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Don’t Look Back: 2016

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“Don’t Look Back” is our look back on the year from the perspective of both musicians as well as various members of the music community at large, who — despite varying geographical locations and backgrounds — all share the following in common: a deep passion and love for music. We’re both honored and delighted to be able to share the words of these special people through their personal accounts of the year that was: 2016. 

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André de Ridder (Berlin, Germany)

Co-founded by German conductor André de Ridder, s t a r g a z e is the the world-renowned Berlin-based contemporary classical music collective. Established in 2013, s t a r g a z e comprise a network of classically trained European musicians who have performed and collaborated extensively in a wide variety of contexts to date. s t a r g a z e have worked with some of the most accomplished and inspiring musicians working today, including: Boards Of Canada, Nils Frahm, Deerhoof, Julia Holter, A Hawk And A Hacksaw, Poliça and Sonic Youth’s Lee Ranaldo and have performed at some of the most renowned festivals and venues in the world (BBC Proms at The Royal Albert Hall; The Barbican, London; Rewire Festival and Motel Mozaïque, Netherlands). André de Ridder is also Artistic Director of the 2017 edition of Musical Nova Helsinki (1-12 February 2017) and will curate next year’s East London-based Spitalfields Music Winter Festival 2017.

“People”
by André de Ridder

“Whenever we hear sounds we are changed and this is the more the case when we hear organised sounds, organised by another human being. Music.” —Karlheinz Stockhausen

How many tributes can you take… well… make?

As Amanda Palmer, whose joint EP in memory of David Bowie (arr. Jherek Bischoff) ‘Strung Out In Heaven’ started the ball rolling in February, said later this year: “HELLO! You know, I write songs, too”.

Mind you it’s not only about songs of recently deceased iconic artists, the Rolling Stones just released an album of old Blues classics, and Amanda Palmer herself, again, an album of songs her dad used to teach her as a child. The musicians in The National put together a massive and magnificent 11-vinyl tribute album to The Grateful Dead earlier in 2016, inviting a whole army of friends and bands and singers and ensembles to contribute, including stargaze, the orchestral collective I co-founded in 2013.

We revisit Bob Dylan’s catalogue and oeuvre all the time but especially lately via the hassle around his nobel prize, awarded to a songwriter for the first time. And last but not least maybe the greatest of all poet-songwriters of the last half-century, Leonard Cohen, also disappears from the face of the earth. The appreciation of the art of song, and the life-affirming, life-accompanying and -experiencing power of this form of human expression, seems to undergo an intense iteration, and has certainly pervaded my musical 2016.

From a classical musician’s point of view, we of course deal with and revisit and interpret songs of ‘other’ people, and long deceased composers all the time. It’s inherently ‘lit’ to indulge singing and playing other people’s music. The principle of ‘classical music’ reception and performance practice is in fact entirely built on that situation.

Whereas in pop/folk/rock the auteur’s personality is mostly just so connected to the song and it’s subject, most people cannot deal with the abstraction a so-called cover by another artist brings with it. The identification process is fuelled almost more through the artist’s personality than the song itself.

Mind you, in Jazz and Folk music it is also very common to express facets of the material picking traditional or classic songs and tunes, celebrating what riches lay in a given musical text. They therefore build starting points for many a journey beyond one singular manifestation.

The question in how far the written song can transcend and surpass it’s origin and it’s author is one that I asked myself often this year when faced with certain choices.

Why shouldn’t we sing/use/interpret songs of Bowie’s or Prince, in the way we do with a gorgeous and utterly moving Schumann song? What needs to happen in order to justify it? Or do Bowie’s songs lend themselves to this ‘treatment’ more than Prince’s? Whose songs are possibly more timeless or transcend the question of authorship and personality, will either songs survive in books/notation just as much as through original recordings? I will zoom into two occasions this last year, where I found myself in the midst of such situations and experienced certain answers, for that moment anyway, to those questions. One that came with a fair amount of planning/curation, deliberation and even agony (in the case of stargaze’s Bowie tribute concert at the BBC Proms this last July) and one of spontaneous, unexpected and intuitive beauty, performed with Poliça in Minneapolis in November, the city of Prince.

SAMSUNG CSCs t a r g a z e  rehearsing with John Cale for the 2016 BBC Proms at the Royal Albert Hall, London, 29 July 2016.

When we prepared the Bowie concert, and Prince had just died as well, I already anticipated people saying: “Oh are you gonna do Prince next?”. Actually somebody around the Prom asked couldn’t we do a Prince song as an encore. No we couldn’t and wouldn’t. Everyone agreed. I heard myself saying in interviews that the same thing (that we attempted with Bowie) wouldn’t work with Prince (a few reasons, mainly that Prince was kind of always ‘Prince’ whereas Bowie throughout his career was a chameleon himself always slipping from one role into another, himself not being always ‘Bowie’ when writing and performing songs).

This sentiment was crushed to a good extent when I took s t a r g a z e to Minneapolis this November, shortly after the American elections, for a project initiated by the St. Paul Chamber Orchestra’s Liquid Music Series. It had been planned for more than a year, independent of any current circumstances. It involved creating and playing new music with Poliça, who also stem from the Twin Cities. Their member and producer/composer Ryan Olson had been suggesting the idea of taking on a Prince song from his ‘1999’ album, called ‘Something In The Water’, after I  brought up the ultra-short, but beautifully orchestrated ‘I Wonder U’ from my favourite Prince album ‘Parade’, as a possible mini-tribute to playing in their city. The transcription of ‘I Wonder U’ was fairly straightforward, and our dear friend Greg Saunier of Deerhoof helped us with it, once again (and still I wasn’t sure if it made ‘sense’ to play it).

But until the day before the show at the Fitzgerald Theatre in St. Paul, we didn’t touch (and I maybe didn’t quite believe in, for reasons mentioned above) the other, i.e. another Prince song. However, that morning, before leaving for our last rehearsal I did have a go at penning down a simple orchestration of ‘Something In The Water’, which is originally synth heavy, though maybe suggests a strings-based treatment. The idea was that there was only the drum beat plus stargaze’s harmonies and sparsely orchestrated lines, no electronics or anything else, plus Channy Lenneagh picking up the vocals obviously. We played it through, not especially hopeful as it was so late in the process, literally in the last 5 minutes of our practise and realized we were onto something. Ryan more so than anyone else and he added another, genius tweak: he asked us to play it again, but by about 20bpm slower… It made for an overwhelming poignancy, in which the lonely drum intro sounded even more spacious, the slow drifting harmonies even darker in a viol-consort kind of renaissance-style with our two violas and two violins present, and Channy pitched and harmonized her vocals in an otherwordly effect and manner that made the song into something quite new, but one that Prince  seemed to quite literally speak thru from a far away, solitary but soulful place.

Transformed. After we finished that run-through Ryan stumbled backwards a little behind his mute laptop and made a hand gesture that signaled something like: “no words…” and nobody said anything but packed up their instruments letting the hairs stand on no end.

Of course this was all heightened by what just happened, a few days prior to that joint concert, at the polls. When we arrived, the band members and curators of Liquid Music, our hosts, were very visibly and moodily affected by the outcome and the outlook of Trump’s presidential election.

Months ago we had christened the project ‘Music For The Long Emergency’ and we had discussed something of the power of music (and the act making music together) that can unite people, provide hope and respite, but also a certain energy for a way forward, survival, and finding strength in and amongst ourselves.

SAMSUNG CSCs t a r g a z e  performing at the 2016 BBC Proms at the Royal Albert Hall, London, 29 July 2016.

The word ‘People’ had come into focus at another memorable gathering and event in the run-up to the elections, a special, one-of-a-kind (maybe once-in-a-lifetime) music festival facilitated in Berlin by the Michelberger Hotel and it’s community, and which we co-curated at the end of September with stargaze, Aaron and Bryce Dessner, Justin Vernon, Ryan Olson and Vincent Moon on the premises of the former central GDR radio station, the ‘Funkhaus Nalepastrasse’, a heritage-listed building loaded with cold-war history. A non-profit, sponsor-less festival bringing together 80+ artists to create new music and collaborate without borders, programmatically mixed and presented in the end without any notions of rankings, standing and rid of ego-centred behaviour that is common in the non-classical scene just as much as it is in classical music. This place had provided us with the opportunity to develop our project with Poliça also, and when looking for a festival name, no name came about or rang true, no ‘branding’ required, but a motto emerged thru the artist Eric Carlson that would just read, inclusive and embracing, ‘People’, displayed on a huge banner/mural in the main hall of the location.

