s mix also features new releases by the Irish-based electronic producer Ellll (pseudonym for Cork-based artist Ellen King) who releases her sublime debut EP “Romance” next month; Katie Gately’s stunning debut album “Color” on the Tri Angle label; the impeccable “Stranger Things” soundtrack composed by Kyle Dixon & Michael Stein from the Austin-based band S U R V I V E and the second album by Xylouris White (legendary Cretan-lute player George Xylouris and Dirty Three’s Jim White) entitled “Black Peak”, out now on Bella Union.

Fractured Air x Blogothèque – S01E10 | October mix

To Read/listen on La Blogothèque:



01. John Carpenter“Hofner Dawn” (Sacred Bones)
02. Colleen“Your Heart On Your Sleeve” (The Leaf Label)
03. Ellll“Romance” (Art For Blind)
04. Katie Gately“Lift” (Tri Angle)
05. Jessy Lanza“Could Be U” (Hyperdub)
06. Kyle Dixon & Michael Stein“This Isn’t You” (Stranger Things OST, Lakeshore)
07. Black Marble “It’s Conditional” (Ghostly International)
08. Madvillain“The Illest Villains” (Stones Throw, PIAS)
09. Betty Harris“There’s a Break in the Road” (Soul Jazz)
10. J Dilla & MF Doom“Sniper Elite” (Gold Dust Media)
11. Virginia Wing“Daughter of the Mind” (Fire)
12. Marissa Nadler“High on the Road” (Bandcamp)
13. Nick Cave & Warren Ellis“Texas Midlands” (Hell or High Water OST, Milan)
14. Stars Of The Lid“Tippy’s Demise” (Kranky)
15. Low “Untitled 1” (Bandcamp)
16. Bob Dylan“Song To Woody” (Columbia)
17. Xylouris White“The Feast” (Bella Union)
18. the Marquis de Tren and Bonny Billy (with Angel Olsen)“Solemn 28” (Drag City, Domino)
19. The Children Of Sunshine“It’s A Long Way To Heaven” (LateNightTales)
20. Townes Van Zandt“Waitin’ Around To Die” (Charly, Poppy)
21. Ennio Morricone“The Ecstasy Of Gold” (The Good, The Bad and The Ugly OST, United Artists)
22. The Avalanches“The Wozard Of Iz” (XL)
23. BP Fallon & David Holmes“Henry McCullough” (LateNightTales)
24. Primal Scream“Inner Flight” (Creation)
25. Katie Kim“Ghosts” (Art For Blind)
26. Boom Bip“I See Me” (Sun Choke OST, Lex)
27. Loscil“Varia” (Unreleased)
28. Jóhann Jóhannsson“A Song for Europa” (Deutsche Grammophon)
29. Claire M Singer“Wrangham” (Touch)
30. Gavin Bryars (with Tom Waits)“Jesus’ Blood Never Failed Me Yet” (Obscure, Island)

Compiled by Fractured Air, October 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.


Step Right Up: Dead Light

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Interview with Dead Light.

“So there’s a very ‘cut and paste’ aesthetic to the textural sounds which we hope make the record feel a lot more intimate, personal and real.”

—Ed Hamilton

Words: Mark Carry


Dead Light is the moniker for the gifted duo of Anna Rose Carter and Ed Hamilton, whose sumptuous eponymous debut record (released on UK-based Village Green recordings) delves beautifully into electro-acoustic bliss and neo-classical splendour. The intricate piano melodies and compelling string arrangements are masterfully immersed in delicate textures and timbres; drifting majestically in the ether.

The duo’s eponymous debut forges a deeply affecting experience for the heart and mind: the rich, dense textures of Hamilton’s production is masterfully interwoven with Carter’s stunningly beautiful piano-based compositions. A musical trajectory can be made back to Moon Ate The Dark – another of Carter’s glorious collaborative projects – whose neoclassical-infused drone compositions share a similarly otherworldly quality and ethereal dimension. Dead Light’s music draws upon classical, pop, ambient and electro-acoustic influences.

Dead Light’ feels like a new beginning or starting anew where luminous embers of hope burn brightly throughout the record’s drifting melancholy.

‘Dead Light’ is out now on Village Green.



Interview with Dead Light.

Congratulations Anna and Ed on creating such a captivating and deeply moving debut album. These piano-based compositions inhabit a special space, spanning many intricately layered sounds, textures that in turn, elicit such poignancy and rich emotion. Please take me back to the inception of this wonderful collaborative project and the starting point, if you will? I love how one feels the time, care, detail and devotion that is so clearly inherent inside the music, so I presume this record spans some considerable time?

Ed Hamilton: It definitely spans considerable time – It took us about 2 years to make! Most of the first year was spent just playing around together, trying to establish a style and a collaborative voice that we felt represented us, and what we wanted to say…

Anna Rose Carter: We’d just moved out of London, and it took us a while to explore this newfound space, time and quietness and feel comfortable in it. There was a tension that came from moving away from the lives that we were comfortable in and it took us a while to harness this tension into something musically exciting… Once we started recording, a lot of ideas came out of the first sessions, but then we spent a lot of time refining and condensing these ideas into something more cohesive and focused. Space was very important to us but we also wanted to layer many textures into the compositions and it took us a while to get the balance right.

EH: I’m also a massive control freak when it comes to sound! Actually right from the start we were both very protective of the sound, so everything took us that little bit longer… We were dealing with quite an old, rickety, noisy piano, so there were a lot of challenges with the recording… Actually I think this was for the benefit of the sound on the record, because there’s an intimacy there that there might not have been had the piano been really clean, because we might have ended up micing it in a different way and not going off on a ‘texture tangent’! But yes, it did take us a long time to get the sound just right!