I think most musicians and supporters who have taken part in this felt that it was central to their musical and human experience in 2016, and felt empowered and recharged artistically from it, in that it reclaimed a certain space of a festival as a gathering, back to the roots of this quintessential idea, a kind of 21st century version of “around the campfire” but in lieu of the campfire a certain spirit and special place.

Music made in the moment and created for the ONE moment.

Nevertheless, it was and will be documented bit by bit on a newly created website and also radio station that one can keep up-to-date with on Michelbergermusic.com soon, if anyone is interested.

It seemed app therefore that we came back to a song by Bowie there and then, which we performed once again, this time on the stage of the newly created ‘shed-hall’ in the Funkhaus Nalepastrasse, on the last night of the festival which meanwhile we had dubbed ‘endless, nameless’, and the song was ‘Heroes’. Indeed in Berlin David Bowie had sung this song in front of the Reichstag in 1987, and by the Berlin Wall, where people gathered on both sides, and clearly he addressed ‘the people’ as equal (potential) heroes, and the ones on the other side of the Wall, most and foremost, in his moving rendition. It was a concert I had attended, actually my first open-air rock concert proper as a music-obsessed teen, not having the slightest inkling about what was going to unfurl two years later, a peaceful revolution that was set to overturn the regime and break through that wall, thanks to which we and folks from all over the place were able to be in that place on October 2nd 2016 and reclaim that space.

Brings me back to the 29th of July 2016, the day we performed the Bowie Prom at The Royal Albert Hall in London. Over a period of 3 months I had wondered, and we had wondered, who are we to be in this position, playing Bowie’s music, even attempting to re-imagine some songs in a different format/style, what right, justification etc. etc. was there.

But really, I felt it on that night, by having immersed ourselves so completely in his work, and by sharing this with many artists who had long-lived with his songs and celebrating this passion by putting so much effort in showing what these songs meant to all of us, made us connect with the man and his spirit, it became humblingly palpable on the night, as the ensemble was poised and focusing, breathing in out on stage for a good two minutes while waiting for the green light from the tv people, in the midst of the general anticipation, before launching into Bowie’s Brian Eno collaboration ‘Warszawa’, with a field recording of a train pulling out of Berlin-Schöneberg station which we had recorded two weeks prior. Our ‘audience’ with David Bowie had finally started. And at the end of the show, almost by accident another magic thing happened: Until the very end of rehearsals we had toyed with the idea of after all giving the crowd his arguably biggest hit, ‘Let’s Dance’. To the point where we had no time to ask anyone to sing it, which meant we had rehearsed it instrumentally only and at the end of the show, as all the singers paraded off stage, we launched into it as an encore, and gave it back to the people who roar-sang it back at us thousand-fold from beginning to end, not missing a word or a note.

Other favourite moments of that concert include classical counter-tenor Philippe Jaroussky singing David Lang’s recomposition of ‘Always Crashing In The Same Car’, epic arrangements of Blackstar and Lady Grinning Soul by Jherek Bischoff, presented with fierce intensity by Amanda Palmer and Anna Calvi, and Laura Mvula’s rendering of ‘Fame’ via Greg Saunier’s orchestration. Last not least rocking out with John Cale on his utterly idiosyncratic rendition of ‘Space Odyssey’, transformed together with the inimitable House Gospel Choir. I think these were all moments where another piece of art had been made, through collaboration, inspired by Bowie’s original song. And there you have it, the ‘justification’, the ‘why did we do it’, if it needed it.

SAMSUNG CSCThe Flaming Lips performing “The Soft Bulletin” w/ The Colorado Symphony & Chorus, conducted by André de Ridder. Live at Red Rocks Amphitheatre, 26 May 2016.

I don’t want to close the ‘musical year 2016’ lookback without mentioning another highlight, a project that may not have been noticed in Europe so much but I hope will make it here soon.

Something I had worked on and dreamed up for a while: persuading the Flaming Lips to perform their album ‘The Soft Bulletin’ with a symphony orchestra (and choir). This became reality last May with the help of the Colorado Symphony Orchestra and Chorus, at the legendary Red Rocks Theatre.

It had struck me, ever since watching an intriguing Pitchfork documentary about the making of the album, since it had been created with so many orchestral, albeit sampled, layers originally, that it would make so much sense to try and recreate it with an actual orchestra. Which had not been done until now. It came together on a rather stormy night in the most spectacular open-air venue I have ever seen in my life, Red Rocks, the sense of being there in the first place almost overwhelming the occasion. It was also a pleasure and honour working with the band, the Flaming Lips being a wonderful and enthusiastic group of musicians lapping up the opportunity with gusto and passion themselves. Over the years they had perfected playing songs from the Soft Bulletin with keyboards and synths, and during rehearsals they gradually, like archeologists, removed those plasters to reveal the original orchestral sounds behind it.

Amongst the festivals and concerts I attended I need to mention, once again, is Iceland Airwaves, which took place at the beginning of November. In a way, it is another ‘people’ event, where the town of Reykjavík transforms itself into one large venue for 5 days, bands playing literally every other café, barber, petshop, you name it, along it’s main drags up and down town during the day before relocating to the ‘official’ theatres and halls. On those days, you’ll never see more people around with guitars on their backs, instrument cases in one hand and trolleys drawn behind them with the other.

I was conducting part of a sprawling Bedroom Community 10-year anniversary night at Harpa (another already iconic, if very new, concert space) which included great orchestral music by Daníel Bjarnasson, Nico Muhly, Ben Frost and Valgeir Sigurðsson but I caught a wonderful series of gigs when accidentally meeting and hearing the Barr Brothers (just Andrew and Brad, filling in for stranded label colleagues at the 12-Tónar record store), catching Kate Tempest close-up at a hostel, then Warpaint playing much of their new album back at Harpa, first time I saw them live after being a fan for a while. Three acts who couldn’t be more different, and every single one of them so brilliant and original. Which is why going to festivals is such a gratifying experience, and it seems to be an age where new festivals are still being created all the time, other ones going stronger than ever, and with imaginative and inventive features in no short supply. They are worlds created unto themselves, and I cannot wait to discover new ones next year, or return to familiar places which we trust and feel welcomed as both audience and artists. And people.

André de Ridder’s orchestral collective, s t a r g a z e, perform at the Musica Nova Festival Helsinki in February 2017, where they will perform Boards Of Canada’s “HI Scores” EP as well as new compostions written by Dawn Of Midi (Erased Tapes)’s drummer Qasim Naqvi (all info HERE).

http://we-are-stargaze.com/
https://twitter.com/andrederidder

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Oliver Coates (London, UK)

Several ground-breaking records from 2016 can be attributed to the gifted talents of British cellist and composer Oliver Coates. The London-based composer’s sophomore full-length release ‘Upstepping’ is undoubtedly one of the year’s most accomplished, innovative and compelling musical journeys with its meticulously crafted and sumptuously layered cello-based compositions that carves out techno-fueled waves of pure bliss and transcendence. ‘Upstepping’ is indeed (in the words of Coates) “pumped-up body music”. In addition to ‘Upstepping’, Coates performed on Radiohead’s latest ‘A Moon Shaped Pool’ LP and most recently, released a collaborative work with UK’s Mica Levi (Micachu & The Shapes) in the form of ‘Remain Calm’, another crowning jewel of 2016.

Oliver Coates – ‘Don’t Look Back’

In 2016 I came off social media and felt better for it. More time and space for music, love and colouring in. Got a cat, moved into our formerly flooded flat. Got a fresh perspective on London, my birth-town, now living in SE1. Through music I do feel connected to being a Londoner and being from the UK. I went deeper into Autechre’s music, new and old, Aphex’s Cheetah which took me back into the Analord Series and the Caustic Window music.

I met for the first time and made music with these artists: Actress, Elysia Crampton, Catherine Lamb, Dean Blunt, and lastly Pauline Oliveros. I programmed a festival in Westminster in June where Pauline was our featured guest and we heard her acoustic, electronic, instrumental and choral music across three days, alongside music by Ed Finnis, Éliane Radigue, Laurie Spiegel and others. Oliveros spoke to people about a need for unity – it was the weekend after a political vote and there was shell-shock amongst some of the large audience, who had infinite reservoirs for listening to microtonal music. The 15-minute mass tuning meditation took us away. I saw Pauline again in the week before she died – she gave a cleansing coruscating digital accordion set at Le Guess Who and afterwards she was spritely and said to me in the corridor “Let’s do more.”

She had enjoyed our reconstruction of Daphne Oram’s orchestral piece Still Point from the 1940s (by Shiva Feshareki and James Bulley). It sounded like opulent pastoral music and a symphonic tone poem with a smearing of warped electronic sound laid over the top. Oddly English though indebted to Stockhausen’s sounds. Yet Daphne conceived of them first – this was the 1940s. The future in reverse.

—Oliver Coates

“Upstepping” is out now on PRAH Recordings & “Remain Calm” by Mica Levi & Oliver Coates is out now on Slip Discs.

http://www.olivercoates.com/
https://www.facebook.com/olivercoatesmusician/

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Peter Broderick (Galway, IRE / Portland, Oregon, USA)

Born in Portland, Oregon, Peter Broderick’s name has been firmly established as one of the most singular voices and prolific musicians in the independent music scene for well over a decade now. The multi-instrumentalist, songwriter and producer has released a plethora of records since his first self-released 4-track recordings from 2005/6, for such labels as Erased Tapes, Bella Union, Type, Kning Disk, Digitalis and Beacon Sound. Collaboration has always been a vital component of Broderick’s artistic output, having performed in both Horse Feathers and Efterklang, and making records (whether as producer or composer) with such artists as: Nils Frahm, Lubomyr Melnyk, Greg Haines, Felicia Atkinson, Laura Gibson, Brigid Mae Power and Corrina Repp. 2016 saw the release of Broderick’s seventh solo LP, the majestic piano-based full-length “Partners” and the EP “Grunewald” (comprising 5 tracks of live piano recordings made at Berlin’s Grunewald Church while Broderick resided in the German capital) via Erased Tapes. 

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2016 was a wild ride. For starters, I got married! And I moved to Ireland! So now I’m a husband and step-dad living in the beautiful countryside of County Galway. Our address doesn’t even contain any numbers . . . just the name of the house, the name of the area, and the name of the county. And there’s a stray cat whom I’ve named Yin-Yang, who loves to eat the food I put out and even comes into the house for a nap, but still won’t let me pet him. And there’s a couple white horses who roam freely outside our door, and they like eating apples and carrots out of my hand, but also won’t let me pet them. And sometimes there are some cows that graze in nearby field, and once I did manage to pet one of them for a minute, but for the most part they don’t like to come too close.

According to google I am a musician . . . but this year I turned into a full-time plant lover. I have spent so much time reading books about plants and taking walks in the nature, trying to befriend as many green wonders as I can. One of my personal highlights of the year (aside from getting married!) was attending a workshop up in County Leitrim in which we spent the whole day outside learning to identify wild edible and medicinal plants. And though I’m still a complete novice, I can’t deny how fulfilled my soul feels when I spend the day outside gathering plants, honoring them as best I can in the process (which often involves singing them a little song), and later preparing them as food or drying them to make herbal teas.

Of course, I did make plenty of music this year. In February I recorded my first piano-based album in quite some time, which was released in August under the title Partners. And in early December Erased Tapes (lovely record label!) also reissued some older recordings on an EP called Grunewald. This Autumn I played 23 concerts in 8 different countries (including my first trip to Taiwan!) with just my voice and a piano, which was quite refreshing after all the years I’ve spent carrying around heaps of gear, albeit a bit challenging and naked feeling at the start.

We spent the Summer in Oregon, and whilst there for a couple months I got the chance to work on a wonderful project with David Allred, in which he just plays upright bass and sings, and I just play violin and sing. I am looking forward to releasing our duo album in Spring 2017 and playing some concerts together around that time.

I think the biggest musical discovery for me this year was getting into Joni Mitchell. For years whenever I heard that name and even when I heard her music, it would go in one ear and out the other. But something happened this year and I felt something inside go click! It started with her album Clouds, which we listened to countless times on cassette in the car. That record is perhaps the most similar to other music that I already appreciated . . . but then, from there I moved on to her other records, and sometimes I admit it’s a challenge at first, but oh so rewarding if you just take the time to soak it in. What a beautiful and courageous soul!

I can’t say I picked up much new music this year, but I did find four records on the shelf which were released this year and have a special meaning to me:

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David Allred – Woods (Oscarson)

– Not only has David been a good friend and frequent collaborator of mine over the last few years, but he’s also been one of my favorite artists to follow. For me his music and creativity feel very unique. Sometimes when you get to know someone well, the mystique of their creativity disappears a bit . . . but with David I have had the complete opposite. My heart is continually warmed by his earnest efforts. He plays a large variety of instruments very beautifully, and his own lyrics have an almost unbelievably honest quality to them, as if he has direct access to some strange and deep thoughts that most of us are only dimly aware of.

Félicia Atkinson + Jefre Cantu-Ledesma – Comme Un Seul Narcisse (Shelter Press)

– This is a peculiar and oddly beautiful record by two of my favorite weirdos. I’ve followed Jefre’s work since I was a teenager and he played in the band Tarentel, and Félicia is another artist who continually opens my eyes to the wonders of the Universe. When I heard the two of them had made an album together, I knew immediately that it would be an interesting listen.

Michael Hurley – Bad Mr. Mike (Mississippi Records)

– Seeing that Michael Hurley is well into his 70’s now, I was thrilled when I found out he had released a new album this year. And with a title like Bad Mr. Mike, how could it not be wonderful? His records are always adorned with his unmistakable artwork and made up characters, and his records (especially the later ones) have a way of making you feel like you’re sitting in his living room while he plays to no one in particular in the corner. And what an honor it was for me to go to his home and meet him early in the year! I had heard he was a collector of vintage radios, and I had a beautiful old radio from the 1920’s just sitting in the garage, collecting dust. So I reached out to him and asked if he might like to have it, and sure enough, a few weeks later there I was driving out to his countryside home and delivering the thing. Turns out he’s a member of vintage radio society, consisting most of “old geezers” as he put it. When he first saw the old radio he said, “This is going to cause a wave of excitement!”

Richard Proffitt – Pathways Written In Smoke (Stadt Moers)

I was very fortunate to have an ongoing artist residency at the Sirius Arts Centre in Cobh, Ireland, throughout 2016. I went there on three separate occasions to stay and work on music (and did some painting too!). And during one of those stays there was an exhibition in one of the gallery rooms by a guy from Liverpool (who now lives in Dublin) called Richard Proffitt. This collection of artwork/sculpture/installation made quite an impression on me, with it’s ritualistic, not-afraid-of-the-dark kind of feeling, and I really enjoyed meeting Richard himself as well. This record was available as a part of the exhibition in a limited edition of 30 (!), and I’m very happy to say that I have one of those 30 copies. I highly recommend experiencing one of his exhibitions, or even just finding his recordings of music and spoken word on bandcamp.

In addition, there are a number of records released in 2016 which I either recorded at my old studio The Sparkle or had a decent part in the making of in one way or another. These records I am honored to be a part of:

Brigid Mae Power – S/T (Tompkins Square)

MayMay – Mountains Hills Plateaus And Plains (Oscarson)

The Beacon Sound Choir – Sunday Morning Drones (Infinite Greyscale)

Laura Gibson – Empire Builder (Barsuk)

Rauelsson – Ekõ (Beacon Sound)

V/A – Oscarsongs (Oscarson)

 

—Peter Broderick

“Partners” (LP) and “Grunewald” (EP) by Peter Broderick are available now on Erased Tapes.

http://www.peterbroderick.net/
http://www.erasedtapes.com/

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Josh Rosenthal (San Francisco, USA)

The Tompkins Square label founder and Grammy-nominated producer Josh Rosenthal published his first book “The Record Store of the Mind” during 2016, a personal musical odyssey documenting Rosenthal’s lifelong passion for music, as both an avid collector and obsessive listener. During 2015, Rosenthal’s world-renowned label Tompkins Square (based in San Francisco, USA) celebrated it’s ten year anniversary, having released records for such artists as William Tyler, Michael Chapman, Ryley Walker, Hiss Golden Messenger and James Blackshaw over the years, as well as re-issuing an extensive range of folk, old-time, gospel and American Primitive Guitar albums, including its ongoing “Imaginational Anthem” records,  the acclaimed series focusing on acoustic guitar, particularly in the American Primitive vein.