As a duo, the listener feels that deep dialogue between the piano and cello instrumentation, and indeed the multitude of effects and preparations that is so masterfully embedded within the compositions. I would love to gain an insight into both the various piano preparations and the many analogue artefacts and sonic wizardry that lies at the heart of this remarkable debut album?

EH: With the piano preparations… the piano we have is a beautiful, old upright that Anna’s grandfather gave her, which has a very nice, warm, round tone to it, but because of its age, it’s very noisy. Initially we fought against that noise a lot, and tried to find ways of recording that didn’t include that noise, but actually when we succeeded in doing that, we felt that the compositions were weaker for not having the textural elements the piano creates within them.

ARC: So, in the end, we started recording again with the desire to harness, and make use of those noises. Some of the preparations included muting the strings, with hands and bits of old sheets and felt and various other things, all of which we used to kind of dampen the sound of the strings, so you actually hear more of the piano rather than less of it. A lot of the preparations were about embracing that sound.

EH: The other elements were ways of underpinning the artefacts inherent in the piano recordings… We wanted the textures to be very real and very tactile so we experimented a lot with tape (which we both love for the richness and realness that it imparts). We’d usually start by cutting tape loops down to size and then recording phrases (from piano, cello, toy keyboards etc) onto the tape. Once we had a loop we were happy with we’d take it out of the cassette and subject it to all manner of processes; from sticking bits of cellotape over the playing side of the tape (to create these sort of gaps in sound), to putting the loops in vinegar solutions, or outside in the sunshine. Anything to see if the process changed the surface of the tape and gave it new characteristics that we were looking for. We’d rigged up a series of reel-to-reel machines as a kind of delay network, which was usually the final stage the loops would go through. So there’s a very ‘cut and paste’ aesthetic to the textural sounds which we hope make the record feel a lot more intimate, personal and real.

Please describe the Pie Corner studio and the inspiration you both must have felt from being immersed in the quiet, idyllic countryside (in stark contrast to the chaotic London city centre)? You must have some fond memories of the recording process itself and seeing these tracks take shape, so to speak?

ARC: Well, I actually found it quite uninspiring at first! In London, I’d be inspired by everything and anything in day-to-day life; just the normal business of a city being a city, fashion, architecture, even just the sounds a train going past, that was all a part of my inspiration. Not to mention watching some amazing musicians and thinking, “Wow, how do they do that?” In the countryside, it’s just us on our own, and you’re like, “Shit. I don’t know what to do.” Pie Corner is this old farmer’s cottage and when we moved in it was pretty run down, old green carpets and floral wallpaper, that kind of thing, which didn’t help…

EH: That’s actually another reason the record took a while, the first month or so was spent ripping up all the carpets, sanding the floors, stripping back wallpaper and painting!

ARC: But actually once we finished decorating, the house became this amazing space… We made the living room into a studio, it’s a really nice room looking out onto a beautiful wild garden, with white walls and these big, floor length red velvet curtains which we use as ‘sound proofing’ (not very well – I’m sure you can still hear birdsong and planes at points on the record!), it’s really atmospheric and it’s kinda got a Twin Peaks vibe, hasn’t it?

EH: Yeah, it’s very Twin Peaks! It’s great having the studio in the building you live in, combined with the freedom we have living here means we can create music whenever we feel the urge to do so; we’re not restricted to studio hours – if it’s the middle of the night, or maybe we’re watching a film, and are inspired to create something, we can just walk next door! ‘Little Blue’ for instance, was created one night when I couldn’t sleep… I went downstairs and started tinkering with that tape machine delay network I mentioned and just ran some piano from a mic test we’d done through it.

For me this record feels like a new beginning – starting anew – where and an overarching feeling of hope resides throughout the record’s drifting melancholy. Many defining moments are dotted across the debut full-length but a piece such as ‘Falling In’ – the album’s centrepiece – epitomise the spirit of the album: an empowering piano composition with a tender, warm heartbeat filled with such divine textures. Please talk me through this particular piece of music and shed some light (if possible) on the collaborative process between the pair of you?

EH: ‘Falling In’ was the first track we wrote in Pie Corner. It was one of the few tracks where we didn’t really condense or refine what we had captured live. As it came after this long process of adaptation and renovation I think you’re right – for me it’s very much about beginnings, renewal and rebirth.

ARC: In terms of our collaborative process, it really varies from track to track. As Ed mentioned, ‘Little Blue’ was just him messing around with some test recordings, ‘Blooms’ was me writing a piano piece to go with some loops I found on his machines whilst he was away one weekend, ‘Falling In’ was live improvisation with a couple of overdub ‘joining’ sections… On the whole it was mostly Ed and me playing with compositions until we were happy with them, then recording our parts live and then fleshing them out with other elements and writing parts for guest musicians (‘Sleeper’, ‘Slow Slowly’, ‘The Ballad of a Small Player’ for example).

EH: We tried not to be too restrictive about how we worked. We were very keen to limit ourselves to quite a minimal sound palette, but wanted to have an ‘anything goes’ style of collaborating!

Another great hallmark of the debut is the sheer range of textures and sonic timbres that are crafted and so carefully inter-woven. For example, the ethereal vocals on ‘Sleeper’ are mesmerizing; the ambient pulse of delays of album closer ‘Outpour’, the joyously uplifting melodies of ‘In Red And Red’ and the utterly transcendent crescendo of the tour-de-force, ‘Slow Slowly’. I wonder were there any happy accidents so to speak during the album recording sessions (or indeed the writing process)? Do you feel there were any challenges or concerns posed during any of the music-making stages?

ARC: The whole record is happy accidents!

EH: I’m not sure if ‘accidents‘ is the right word, because we spent such a long time establishing a musical relationship with each other that we kind of put ourselves in a position where things would come instinctively… but definitely not always on purpose… so actually, maybe ‘accidents’ is right! I do think that these ‘accidents’ are a part of that process and not removed from it though.