2016
by Josh Rosenthal – Tompkins Square label

The people in my small universe – musical artists and creatives around them – seem to have values 180 degrees from where our Nation appears headed. What will creative people do in the face of this instability ? If anything, the election energized me. I feel emboldened to do more, put out more records that Drumpf and his kind would hate, or at least not get. And maybe give folks some small respite from the endless barrage of awful news. Kind of an extension of Leonard Bernstein’s quote : “This will be our response to violence : To make music more intensely, more beautifully, more devotedly, than ever before.” Which isn’t to say we can just stop there. I am writing checks to the Anti-Defamation League, Southern Poverty Law Center, Marine Mammal Center, the Sierra Club, Doctors Without Borders.

2016 saw the loss of David Bowie, Prince, Leonard Cohen, Ralph Stanley, Mose Allison and Merle Haggard. The outpouring of grief for Prince and Bowie was huge, but I didn’t partake viscerally because I never identified with their music that much. Leonard Cohen’s death was heavier for me, as he was the most overtly Jewish rock star we’ve ever had in terms of reflecting the faith in his music, and his first two records are holy texts unto themselves. Leonard felt like extended family. With these musical losses, and inevitably, so many more to come, I reflected on rock star death. It’s irksome when people react to rock death on social media with “Fuck You 2016 !” There must be a more graceful way to express grief. The difference between us mortals and our musical heroes is that they get to live forever. That’s something to celebrate – not something to go cursing the whole Year about…

I spent all of March and April on the road promoting my book, “The Record Store of the Mind”. I did about 40 readings around the USA, with help from some musical guests, at the kind invitation of many independent book and record dealers. I never really expected anything to happen with the book, but folks reacted to it, and as I like to say, if I knew people were gonna care, I would’ve written a better book. But it was good enough to get Robert Plant to offer an effusive endorsement, and UNCUT named it one of the 10 Best Music Books of 2016. My first reading was in Jersey City in October 2015, and I learned a valuable lesson : Never schedule a reading before your book is actually out, because no one will show up. Writer Amanda Petrusich agreed to Q&A me there, and she was such a good sport in front of my four friends who showed up, plus the store manager. A very strange thing happened earlier that day — I walked into a local vinyl store with WFMU’s Joe McGasko and they were playing Ron Davies’ rare LP ‘UFO’. Ron Davies is the subject of Chapter 1 in my book ! I’d never heard Ron Davies in any record store, and I’ve never seen his albums in the wild. How weird is that ? Things got a lot better on the book trail in March and April, highlighted by ace stops in Richmond, VA at Steady Sounds (w/ Mark Fosson & Diane Cluck), Rocket 99 in Kingston, NY (w/Peter Walker), and many others.

v2016 was a crazy year for acquiring records. I was driving up 6th Street in SF and my vinyl radar spotted a box on the sidewalk. I pulled over and started flipping – John Coltrane on Impulse, Wire ‘154’, Indian classical records, rare Contemporary Classical LPs. “OK, take the box and get out of here.” Threw it in the car. Took me about a month to get through that box, it was so deep. Then a friend who was moving house had me over for first dibs on a life-long collection of ambient, prog, Krautrock, experimental, K. Leimer, La Monte Young, Robert Wyatt, Roedelius, Eno, Cluster. Then my friend in LA let me have at her grandfather’s jazz collection. OG Mingus, Coltrane, Ornette, Miles. It was nuts. I found a Baby Huey LP at the flea market for $3 – but it had no record inside. So I went on discogs and sure enough, someone was selling the record without the jacket for $15 ! Not bad.

It was fun to watch my older (15 yo) daughter’s musical horizons expand this year, as she discovered her own favorites on Spotify like Andy Schauf, Joywave and High Highs while happily adding Dad’s suggestions to her playlists ; The Clean, The Smiths, Tia Blake. I took my girls on a wild musical road trip all over the South in June, which I wrote about here.

On the Tompkins Square label front, it was hugely gratifying to reissue two Richie Havens-produced early 70’s solo albums by singer/songwriter Bob Brown; bring out Brigid Mae Power (thanks to Mark Carry and Fractured Air who tipped me to her !) ; ‘Imaginational Anthem vol 8: The Private Press’, compiled by Brooks Rice and former Other Music LP buyer Michael Klausman, turned me on to some fantastic solo guitar I’d never heard ; Harvey Mandel, whose music I have loved for years, holed up in Fantasy Studios with Ryley Walker’s band and made magic. Just some of the highlights and more to come in 2017, when I’m slated to release a record a month, starting in January with Robbie Basho protegé Richard Osborn’s LP, ‘Endless’. Stay up on what I do !

Some of my favorite records from 2016 :

The most important record for me this year was by Daniel Schmidt and the Berkeley Gamelan, “In My Arms, Many Flowers”, on Recital. An American Gamelan composer who teaches at Mills College these days, these recordings are from 1978-1982. A stunning discovery from Sean McCann’s label.
https://www.youtube.com/watch?v=V83cDrMfJug
http://www.recitalprogram.com/in-my-arms-many-flowers/

Australians Andras Fox (aka Andrew Wilson) and Eleventeen Eston (aka John Tanner) are Wilson Tanner, and their album ‘69’ came out on the promising Growing Bin label out of Germany.
https://www.youtube.com/watch?v=C5L0HKds8z0&app=desktop

Another label doing great work is RVNG. I mentioned the dude whose record collection I raided – he had a K. Leimer record, ‘Land of Look Behind’, and I really got into that. I had already purchased RVNG’s Syrinx reissue, ‘Tumblers From The Vault’, and then looked on the RVNG site, only to find that they had released a 2-disc K. Leimer set too ! These are both worth seeking out. Syrinx were a Canadian collective on the True North label run by Bernie Finkelstein, who has managed Bruce Cockburn forever. I know him, so he gave me some great Syrinx insights. Had to go and seek out the original Syrinx vinyl LPs of course.
https://igetrvng.com/shop/rervng08/

I dig what Dying For Bad Music has done with their limited-run CDRs, especially the Abraham Chapman solo guitar release, ‘Nothing To Leave Behind’. The reel-to-reel tapes, recorded in 1978, were found at a flea market. No one knows anything about Abraham Chapman. DFBM made a limited run of 82 CDRs and it looks like there are some left :
http://dyingforbadmusic.com/dfbm029-abraham-chapman-nothing-to-leave-behind.phtml

I really enjoyed Charlie Hilton’s January 2016 release, Palana, via Captured Tracks. I missed her when she played the Warfield in SF. I like her somnambulant, Francoise Hardy vibe. I don’t see a single media outlet picking this record as one of the years’ best. Maybe cuz it came out in January ?
https://www.youtube.com/watch?v=YzGRXlL5-3k

Onward !

Josh Rosenthal
Tompkins Square
tompkinssquare.com
Tompkins Square “Year In Review” via Spotify

“The Record Store Of The Mind” by Josh Rosenthal, published by Tompkins Square Books is available now.

http://www.therecordstoreofthemind.com/
tompkinssquare.com

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Benoît Pioulard (Seattle, Washington, USA)

2016 marked the tenth anniversary of Benoît Pioulard’s prized debut LP ‘Précis’, an album that is synonymous with the spirit and wonder of independent music at its very finest. Currently based in Seattle, Washington, Thomas Meluch has quietly amassed a considerable body of work in the intervening years: solo works for the prestigious Chicago-based Kranky label as well as numerous self-released works, music with Canadian composer Kyle Bobby Dunn under the alias PERILS (Desire Path Recordings), Meluch’s collaboration with Rafael Anton Irisarri (The Sight Below) as ORCAS (Morr Music) and “Praveen and Benoît”, the collaborative work with Praveen Sharma (Music Related). October 2016 marked the release of “The Benoît Pioulard Listening Matter”, the sixth album by Benoît Pioulard for Kranky.