Looking back over the album, what do you feel were the sum of influences and inspirations that found its way into the music itself?

ARC: I think the lack of cultural activity surrounding us during the process of making the record has meant that the sound palette is a bit more curated than it could have been otherwise… the lack of gigs etc around us means we spend a lot of time listening back through our record collections, watching films and being out in the countryside. We had to work to feel inspired, well I feel like we did anyway.

EH: I totally agree, and I think that this wide array of listening coupled with not having access to music in a live environment has meant that the record, whilst it does have influences, and they’re, at times, quite apparent, is a very personal record… This coupled with the rickety piano and living room studio means it’s definitely not a pristine, polished record. I feel like it’s got personality and a soul…

‘Dead Light’ is out now on Village Green.

Written by admin

October 19, 2016 at 9:12 pm

Chosen One: Xylouris White

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Interview with George Xylouris & Jim White.

All these things forge our sound and make us more who we are and where we are from. Pictures and sounds, deserts and forests and towns and sky and people, and I woke up in the bus in Arizona at 6 in the morning at sunrise and everything was pink, I’d never seen anything like this.”

—George Xylouris

Words: Mark Carry

george and jim

Xylouris White is the inspired collaboration between Greek lute player George Xylouris and the Australian, Brooklyn-based drummer Jim White. Both composers are legends in their own right, the former through his Cretan lute-led sounds of the Xylouris Ensemble, the latter through his membership of mythical Australian trio Dirty Three and myriad collaborations over the years (Nina Nastasia, Cat Power, Bill Callahan, PJ Harvey, Nick Cave, to name a few). Both have harnessed truly unique and unparalleled playing styles and levels of musicianship in their respective instruments where inspiration seems in endless supply at all times.

A catharsis of energy is unleashed throughout ‘Black Peak’ with an incredible force and unwavering beauty that has become one of the treasured hallmarks of the duo’s incendiary sound (ever since the duo’s 2014 debut full-length ‘Goats’). A wider sonic palette is masterfully explored here with the addition of George Xylouris’s immense baritone vocals (on several tracks) and a myriad of special guests from the extended Xylouris family (George’s father Psarandonis and Will Oldham carve beautiful new textures and colour to the duo’s visionary sound), further heightening the revelatory experience that awakens with each pulsating beat and enriching narrative.

If ever a song embodied the spirit of a record it comes with the closing epic ballad ‘The Feast’. A rich tapestry of otherworldly sounds gloriously ascends amidst a whirlwind of life’s fleeting moments. George’s father Psaradonis takes the lead role: his soaring lyra and voice weaves majestically around his son’s hypnotic lute playing and White’s joyous and sprawling drums. The Last Waltz. The gorgeous, sombre feel could be any one of Bonnie ‘Prince’ Billy’s deeply moving records and shares the infinite possibilities and sacred space of Dirty Three’s Ellis, White and Turner.

The sheer expanses covered on ‘Black Peak’ is staggering. The opening rock opus ‘Black Peak’ and ‘Forging’s momentous rock’n’roll rhythms are followed by the poignant parable of ‘Hey, Musicians!’ and divine epic love song, ‘Erotokritos’. Worlds drift in. Ancient traditions are interwoven with contemporary, avant-garde musical structures, forever embedded deep inside a mysterious, enchanting and cosmic space.

Bret Easton Ellis began his introduction to John Williams’s vintage novel ‘Butcher’s Crossing’ by saying: “A novel is about the opening of consciousness, in both the characters who inhabit the fictional narrative as well as that of the reader envisioning the novel in their head as they explore the terrain the author has laid out.” Just like the sweeping, intimate portrait of (central character) Will Andrews’s search for a new way of living, ‘Black Peak’ invites the listener to inhabit the far-reaching plains of life’s mysterious and kaleidoscopic landscape. As depicted on the striking narrative of ‘Hey, Musicians!’, music indeed never ends.


‘Black Peak’ is available now on Bella Union.

Fractured Air & Plugd Records present XYLOURIS WHITE w/ KATIE KIM

TDC, Triskel Arts Centre, Cork Friday 28 October 2016 Tickets: €15 (ORDER ONLINE HERE)


Interview with George Xylouris & Jim White.

Congratulations on the stunning sophomore full length ‘Black Peak’. Firstly, there is new sonic terrain covered on ‘Black Peak’ with the addition of your immense baritone vocals, and a wider sonic palette is masterfully drawn from, with special guests from the extended Xylouris family also deployed. Please take me back to the making and recording of ‘Black Peak’ and please recount for me the recording sessions? What was the studio set-up and how long did the recording take?

George Xylouris: BLACK PEAK is recorded in different studios around the world, New York, Providence, Crete, Iceland, we were on tour at the time we were recording. That’s one of the reasons we call the album Black Peak, not only because of the song about the mountain above where I’m from but also the symbol of linear B (Minoan script) for this mountain and its sister peak which maybe means the horizon (anthropological theory).

The first song recorded for the album was Forging, recorded at Guy’s studio and it also helped us with direction for the record. We recorded Black Peak (the song) in Queens, The Feast was from Guy’s in New York and finished in Crete with my father singing and playing, and Erotokritos was finished in Louisville the day we played a show there, the studio set up is different depending where we were.

In Rethymnon you can hear the birds from the open windows singing with Psarandonis. Hey Musicians! was the first time we played this song, we recorded it in Iceland in a studio that used to be a swimming pool and we played in the bottom of the pool. We recorded many songs like that, but this was the first song we recorded that day. It tells about somebody asking the musicians to tune up their instruments because he wants to sing about his old loves and he wants the air to take the words away where his loves hang out, those ones who loved him and those that lied to him and he’s got a lot to take out of his heart in a love way and then when his fantasy party finishes he says to the musicians to hang up their instruments and put them in their cases because music never ends.