This year, more than any other in my life, was predicated on a contrast between life and death ; mostly trying to live with fulfillment and peace as a slap to the face of the infinite, something like that.  Culturally we lost so many great voices and heroes (John Glenn, Buchla, Pauline Oliveros, Bowie and the other obvious ones) and one could say a lot about the end of truth & reason politically, but on a personal level I was gut-punched by the sudden death of my only brother back in March, three days before I was set to head out on a 5-week North American tour.

My first thought was, “I have to cancel everything and go home,” but after talking with some very close friends & family it occurred to me that the best way to deal with the shock, sadness and confusion might be to push forward in doing the only thing that truly matters to me in this world, and play some dumb songs for people.  Surely enough, the ensuing month (minus the weekend of my brother’s memorial service) was just what I had hoped — an escape from familiarity and routine, an extended meditation on the American landscape, and a chance to make some noise for a lot of lovely strangers as a means of catharsis.

My brother had always said he wanted to tag along for a week on the road with me, so I was pleased to get a small parcel of his ashes, which rode the rest of the way from Michigan out to New York, down through the southwest and back to Seattle with me.  Now he stays on my desk, near to where I do all my rehearsing and recording, and sometimes I talk to him but so far he hasn’t said anything back.  Our mother has been feeling his presence a lot lately though I can’t claim the same ; being from the same parents, though, I reckon that’s because we are each other in so many ways, and there is no difference between us, no “other” to be sensed.  I dedicated my new record to him, because it’s about getting over bad habits (we have both had our share) and I finished it the day before he died, the fact of which seems like some kind of cosmic exclamation point to me.

I have typically been pretty down about changing the calendar to a new year, even though I understand entropy, that time is an arrow and we merely impose these measurements — but at least symbolically I have never been more excited to say “farewell” to a year as I am right now.  Learn and grow and fight the good fight and so on…

“The Benoît Pioulard Listening Matter” is available now on Kranky.

pioulard.com
pioulard.bandcamp.com

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Eluvium (Portland, Oregon, USA)

Eluvium is the alias for the Portland, Oregon-based artist and renowned experimental composer Matthew Cooper. Born in Tennessee and raised in Louisville, KY, Matthew Cooper relocated to Portland, OR several years back and has since been amassing a soul-stirring body of work under his “Eluvium” guise. 2016 saw the release of his latest opus “False Readings On” (released via the Temporary Residence label), the album’s genesis was originally inspired by themes of cognitive dissonance in modern society. Cooper also makes music as Inventions, a collaborative project which features Cooper and Mark T. Smith of Texas-based post-rock band Explosions In The Sky.

I did not like this year. I had a great many issues with this year, quite honestly. BUT ! – there were a surprising number of wonderful musics and books that happened… more than i am able to remember at this moment of making this list. I’m probably forgetting many of them because of how distracted I am by how much I otherwise did not like this year.

Aside from finding constant salvation in the arts, I also enjoyed a lot of hikes and walks with my wife and dogs and those days were probably my favourite. I’ve also found myself composing a LOT more work than usual. So there were, indeed, good things,..and there are more good things to come.

Listening ( no particular order ):

– The Caretaker – Everywhere at the End of Time
– Explosions In The Sky – The Wilderness
– Biosphere – Departed Glories
– Daniel Lanois – Goodbye to Language
– Roberto Musci – Tower of Silence
– Kjartan Sveinsson – Der Klang der Offenbarung Des Gottlichen
– Bethan Kellough – Aven
– Christopher Tignor – Along a Vanishing Plane
– Jefre Cantu-Ledesma – In Summer
– Benoit Pioulard – The Benoit Pioulard Listening Matter
– Odd Nosdam – Music for Raising / Sisters
– Tangents – Stateless
– Fernando Sor / Narciso Yepes – 24 Etudes — ( a late discovery but worth mentioning )
– Hildur Gudnadottir – Saman — (another late discovery but also worth mentioning)
– Rachel’s – Systems/Layers vinyl reissue

Reading ( no particular order / no particular year release ):

– John Wray – The Lost Time Accidents
– Patrick Dewitt – Undermajordomo Minor
– Jonathan Lethem – Gambler’s Anatomy
– John Muir – Wilderness Essays (reissue)
– Ethan Canin – A Doubter’s Almanac
– Haruki Murakami – Hear the Wind Sing/Pinball 1973 (reissue)

“False Readings On” is available now on Temporary Residence.

http://www.eluvium.net/
https://www.temporaryresidence.com/

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Brigid Mae Power (Galway, Ireland)

Having been a firmly established and longtime admired songwriter in her native Irish shores, the breathtaking Irish songwriter Brigid Mae Power released her extraordinary self-titled LP “Brigid Mae Power” via US label Tompkins Square earlier this year to widespread critical acclaim. The album was recorded with U.S. composer and producer Peter Broderick at his hometown studio “The Sparkle” in Portland, Oregon and features eight tracks of fragile beauty in her own inimitable and wholly unique approach as a songwriter (as anyone who has witnessed Power’s incendiary live shows will testify). Such is the album’s timeless brilliance, the nearest parallels that can be drawn to Power’s quietly unassuming, divine artistry are those blessed folk spirits of bygone times such as Sibylle Baier, Tia Blake or Margaret Barry. 

I’m sitting on a Ryanair plane right now on my way back from Glasgow, where last night I played my final gig of the year. I played at The Glad Café with Mike Heron and The Trembling Bells.

I’m not great at doing my research or homework with who I am playing with, partly because I just seem to be in a scattered daze a lot of the time, but mostly because I can’t find much time to listen to new and old music. But I don’t mind because it means I can be really surprised out of the blue as I have no expectations. Mike Heron and the Trembling Bells were so warm, odd, brilliant and heartfelt. I wanted to hug them all while they were playing. The lyrics were so bizarre also. Mike Heron was in The Incredible String band who I know virtually nothing about, but will now try and get some of their records.

2016 was a great year for me. I released my self-titled album with Tompkins Square Records and I also got to experience playing shows in countries I had never previously visited. I went to Japan in September, played in an old school, a Buddhist temple and an old jazz club. I got to eat the most amazing food I had ever tasted. I came home feeling sick at the sight of cheese and bread and made myself noodle soups for the first few weeks when I got home.

I played at Le Guess Who Festival in Utrecht and got to see how pretty that place is and play my favourite bill ever with my husband and my sister-in-law..
I got to spend most of the summer in Portland, Oregon, and also by the coast in Oregon. I got to spend time around beautiful tall trees, see vultures circling around my head and lie down in the sun for days and days. I literally just let my body warm up as much as it could and dry up all that Irish damp that had been in my bones for years. Whilst lying down I drew a lot, I did read too but I can’t really remember what I was reading.

Right now I am reading ‘M Train’ by Patti Smith, which I love. I love her daily routine of sitting in cafés drinking coffee and writing. I used to do the same except with drawing mostly instead of writing, when I was in my early twenties. But when I returned to Galway I no longer felt anonymous in cafés, everyone would ask “ooh what are ya drawing?” or “Oh right, that looks a little strange!” and it just made me too self-conscious so I would draw at home instead. But there’s something about working in an atmosphere where life is going on around you, but not paying attention to you, that I love.

Musically 2016 saw a bit of a Joni Mitchell binge for me. Especially in most recent months. ‘Clouds’, ‘Miles of Aisles’, ‘Don Juan’s Reckless Daughter’, ‘Court and Spark’, ‘For the Roses’ and ‘Night Ride Home’. I devoured all of them! And I still am. I knew bits of all of them before but I had never listened to them in such depth. I also listened a lot to Andy Irvine and Paul Brady’s album.. I started running a few weeks ago and started to listening to some old jazz albums to get me to moving…Art Blakey’s ‘Witch Doctor’ to be exact.

I finished Elena Ferrante’s fourth Neapolitan novel in 2016 I think…or it might’ve still been 2015. Oh! Twin Peaks! I was first introduced to Twin Peaks just this year.. I loved everything about the first season, the second season creeped me out and scared me too much but I still managed to watch it and love it.

Anyway 2016 has been an exciting year and I think I have missed out on a lot of things and events etc. but maybe it’s because I’m still experiencing them and haven’t had time to reflect..

Ok I have to go now as I am juggling writing this and watching a 6-year-old run crazy around an indoor play place, which really does sum up what I’ve done mostly this year. Crazy-mother-music-juggle.

—Brigid Mae Power

“Brigid Mae Power” is available now on Tompkins Square.

http://brigidmaepower.com/
http://www.tompkinssquare.com/

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Caoimhín Ó Raghallaigh (Dublin, Ireland) 

2016 was another busy year for the ever-prolific Irish composer and fiddle player Caoimhín Ó Raghallaigh. As well as releasing the second album by The Gloaming (“2” via Real World Records), the world-renowned quintet also toured extensively throughout 2016 to sell-out audiences at both home and abroad. Ó Raghallaigh also toured and performed across Ireland with the Dingle-based concertina player Cormac Begley (bass, baritone, treble and piccolo concertinas). As well as performing with The Gloaming (alongside Iarla Ó Lionáird, Martin Hayes, Dennis Cahill and Thomas Bartlett), Ó Raghallaigh also performs with This Is How We Fly, another inspired contemporary supergroup, consisting of Ó Raghallaigh on hardanger fiddle, Seán Mac Erlaine on clarinets and electronics, Nic Gareiss on percussive dance and Petter Berndalen on drums. This Is How We Fly’s second album is due to be recorded in January 2017.

I didn’t buy many records in 2016, hardly read a book, and barely set foot in a cinema all year. But it was a great year of making things for me. It started out with DIY, actually, putting in a new kitchen, tiling, plumbing and the whole lot. Thanks, Google, you saved my life!

We had a great writing week at the Tyrone Guthrie with This is How we Fly early in the year. What a magical place that is, a retreat centre beside a lake in Monaghan, dedicated to giving space to artists for them to do their thing. Then there was The Gloaming run at the NCH, and the release of the new album. I came to see a lot of the NCH over the first half of the year – I was artist-in-residence in their new Kevin Barry Recital Room, which was a lovely opportunity to work with some remarkable musicians.

In terms of listening to music, Seán Mac Erlaine’s Duo Series of concerts was immensely enjoyable – two of them stood out for me: his duo with Norwegian guitarist Eivind Aarset in which they created glorious landscapes of sound; and his duo with Norwegian musician Jan Bang, a properly marvellous live-sampling dance that stands out as my favourite gig of the year.

Watched some amazing stuff on Netflix this year: Black Mirror and Stranger Things were two of my favourites. Future Islands. Found an amazing new tuning for the 10-string fiddle that is deeply satisfying!

For 2017, I think I’d like to focus on some solo stuff a bit more, especially with the live-processing coding up and running now. Do a few more courses, continue to learn and expand. And maybe think about making a solo record of it all.

We’ll be recording the new This is How we Fly album in January, thanks to our recently completed and successful FundIt campaign. Plus there are a few more albums already up the sleeve, so it could be a busy year for the releases!

—Caoimhín Ó Raghallaigh

“2” by The Gloaming is available now on Real World Records.

http://www.caoimhinoraghallaigh.com/
http://www.thegloaming.net/

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George Xylouris (Crete, Greece)

Legendary lute player George Xylouris released his second album with duo Xylouris White this year – the inspired, earth-shattering collaboration with world-renowned Brooklyn-based drummer Jim White of Melbourne’s mythical trio Dirty Three – entitled “Black Peak” (Bella Union), the follow-up to the duo’s equally sublime 2014 debut “Goats” (Other Music Recording Co.). Xylouris hails from Anogeia, a mountain shepherding village set into the hills of Crete, down the hill from the Cave of Zeus (“Black Peak” itself is named after a mountaintop in Crete). George Xylouris, a true master of the Cretan lute, also performs with The Xylouris Ensemble (which also features his three Greek-Australian children). Xylouris White toured extensively throughout the globe this year, with extensive shows throughout Europe, USA and Australia. 

I don’t know how to start this but to me the highlight of this what I’m doing now with Xylouris White is exactly that: to be with Jim White and play around the world.

I’m playing wonderful places and venues with beautiful audiences and that’s the most enjoyable stuff which I had all this time. I play my instrument almost 40 years now.

Highlight is to meet all these nice people. Musicians or not musicians and work with these people.

Here are some photos from our 2016 tours:

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(i).
Xylouris White at Fox Theatre Oakland, San Francisco a few hours before the show with Godspeed you! Black Emperor. One of the most beautiful theatres I ever played. February 4th 2016.

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(ii).
A Beautiful Day in LA.
The Cathedral Sanctuary at Immanuel Presbyterian. Hung out in the little cafes around the venue and the tour bus waiting for show time.

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(iii).
The Cathedral in LA. Beautiful sound.

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(iv).
From California, Arizona Colorado, by bus, what a journey….

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(v).
Union Pool, Brooklyn. “Sweet Home Stage” Launch of second album “Black Peak”.

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(vi).
Melbourne, March 11 2016. On the way to National Gallery to play at exhibition of Ai Weiwei and Andy Warhol.

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(vii).
Big Ears Festival in Knoxville TN April ’16. I met the big master Marshall Allen, great honour.

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(vii).
Car broke down, the band kept going. Pennsylvania, see you in Boston.

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(viii).
west coast, Portland Oregon, after show at Mississippi Studios, cold night, warm team, w Emmett Kelly, Sabrina Rush, west coast team.

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(ix).
Back to Europe from west coast USA: Krakow, Poland. Unsound Festival.

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(x).
Changing trains, heading to Birmingham.

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(xi).
4-day break back home. Crete. Before Tawain.

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(xii).
Taipei. Dumplings. Delicious. Love Love Rock Festival. On an old tea farm in the woods up in the hills, you see the villages around the hills. Magic.

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(xiii).
Back in the USA east coast team: marisa anderson, eliot, george, jim. Break on the road. Enjoyable to spend time with these people.

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(xiv).
Portsmouth NH. Breakfast time and singing after last night’s show together with Jonathan Richman and Tommy Larkins, one of my favorite shows ever.

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(xv).
thank you guys and see you soon again.

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(xvi).
‘Black Peak’ in Crete.

“Black Peak” by Xylouris White is available now on Bella Union.

 

http://www.xylouriswhite.com/
http://bellaunion.com/

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Loscil (Vancouver, Canada)

Loscil’s Scott Morgan has been responsible for some of the most captivating and stunningly beautiful ambient creations over the past fifteen years. Across a compelling body of work (beginning with the 2001 classic ‘Triple Point’) – the majority of which has been released on the immense Chicago-based imprint Kranky – Vancouver-based Morgan has developed his own unique style of textural rhythms that ceaselessly blur the lines of ambient, techno, drone and modern-classical. The recently released ‘Monument Builders’ – one of 2016’s finest gems – marks the latest chapter in Loscil’s explorations through sound that lies at the intersect between nature and humanity. Next March will see the release of Loscil’s highly anticipated debut collaboration with American cellist Mark Bridges under the name High Plains.

rugged Wyoming mountaintops
frostbitten and sprawling
frozen streams, lingering cello and chopped piano notes
a winter journey, listening on the precipice in a snowstorm
co-conspirator Bridges
dotted with horses, High Plains

building monuments
to the suns
brutalist pictures
Otic sessions
horns After Life
dancer inked and scratched on film

pretty good homecoming
square improvisation with Red

London fest
Peter’s choir
Paul at St Paul’s
french horn rehearsals
Barbican Wild Birds

cancer fighter
a humble face
filled with fear
but a survivor
a true Victor

the other London
borders after elections, nightmares
Chicago is too warm
travelling companion Benoît
constant polaroids
Detroit storms of many kinds
Philadelphia gatherings
New York Cuban cigars
flurries through the Adirondacks
Cohen shrines in a second home
Kingston surprises
Toronto warmth despite the cold

a quiet end
despite near Terror
so many farewells
starting anew

 

“Monument Builders” is available now on Kranky.

http://www.loscil.ca/
http://www.kranky.net/

 

With special thanks to all our readers and listeners for their support over the last twelve months. Wishing everyone a very happy and peaceful new year & best wishes for 2017.