A catharsis of energy is unleashed throughout ‘Black Peak’ with an incredible force and unwavering beauty that becomes one of the trademarks of the Xylouris White sound. For example, the aesthetics of the record is another important aspect, where gripping intensity of the more rock fuelled anthems (‘Forging’ and ‘Black Peak’ at the beginning) is joined with epic ballads such as album closer ‘The Feast’. In what way do you feel your live tour of your debut album help shape the songs off ‘Black Peak’. It is this energy between the pair of you – this resolutely unique duo – that evokes such a shape-shifting, enriching and incomprehensible sound. Please talk me through the creative process and indeed the space you each create that forms the bustling heart of Xylouris White? 

GX: Thanks for your comments.

We’ve played a lot of concerts in a lot of places since the release of Goats and we like to do that, a lot of time together a lot of sound checks, traveling, concerts, talking, listening, and traveling to the horizon all the time, ahead. All these things forge our sound and make us more who we are and where we are from. Pictures and sounds, deserts and forests and towns and sky and people, and I woke up in the bus in Arizona at 6 in the morning at sunrise and everything was pink, I’d never seen anything like this.

Are any of the new tracks actual traditional songs?

GX: The lyrics of Erotokritos is from the 14th century. There are different melodies – different ways to sing the words depending on the area in Crete; it’s a love epic song 10,000 couplets, we cover around 15.

Pretty Kondilies is a traditional dance and that type of melodies are traditional, there are many choices and you choose and put them in a row and often people and musicians improvise the words on the spot. it depends the situation and their feelings, the arrangement is ours.

Please discuss the rich musical lineage of the Xylouris family and indeed the players – past and present – that comprise the Xylouris Ensemble. Also, there is a beautifully vivid sense of place in your music, something that resonates powerfully with The Dirty Three and how a sense of journey always finds a way into the music, and Xylouris White is certainly no exception. Can you explain the importance of travel and the act of travelling must have on the music you create? I always feel it could be music to an epic road-trip through many journeys past.

GX: I grew up in a musical family, my uncles, father, brother and sisters, my villagers who were also feel like my family and many of my friends, we grew up together playing music and soccer in the village, and hung around in the sides of the village and cut wood and would pretend it’s a lute, and play, singing the sounds and that’s one of our fun and enjoyable games, and we also mimic dancers and musicians from our village. So I grew up playing mandolin and serenading around the village many, many times, and hung out with older people, who wanted me to play for them, to sing and have all the sounds of the wedding and parties in the square and later on when I was thirteen I left school and I went with my father to play all around the island as a full-time musician and soon I understood what I wanted do with my life.

Later on I had the opportunity to travel with my father and met many other musicians and singers and dancers and kept in touch with them through the years, exchange ideas and hear other music, keep in touch and play music all these years, unstoppable, and when I was 27 we went to Australia to play with my father and I stayed there for 8 years. A few friends and family there happened to be musicians from different traditions and background and that’s how we started Xylouris Ensemble, and that’s also when Jim and I met in the late 80s and later on Dirty Three started and they invited me to play as a guest etc.

What are your earliest musical memories?

GX: Listening to my Dad rehearsing at my grandfather’s house, a couple of my Dad’s friends were there and one is a really beautiful and unique dancer and I remember that and I never forget that I heard the melodies I already knew and I saw my Dad try to play those melodies in a different way, put more or less in, different bows and try in that way to cover the dance, talking with the dancer and tried to drive them connected to the dance and that was a huge experience and I discovered that you could play the same thing in different ways and I noticed it was for them the most important thing that was happening in the whole world , like a meeting of the big countries having a summit to save the world.

Jim White: My parents playing Bob Dylan records at parties at my house.

As masters of your chosen instruments, I would love for you to discuss your first encounter with the drums and lute?

GX: In the square at a wedding listening to my uncle Yiannis play the lute. 

JW: Listening to records and loving it but having no understanding of it at all, and then making a band with my friends which never even got together once but I decided to choose drums.

What musical philosophy you feel has remained true to you throughout these years? 

GX: To quote my Dad, – he doesn’t play with meters he plays with kilometres.

JW: Trying to understand the drums from the basics.

Can you recount for me your memories of first meeting one another? It’s amazing to think this occurred even before the beginnings of Dirty Three, another factor to what makes this duo so special and unique. 

GX: I met Jim through friends at a party, and then again when I saw Venom P. Stinger play.

JW: At a party through friends when George couldn’t speak any English, and then playing by himself at a bar in the city and then later Xylouris Ensemble by the river. 

What is your compositional approach? I wonder has the process changed or developed in any way from the debut ‘Goats’? 

GX: Everything changes. Nothing stays stable. Next year will be different again! We don’t know what we are exactly looking for but we face our direction.

The closing ballad ‘The Feast’ represents the finest moment of ‘Black Peak’s rich tapestry of otherworldly sound. The music of Xylouris White feels at once steeped in an age-old tradition of folk music and the wide expanses of experimental nuances. Can you talk me through the construction of this song and the addition of lyra & voice? It must be exciting to be playing some of these songs more stripped down as a duo (minus the added instrumentation of the guests), I wonder do the songs mutate or evolve in any way over the course of a long tour?

JW: This song is an improvisation on a melody we recorded at Guy’s house in New York, we had that and liked it very much and later on in Rethymnon at Aristotelis’ studio with the windows open on a hot day the birds came and started singing with Psarandonis (George’s dad) and George.

The words are about someone, he’s going to marry the moon and because he loves that moment he writes the lyrics and the moon is in and out of the clouds and he calls to the mountains because he is so happy “hello friends, how heavy you are, as much as I love you” and he calls earth his mum and the sky his dad and he asks them to come to his wedding with the moon because that’s what he feels is so beautiful that he loses his mind and wants marry the moon.


‘Black Peak’ is available now on Bella Union.