Read our favourite albums of the year for 2016 HERE & listen to our December mixtape for La Blogothèque HERE.

https://www.facebook.com/FracturedAir
https://twitter.com/Fractured_Air

 

Albums of the Year: 2016

with one comment

Presented here is a list of our favourite albums from 2016. As difficult a task as this proved, we decided ultimately to choose the albums that we found ourselves turning back to time and again over the last twelve months. The exercise also reminded me of memories when growing up of reading interviews featuring our favourite musicians, what used to strike me so much was the number of times they would describe their favourite albums as being like “friends” to them. These albums were anything but material possessions, these wax and cardboard sculptures were simply part of their lives: their very identity, even. The following is a selection of sixteen albums released during 2016 which we feel fortunate to now call friends of our own.

Artwork: Craig Carry
Words: Mark Carry

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(i). Oliver Coates – “Upstepping” (PRAH Recordings)

Several ground-breaking records from 2016 can be attributed to the gifted talents of British cellist and composer Oliver Coates. The London-based composer’s sophomore full-length release ‘Upstepping’ is undoubtedly the year’s most accomplished, innovative and compelling musical journeys with its meticulously crafted and sumptuously layered cello-based compositions that carves out techno-fueled waves of pure bliss and transcendence. ‘Upstepping’ is indeed (in the words of Coates) “pumped-up body music”. From album opener ‘Innocent Love’, which immediately evokes the sound of Four Tet’s ‘There Is Love In You’ with its hypnotic female vocal line to the deep house groove of ‘Perfect Love’ (think Autechre, Aphex Twin), a world of shimmering cello-based sound-worlds are being channeled from the cosmos. Coates’s current activity of “distorted cello play over sequenced dance music” (Coates wrote for his exclusive Guest Mixtape) remains the most ground-breaking and original sounds to have surfaced in 2016.

“Upstepping” is out now on PRAH Recordings.

http://www.olivercoates.com/
https://www.facebook.com/olivercoatesmusician/

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(ii). Kaitlyn Aurelia Smith – “EARS” (Western Vinyl)

Last Spring during a conversation with Kaitlyn Aurelia Smith, she described her primary objective for her latest full-length ‘EARS’: “I wanted to create a sense that the listener was on a 3-D motion ride through a futuristic jungle and I had to create an arc from start to finish that took the listener on a journey”. These eight otherworldly compositions created by the L.A. based composer and producer were immediately noted for their extraordinary colours, textures and striking multi-dimensional forms. The rich instrumentation encompasses a myriad of organic and synthesized sounds as Smith’s utterly hypnotic voice melds with her trusted Buchla synthesizer and an intricate array of woodwind and brass arrangements. Cosmic bliss appears at each and every turn: the dazzling mantra of ‘Rare Things Grow’ is steeped in African music traditions; ‘Envelop’s meditative melodic pulses and the epic closing transcendence of ‘Existence In The Unfurling’. Later in 2016 came the equally exceptional ‘Sunergy’ LP – a collaboration between Smith and electronic music pioneer Suzanne Ciani – as part of the RVNG Intl label’s FRKWYS series.

“EARS” is out now on Western Vinyl.

http://www.kaitlynaureliasmith.com/
http://westernvinyl.com/

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(iii). Jóhann Jóhannsson – “Orphée” (Deutsche Grammophon)

This year saw the eagerly awaited new studio album – and first in six years – from the renowned Icelandic composer Jóhann Jóhannsson. Incorporating music for solo cello, organ, string quartet, string orchestra and unaccompanied voices, ‘Orphée’ represents Jóhannsson’s finest hour, whose fifteen divine compositions captured here feels like a distillation of the master composer’s life’s work. The utterly captivating ‘A Song For Europa’ belongs in the same stratosphere as Gavin Bryars’ ‘Jesus Blood’ such is its cinematic brilliance: a spoken word sample becomes embedded deep in the music, speaking so profoundly. ‘A Sparrow Alighted Upon Our Shoulder’ is steeped in unwavering beauty as rejoice and hope flicker onto the horizon amidst a soaring string section (performed by Air Lyndhurst String Orchestra). A lost companion to George Delerue’s ‘Camille’.

In the words of Jóhannsson: “Orphée is for me about changes: about moving to a new city, leaving behind an old life in Copenhagen and building a new one in Berlin – about the death of old relationships and the birth of new ones”. As ever, the Icelandic master composer has crafted a challenging, utterly breathtaking and shape-shifting experience. A piece such as ‘Good Night, Day’ (featuring Jóhannsson’s close musical collaborator Hildur Guðnadóttir) paints life’s fleeting, transient nature onto a vast canvas of enchanting sound, before ‘Theatre of Voices’ (conducted by Paul Hillier) brings ‘Orphée’ to an astounding climax.

“Orphée” is out now on Deutsche Grammophon.

http://www.johannjohannsson.com/
http://www.deutschegrammophon.com/

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(iv). Nick Cave & The Bad Seeds – “Skeleton Tree” (Bad Seed Ltd.)

On lead single – and album opener – ‘Jesus Alone’, a devastating apocalyptic world descends upon us amidst sparse arrangements of piano and brooding synthesizer drones: “You fell from the sky/Crash landed in a field/Near the river Adur.” On Nick Cave & The Bad Seeds’ sixteenth studio album, a captivating, harrowing and deeply moving experience is forged as Cave’s songs navigates the heart of darkness.

The achingly beautiful gospel lament ‘Rings of Saturn’ exudes a healing power, which could belong on ‘The Boatman’s Call’ alongside ‘Brompton Oratory’. Scenes from John Hillocat’s ‘The Road’ (one of the many breathtaking scores Cave & Ellis have penned) is etched across the heartbreaking, tear-stained canvas of ‘Girl In Amber’. On a later verse, Cave mourns: “I used to think that when you died you kind of wandered the world/In a slumber til your crumble were absorbed into the earth.” A brooding darkness seeps into your bones on ‘Magneto’ – the album’s most gripping and intense moments – where buzzes of electric guitar drifts beneath Cave’s whisper-like pleas. The hypnotic mantra of “In love, in love, I love, you love” shares the cosmic spirit of Van Morrison’s ‘Astral Weeks’ ventures in the slipstream. A catharsis permeates the “heaven bound sea” of ‘Anthrocene’ with surreal, near-mythical dimensions somehow attained, which could depict Herzog’s ‘Aguirre, The Wrath of God’s haunting, doomed expedition. The sublime ecstasy of ‘I Need You’ is wrapped in impossible beauty; an empowering ballad that could belong to the ‘Lyre Of Orpheus’ sessions.

Skeleton Tree’ is a lament from the depths of darkness and despair: “With my voice, I am calling you.”

“Skeleton Tree” is out now on Bad Seed Ltd.

http://www.nickcave.com/

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(v). Jessy Lanza – “Oh No” (Hyperdub)

The Canadian songwriter and producer’s sublime sophomore full-length ‘Oh No’ (Hyperdub) showcases an artist at the peak of her powers, crafting some of the most beguiling synth pop creations of 2016 (and beyond). Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the seductive pop hooks and R&B gems crafts a joyously uplifting haven of euphoric sounds. As Lanza says “I want to make people feel good and I want to make myself feel good”. Infectious energy permeates ‘VV Violence’ and ‘Never Enough’ (reminiscent of classic Junior Boys and Caribou) whilst elsewhere the stunning ballads ‘I Talk BB’ (Lanza’s voice ascends to the forefront of the mix) and ethereal haze of closing cut ‘Could B U’. The infectious groove and affecting vocal delivery of ‘It Means I Love You’ crafts one of the record’s defining moments, soaked in reverb and compelling drum machines. Most recently, ‘Oh No No No’ remix EP has surfaced, with gorgeous reworks by DVA (‘Going Somewhere’), DJ Taye x DJ Spinn’s remix of ‘Could B U’ and Morgan Geist’s rework of ‘I Talk BB’.