Fractured Air & Plugd Records present XYLOURIS WHITE w/ KATIE KIM

TDC, Triskel Arts Centre, Cork Friday 28 October 2016 Tickets: €15 (ORDER ONLINE HERE)

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October 18, 2016 at 2:02 pm

Mixtape: Dmitry Evgrafov (RUS/130701)

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Later this month sees the eagerly awaited release of Russian pianist & composer Dmitry Evgrafov’s seven-track EP, ‘The Quiet Observation’, which will be released on the prestigious FatCat imprint 130701. To coincide with its release we are delighted to share a special classical-based mixtape that  Dmitry Evgrafov has recently made.


Dmitry Evgrafov is a hugely promising and gifted young Russian pianist/composer whose music blends intimate piano with rich strings and electronics, bringing to mind the work of peers such as Goldmund, Carlos Cipa, Poppy Ackroyd or Nils Frahm. Completely self-taught, Dmitry began self-releasing his music at the age of seventeen, and in 2015 signed to FatCat’s 130701 imprint, releasing his label debut, ‘Collage’, last October. A beautifully focused and concise seven-track EP, ‘The Quiet Observation’ follows up that release and precedes a new album due next year.

A striking intimacy and delicate beauty permeates the stratosphere of luminous piano tones and minimal instrumentation of glockenspiel, strings (and two tracks played on a virtual church organ). In the same way as labelmate Resina’s singular cello works, a vivid sense of solitude and quiet bliss pours from the gorgeous modern-classical splendour.

‘The Quiet Observation’ is available on 14th October 2016 via 130701 Records.


My aim here is to give a listener a new look at the classical music. Whilst much music from that time is boring and excessive but through years my interest was to gather some compositions that are hundreds of years old but that sound really contemporary. For example, there are two compositions from Nikolay Rimsky-Korsakov that were written in the 19th century but sound like a soundtrack for a good 2016 movie. There are also two of my personal reworks of classical compositions by Georges Bizet and Edward Grieg, to make them modern-day in a weird and subtle way. I have included a number of beautiful contributions from XX and XXI century composers including Arvo Part and Daniel Bjarnason as well as the orchestral rendition of Aphex Twin and two pieces from modern Russian composers — Pavel Karmanov and Valery Gavrilin.”

—Dmitry Evgrafov


0:00 Georges Bizet — Carmen (Dmitry Evgrafov’s Rework)
2:22 Edward Grieg — Funeral Song (Dmitry Evgrafov’s Rework)
4:14 Nikolay Rimsky-Korsakov — Sadko. Introduction
5:44 Nikolay Rimsky-Korsakov — The Legend of the Invisible City of Kitezh. Introduction
10:00 Hanan Townshend — Water Theme No. 3
11:50 Aphex Twin — rhubarb orc.
19.53 rev
18:10 Pavel Karmanov — Interlichkeit
24:00 Arvo Pärt — Miserere
28:52 Daníel Bjarnason — Solitudes I. Holy
31:18 Hanan Townshend — Awareness
33:04 Gabriel Faure – Cantique de Jean Racine, Op.11
38:10 Valery Gavrilin — Perezvony
42:15 Wojciech Kilar – Exodus (Excerpt No. 1)

‘The Quiet Observation’ is available on 14th October 2016 via 130701 Records.

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October 4, 2016 at 3:25 pm

Chosen One: Stars of the Lid

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Interview with Adam Bryanbaum Wiltzie.

“…when it works, it’s a feeling not even of contentment, it’s a sort of cross between accomplishment, contentment, satisfaction and just where you can sit there for a moment and it feels as if the whole world is OK for a few minutes even though the rest of the time it feels as if it’s about to explode.”

—Adam Bryanbaum Wiltzie

Words: Mark Carry


Since releasing their debut record ‘Music For Nitrous Oxide’ in the mid-nineties, Stars of the Lid have been responsible for creating some of the most ground-breaking, singular and innovative ambient music to have graced the earth’s atmosphere. The innate ability of the gifted duo Adam Wiltzie and Brian McBride to stretch out space that in turn, creates vast, limitless drones steeped in unimaginable beauty. Each Stars of the Lid record remains a vital musical document whose meaning and significance has only deepened with time.

Brian Eno once said “A studio is an absolute labyrinth of possibilities — this is why records take so long to make because there are millions of permutations of things you can do.” It is abundantly clear across the storied career of Wiltzie and McBride’s sacred works that a labyrinth of possibilities permeate the drone soundscapes and intricately arranged symphonic works of monumental works such as 2007’s ‘And Their Refinement of the Decline’ (the band’s last studio album); ‘The Tired Sounds of Stars of the Lid’ (using strings, horns and piano to captivating effect) and ‘The Ballasted Orchestra’s utterly compelling ambient explorations. These albums were painstakingly recorded, processed and assembled over long periods of time (for instance, the band’s last studio album was five years in the making). I feel this has become the essence of Stars of the Lid’s resolutely unique musical oeuvre: the listener feels the creator’s sheer devotion to their chosen art being poured through every divine note and aching pulse.

SOTL’s Adam Wiltzie and Brian McBride will be embarking on an extensive tour to debut some new compositions, and some old classics with long time visual collaborator and projectionist Luke Savisky, and German lighting designer MFO.  On stage this tour will be featuring a new band. Two new members, Robert Donne from Kranky label mates Labradford, and Adam’s long time studio collaborator Francesco Donadello. Plus Brussels residents and A Winged Victory for the Sullen’s string ensemble, the Echo Collective and a vintage Moog 55 Modular Synthesizer.

2016 has already seen Brussels-based Wiltzie provide original scores for a number of feature films including Jalil Lespert’s ‘Iris’, ‘The Yellow Birds’ by Alexandre Moors and Mike Plunkett’s ‘Salero’ (the latter will be released on 11th November 2016 via Erased Tapes).

For full details of Stars of the Lid’s European tour, which kicks off this Saturday (1st October @ Paradiso, Amsterdam) and includes two Irish dates (Cork’s Triskel Arts Centre and Dublin’s National Concert Hall), see HERE.


Interview with Adam Bryanbaum Wiltzie.

I’d love for you to discuss the forthcoming Stars of the Lid European tour itself? It must be very special for you and Brian to be re-united again after being involved with other projects in the interim?

Adam Bryanbaum Wiltzie: So, technically it’s been ten years since we released a record. In the meantime, I’ve been really busy doing a lot more soundtrack work and working with A Winged Victory For The Sullen but at the same time, pretty much every year Brian and I have at least done a couple of shows here and there. So we were always there but I think initially it was intentional to step away from it for a while and try something different so I think more and more we’re kind of getting back into it and getting closer and hopefully we’re going to find a way to finally finish the record and so it’s connect a little bit to both, you know getting our feet wet again. And like I said, we haven’t been completely gone away from it, there’s also this thing connected with the Moog that brought us to do more than just a couple of shows. Having the ability to use this beautiful piece of analogue furniture was sort of the catalyst to make the tour go longer and go to places we haven’t been in a long time – like Ireland – and yeah it’s good to be back.

I’d love for you to discuss a bit more about the synthesizer itself because as you say that must be a real treat to have in your live set-up because normally that might not be possible?

AW: Yeah absolutely, it’s a hugely famous piece of old gear that’s obviously really expensive and fragile and it’s so huge that it’s not really so easy to normally take on tour. We’re really lucky to have this for a really short period of time. I had it in my studio some months ago to test it out and see how we could make it work. We’re going to be playing some new material plus we’re playing some old songs we’ve played throughout the years so it’s nice to breathe some new life into it with some new sounds and in a new way to approach it.

The Moog is a complicated instrument because this one in particular doesn’t have the ability to save pre-sets, so when you get a sound it’ll go away really quick so we’re kind of meeting it halfway. The Moog can very easily turn into some sound that doesn’t sound like anything that we do but there is some inherent beautiful simplicity within the instrument that really fits to what our sound is. It’s been a nice journey to find a way to make it fit inside our world so we’re looking forward to trying that out every night.

Another component too, Adam, is the wonderful string ensemble that audiences would already be familiar with those very special A Winged Victory For The Sullen shows?

AW: Absolutely. The same string players I have been using for a while now, mostly through A Winged Victory For The Sullen. They’ve started playing with Stars of the Lid a few years ago but they live with me, I’m here in Brussels and they’ve become really good friends and they have become a really big part of my live show no matter where I play so it’ll be a real treat to have them along with me as well.

It was cool to see last year Kranky re-issuing some of the Stars of the Lid albums on vinyl, and just a reminder of what special musical documents they very much are.

AW: Yeah, they went out of print. I don’t know if it was really conscious but it seemed a really good time to re-press them on vinyl. It’s been such a long time it’s funny; I figured out that sometimes the best promotion is to do nothing for as long as possible and for some reason we’ve grown in a strangely beautiful organic sense that I never really imagined. For whatever reason those records resonated with people and people care about them so in a weird way this is almost like we’re going back on tour to support those records we released almost twenty years ago [laughs]. It’s nice and as I always say, I’m pretty lucky that people like anything that I do, it’ll be a real pleasure.

I’m curious with the art of a duo – there’s of course you and Brian as Stars of the Lid and alongside Dustin as A Winged Victory – there’s obviously something very special with working or creating together as a two-piece?

AW: Well there’s something two people can do that one person could never do, that’s always the beautiful thing with collaboration. I guess I’ve always been a big believer and big fan of it. I’m lucky to have two guys that I click with in this world.

You already mentioned scores and different things – even more so in the last few years – it’s a wonderful time seeing all these composers with so many projects and varied releases coming out where you’re one prime example. It must be interesting to have all these different projects in your mind at the same time?

AW: I think it’s nice to do different things because you don’t get bored with it whether it’s the different projects or working on something individually like the score project. And obviously as an artist you want to keep busy and not become stagnant so it’s good to have all these different things you can work on.

In terms of the new Stars of the Lid material, can you shed some light on the new material or direction in which you’re going with it?

AW: I don’t really know. We have a lot of new material but I don’t think we have really sat down and decided on what’s actually going to be on the record. In that sense, it’s almost as if we’ve done nothing but we go out on tour sometimes to test out new songs and see what feels like you want to develop more. As far as telling anyone about our new record, there’s actually nothing to report. Everyone seems to think we’re going on tour because we have a new record but we don’t. And everyone also seems to think – it’s a strange thing – that we still live in Texas, I don’t know why that is but they always say the Texan duo, it seems that in the world of the press we will always be existing in Texas.

You already mentioned living in Brussels, you know the studio itself has it been a place that’s been developing over the last few years? I’d love to learn more about the space itself and your set-up?

AW: Yeah I mean I’ve been there for almost twenty years. So, it’s slowly developing – you get new gear and whatnot – it’s basically a really old apartment with really high ceilings and it’s very sympathetic for recording acoustic instruments. Although I do a lot of recording for bigger projects with an orchestra in a studio in Budapest and sometimes I record some strings at another studio in Brussels but I somehow have been able to make it sound like as if you can’t really tell so you can mix and match different things from different places and it feels connected. I’ve always – from the early days – all my earlier recordings were recorded at home because I didn’t have any money, so I’ve always loved recording at home, it’s something that I think I will always do.

The special thing is too with the range of the different material, you know it always has this sort of DIY aesthetic to it too, which is a big compliment too.

AW: Yeah absolutely, it’s all connected. I mean in the beginning, we were so anonymous and we didn’t have any money so we had to do it yourself. So I think it stems from that even though I have a manager now and people who work for me, it still feels strange if I don’t do most of it myself. I feel as if I’m cheating someone if I don’t. My mom told me the other day, she likes to tell me that I remind her of my father because he always had trouble sitting still and so maybe I have adopted a little bit of that from my father. It’s hard to let someone else do something because you just want to do it yourself.

Looking over the Stars of the Lid discography, there’s obviously a string of really amazing records. The length of time it took to make some of these double or even triple records, it must feel like a gradual process when you’re trying to build one piece with so much going on?

AW: I think in the past; songs would develop over a course of years. A two-hour record – you know like a triple album – could take years to make but as I’ve gotten older it seems things happen a lot quicker. I recorded a score this summer – and I’m going over the soundtrack right now to release it – it’s this French film Dustin and I have just composed and it’s over an hour-long and we did all this in about two months. So I think as I’ve gotten older, I’ve found that it’s a little bit easier to let go and not be so precious about everything. I’m not necessarily saying that one is better than the other and I do still slave over things, there are some other music that I’m working on that will take longer and develop. I guess it really depends on the project, you know when you’re working by yourself – for example a soundtrack, it’s a commissioned piece – you have to please other people so you have to find a way to not be precious and let go quicker because there’s deadlines and people have agendas. When you’re working for yourself, you can take all the time in the world.

I always think about when you’re connected to the first [Stars of the Lid] record ‘Music For Nitrous Oxide’, which came out in the early nineties and you had your whole life building up to that one moment, which I was in my early twenties when that came out so it was essentially twenty-three years of my life to release the first record and after that it’s a series of a lot shorter times. So I can see both sides, I do have to say that since I’m professional and that I make a living out of making music, I am relieved in a sense that I can not spend too much time if I need to. I was talking to Jóhann Jóhannsson the other day and he feels as if it doesn’t matter what he has recorded, it never feels finished to him and that must be really stifling at times you know. I like to let go when I can, I think it’s good for you; they’re like these time capsules so you need to let go, otherwise you’ll never finish anything.

It reminds me of Arthur Russell too who always seemed to struggle in order to finish something.

AW: It’s hard to let go sometimes, which I totally understand. You’re making this piece of art and once something doesn’t feel finished it can be very stifling and suffocating, you know it’s better to put it aside and release something that you aren’t happy with because you don’t want to end up feeling like a prostitute or something. What’s the line from that movie, “a wise man once said there’s always a fine line between clever and stupid”, that’s important to remember.

I’ve been listening a lot to your ‘Salero’ soundtrack recently, it’s really amazing and the pieces are just so beautiful. It feels related to other things you have done but it exists in its own realm as well, there’s a separate identity as well.

AW: Yeah maybe, it’s a commissioned piece so I had to work a lot quicker on it but I mean I still think that it sounds like me even though it’s recorded with an orchestra but I’m biased so I don’t know. I don’t know how to feel about it, I’d like to get out of my body and look at myself but sometimes it’s hard to do that. But I’m pleased with it, I’m glad it’s going to come out. I think it’s a beautiful time capsule.

And composing to actual visuals is the process really but in terms of the film then, it feels like a perfect fit where you’re composing music to a vast salt flat?

AW: The first time I saw the images, they were absolutely overwhelming, they’re so beautiful and it’s also kind of strange to see a part of the world that you’ve never seen before. It could maybe look a bit familiar but just have no concept for it, especially the reflections from the sun it looks as if it’s not part of the earth sometimes. It was just so beautiful.

You already mentioned the string orchestra, you must go to that stage after having the compositions pretty much written I imagine but I wonder it must be nice to end up in the same space as the orchestra?

AW: For me, it’s my favourite part because this is the moment where you have this brain fart in your head and you get to let it come out. And just have these other people interpret, it’s going to pretty much sound like you wrote it down, I just absolutely love it. I found this great orchestra – I can’t say they connect with what I’m doing because they are just playing notes – it’s really my favourite part of the whole process because this is where all the happy accidents happen. It sounds like kind of what I was trying to do and you get these other things out of it that you never imagine in a thousand years, you know when you get thirty people in a room to play a drone, it’s absolutely beautiful.

That must be the same feeling for those Stars of the Lid albums where the sessions at the end, you hear all these strings and horns over those drones?

AW: Yeah, it’s different though because that record I mostly recorded in my home studio, not to say that wasn’t a satisfying recording experience but since I’ve been moving more into larger orchestras for the past number of years now, it’s a different thing. I mean there’s one track on the ‘Salero’ record – most of it is recorded with an orchestra except this one track called ‘Bring This Place To Life’ – it’s recorded in my studio with the people who I play with normally and it’s got a totally different sound so the feeling you get when you get people to play on something that you have written – it doesn’t matter if it’s large or small – when it works, it’s a feeling not even of contentment, it’s a sort of cross between accomplishment, contentment, satisfaction and just where you can sit there for a moment and it feels as if the whole world is OK for a few minutes even though the rest of the time it feels as if it’s about to explode. I guess if I meditated on a regular basis, it would be like this moment you come out of meditation and everything is calm. That’s the only way I can describe it, it’s just a feeling of slight contentment.

You have done so much and there’s been so many accomplishments that you should be very proud of, I wonder looking back – and forward too – has there been one philosophy or belief that you always hold onto when you work on the next album, like a musical philosophy so to speak?

AW: Oh my God I definitely do not have but I did read ‘The Oblique Strategies’ by Eno the other day and he has one called ‘Honour your mistakes as a hidden intention’ [laughs] and that one makes complete sense to me [laughs]. I think that’s about as close as I can get to having a theme song.

There’s been several odes to ‘Twin Peaks’ in some of the Stars of the Lid material in terms of song-titles and whatnot, you must have great memories of watching the various David Lynch films and the TV series?

AW:  The Lynch connection was more with ‘Twin Peaks’ because when Brian and I were starting out that was around the time when ‘Twin Peaks’ was on TV so we used to sit there and watch it every week on a Thursday night when it would come on TV. It was a great moment in television history for America. I don’t know if we were the biggest David Lynch fans but we absolutely loved that TV show so that’s why we dedicated that song to him.

Lastly, Adam, what’s been your favourite records that you’ve been enjoying lately?

AW: Well my favourite record that I’ve been listening to is Jóhann Jóhannsson’s new one called ‘Orphee’, it’s absolutely beautiful. He hasn’t released a record of his own work in a long time, it’s gorgeous and I would highly recommend checking it out.

For full details of Stars of the Lid’s European tour, which kicks off this Saturday (1st October @ Paradiso, Amsterdam) and includes two Irish dates (Cork’s Triskel Arts Centre and Dublin’s National Concert Hall), see HERE.

Fractured Air x Blogothèque – S01E09 | September mix

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We’re delighted to present two previously unreleased tracks for September’s mixtape, by Iceland-born cellist and composer Hildur Guðnadóttir and Portland Oregon-based artist Brumes.

For well over a decade now, Hildur Guðnadóttir has firmly established herself as one of the jewels in the crown of today’s independent music scene. Guðnadóttir’s remarkable artistry and versatility has been widely evident in her highly prolific recording output to date – whether in the form of solo works or her many collaborations – on labels such as Touch, Sonic Pieces and Oral Records. Guðnadóttir has released a string of formidable solo albums – from her landmark 2009 full-length “Without Sinking” to 2014’s “Saman” (both albums released via the world-renowned U.K. independent label Touch) and has collaborated with musicians including Hauschka (Dusseldorf’s Volker Bertelmann) and Iceland’s Jóhann Jóhannsson.

The moving composition “Fólk fær andlit” (translates to “People get Faces”) was originally published by Guðnadóttir to her YouTube page in April of 2016, in response to the series of events which unfolded in her native Iceland in December 2015, involving the deportation of Albanian children with terminal illnesses along with their families who had been denied residence permits (her heartfelt and eloquently written account of the inspiration to “Fólk fær andlit” can be read in full HERE).

Brumes are a three-piece based in Portland Oregon whose lineup comprises of lead songwriter and multi-instrumentalist Desireé Rousseau, Dalton Long (drums) and Nico Bartulski (keys). The band’s debut album “Soundings in Fathoms” was recorded by renowned producer (musician/composer) Peter Broderick at his home studio The Sparkle along the Oregon coast. “I’m Not Listening” was also recorded at The Sparkle by Peter Broderick.

Also featured in September’s mixtape are newly released gems by longtime indie greats Cass McCombs (“Mangy Love”, Anti-) and Woods (“City Sun Eater In The River of Light”, Woodsit); latest solo full-length by beloved Irish songwriter Lisa Hannigan (“At Swim”, Play It Again Sam); a pair of releases by the forever inspiring FatCat imprint 130701 (Warsaw-based cellist and composer Resina and Moscow-based pianist and multi-instrumentalist Dmitry Evgrafov). September also sees the welcome return of the hugely influential independent label Tomlab (The Books, Patrick Wolf, Final Fantasy) with Berlin-based electronic artist Heimer’s shape-shifting debut album “Teilzeit Swag”.

Fractured Air x Blogothèque – S01E09 | September mix

To Read/listen on La Blogothèque:



01. Masayoshi Fujita & Jan Jelinek“Cin” (excerpt) (Faitiche)
02. Botany“Needam Wish To” (Western Vinyl)
03. The Avalanches“Saturday Night Inside Out” (XL Recordings)
04. Syrinx“Hollywood Dream Trip” (RVNG Intl)
05. Ashanti Roy“Hail The Words of Jah” (Soul Jazz)
06. Barbara Lynn“This Is The Thanks I Get” (Light In The Attic)
07. Woods“Sun City Creeps” (Woodsit)
08. Mr. Sweety “G”“At the Place to Be” (Soul Jazz)
09. Cass McCombs“Opposite House” (Anti-)
10. Angel Olsen“Woman” (Jagjaguwar)
11. Lisa Hannigan“Ora” (Play It Again Sam / ATO)
12. Resina“Afterimage” (130701)
13. Hildur Guðnadóttir“Fólk fær andlit” (Unreleased)
14. Adam Bryanbaum Wiltzie“Lithium, The New Era” (Erased Tapes)
15. Brumes“I’m Not Listening” (Unreleased)
16. Fiona Brice“Dallas” (Digital 21 + Stefan Olsdal Remix) (Bella Union)
17. Cat Power“Say” (Matador)
18. ISAN“Napier Deltic” (Morr Music)
19. Forma“Maxwell’s Demon” (Kranky)
20. Jackie Lynn“Alien Love” (Thrill Jockey)
21. Craig Leon“Details Suggest Fidelity To Fact” (RVNG Intl)
22. Heimer“Icy Grip” (Tomlab)
23. Zomby & Banshee“Fly 2” (Hyperdub)
24. Oliver Coates“STASH” (PRAH Recordings)
25. Mogwai“U-235” (Atomic OST, Rock Action)
26. Katie Kim“FOREIGN FLEAS” (Bandcamp)
27. Eluvium“Strangeworks” (Temporary Residence)
28. Nick Cave & The Bad Seeds“Distant Sky” (Bad Seed Ltd.)
29. Dmitry Evgrafov“The Lofty Sky” (130701)
30. Irene Buckley“Waiting” (House of Usher extract) (Soundcloud)
31. Arvo Pärt“My Heart’s In The Highlands” (Else Torp, Christopher Bowers-Broadbent) (Harmonia Mundi)
32. Jóhann Jóhannsson“Good Night, Day” (Deutsche Grammophon)

Compiled by Fractured Air, September 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.