“Oh No” is out now on Hyperdub.

http://jessylanza.com/
http://www.hyperdub.net/

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(vi). Peter Broderick – “Partners” (Erased Tapes)

The gifted American composer, producer and multi-instrumentalist has crafted his most captivating, emotive and transporting works to date on his latest masterwork ‘Partners’. This collection of solo piano music not only sees the beloved sound sculptor come full-circle in many ways but also delving deeper and further into music’s boundless orbit and life’s great mystery than ever before. In essence, the artist has effectively removed himself from the activities of the sounds he makes, in turn, creating piano music so pure, mysterious and far-reaching, evoking the timeless sounds of older generation masters such as John Cage and Lubomyr Melnyk. Hugely inspired by John Cage’s chance techniques and visionary spirit, Cage’s own composition ‘In A Landscape’ serves the vital pulse to ‘Partners’s aching canvas (having fallen in love with the piano once again during the process of transcribing this seminal piece, note-by-painstaking-note). Compositions such as the utterly transcendent ‘Carried’ unleashes a haven of heart-wrenching emotion as celestial harmonies meld effortlessly with mesmeric piano patterns, and ‘Up Niek Mountain’s drifting cosmic reverb-laden piano tapestries become interwoven deep inside the listener’s thoughts and dreams. The closing ‘Sometimes’ is a cover version of Brigid Mae Power’s divine ballad, the record for which is dedicated to Brigid. A freedom abounds on ‘Partners’ as the sacred piano notes become transcribed from the very composer’s subconscious mind.

“Partners” is out now on Erased Tapes.

http://www.peterbroderick.net/
http://www.erasedtapes.com/

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(vii). Xylouris White – “Black Peak” (Bella Union)

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 of collaborations over the years. The sheer expanses covered on the band’s sophomore full-length ‘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’. Ancient traditions are interwoven with contemporary, avant-garde musical structures, forever embedded deep inside a mysterious, enchanting and cosmic space. ‘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 out now on Bella Union.

http://www.xylouriswhite.com/
http://bellaunion.com/

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(viii). Loscil – “Monument Builders” (Kranky)

The Canadian ambient artist Scott Morgan’s latest masterwork unleashes a cathartic, hypnotic spell throughout; belonging to a dichotomy of worlds where an engulfing cloud of prevailing darkness prevails in tandem with the radiant light of hope and survival. Delicately beautiful ambient soundscapes drift majestically in the ether alongside the more intense, pulsating sound worlds. Take for example, how the fragile pulses of ‘Deceiver’ flows effortlessly into the glorious crescendo of ‘Straw Dogs’ or how the stunningly beautiful album opener ‘Drained Lake’ is gradually followed with the techno-infused ‘Red Tide’. A wall of intense moods, colour and textures flood these sonic creations, creating one of Morgan’s most accomplished and concise records to date. The addition of horn arrangements (recalling Philip Glass) immediately casts an ethereal quality; harmonies meld beautifully with a collection of old synths, warm textures of drone soundscapes.

“Monument Builders” is out now on Kranky.

http://www.loscil.ca/
http://www.kranky.net/

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(ix). The Avalanches – “Wildflower” (XL)

2016 saw the return of The Avalanches after sixteen years with their long-awaited second album. The pertinent question for the duo was how could a band follow-up a seminal classic like ‘Since I Left You’ but the duo have managed to create a kaleidoscope of rejuvenated, cosmic sounds. An endless array of samples, hip-hop rhymes, lucid beats, celestial harmonies and pop-laden hooks fill ‘Wildflower’s exhilarating voyage where cameo appearances from Mercury Rev’s Jonathan Donahue, Dirty Three’s Warren Ellis, Father John Misty and Toro Y Moi’s Chaz Bundick all stop by. ‘Wildflower’ is one of those perfect summer records: the Laurel Canyon-era sunshine pop of ‘If I Was a Folkstar’ and ‘Because I’m Me’s funky soulful strut and seductive Ariel Pink-esque ‘Subways’ are just some highlights. The heart-stopping ‘Saturday Night Inside Out’s dreamy haze and poignant epicentre serves the perfect closer to ‘Wildflower’s glorious psychedelic pop oeuvre.

“Wildflower” is out now on XL Recordings.

http://www.theavalanches.com/
http://xlrecordings.com/

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(x). Amiina – “Fantômas” (Mengi)

Icelandic outfit Amiina’s latest adventure, ‘Fantômas’, was originally composed as a live score to a silent masterpiece from 1913 (‘Fantômas’ was a French silent crime film serial directed by Louis Feuillade, based on the novel of the same name). Importantly the music stands on its own, independent of the visual narrative that, in turn, marks a brave new chapter in Amiina’s cherished songbook. The band’s Fantômas score is menacing, dark and brooding as it is steeped in delicate beauty and vivid hope. The cinematic opening title-track begins with a slow rhythmic pulse before haunting strings cast an eerie disquiet. The main theme’s melodic motif is masterfully revisited on the sublime ‘Lady Beltham’ before vivid dappling of light ascend on ‘Crocodile’. The closing electronic-oriented ‘L’Homme Du Noir’ explores adventurous new horizons. As ever, immaculate instrumentation of violin, cello, drums, percussion, metallophone, table harp, ukulele, and electronics graces the listener akin to the gradual fading light at dusk or a bird’s majestic flight across vast skies.

The score Fantômas premiered in Paris in 2013 at the prestigious, Théâtre du Châtelet, where Amiina, together with musicians James Blackshaw, Tim Hecker, Loney Dear, and Yann Tiersen, took part in a special Halloween event (curated by Tiersen), celebrating the centenary of the Fantômas series, directed by the French film director Louis Feuillade in 1913-1914.

“Fantômas” is out now on Mengi.

http://www.amiina.com/
http://www.mengi.net/

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(xi). Carla dal Forno – “You Know What It’s Like” (Blackest Ever Black)

The Australian singer-songwriter’s masterful debut solo album ‘You Know What It’s Like’ marked undoubtedly the year’s most dazzling and exciting debuts. Released on the prestigious Blackest Ever Black imprint, lead singles ‘Fast Moving Cars’ and ‘What You Gonna Do Now?’ revealed adventurous avant pop song structures to get beautifully lost in. Forno asks “Did you want this to last a long time?” over a gorgeous haze of meditative bassline grooves and drumbeat on the luminous ‘Fast Moving Cars’. Forno’s voice – a truly formidable instrument – melts and dissolves in the other-worldly pop spheres, conjuring up the timeless sound of ‘Tragedy’-era Julia Holter and Brian Eno’s visionary early 70’s pop gems. A striking emotional depth resides throughout, reflecting on failed relationships, love, loss and the impermanence of it all. Loneliness is etched across the canvas of the album’s title-track, sharing the colours and shades of Miles Davis’s ‘Kind Of Blue’ and Nico’s celestial voice with its yearning, searching feel: “What you gonna do now that the night’s come and it’s around you?” Elements of dub, post-punk, psychedelic folk and avant pop sounds shimmer majestically throughout: from the late 60’s psych folk of ‘Drying In The Rain’ to the dub-infused odyssey ‘DB Rip’s wave of synthesizers. The stripped-back closer ‘The Same Reply’ serves the record’s most breath-taking moments; distilled in lost love.

“You Know What It’s Like” is out now on Blackest Ever Black.

https://www.facebook.com/carladalfornoyes/
http://blackesteverblack.com/

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(xii). Andy Stott – “Too Many Voices” (Modern Love)

The renowned UK producer Andy Stott delivered his highly anticipated follow-up to 2014 classic ‘Faith In Strangers’ in the form of ‘Too Many Voices’ last Spring via the peerless Manchester-based imprint Modern Love. The gifted producer continued to explore new sonic terrain and tap into new emotional depths with gorgeous dub step, electronic, grime and 80’s synth pop flourishes. On Stott’s fourth studio album, breathtaking synth washes of ‘New Romantic’ (with nods to This Mortal Coil) and soulful seduction of ‘Butterflies’ (the record’s lead single) are interwoven with utterly compelling dubstep techno for the dancefloor (‘First Night’) and crystalline ambient chill-wave bliss (‘On My Mind’). The title-track and album closer perhaps serves the record’s glorious climax with masterfully arranged choral harmonies (supplied by longtime vocal contributor Alison Skidmore who appears on half of the record) and euphoric production (think Holly Herndon crossed with the Yellow Magic Orchestra), providing one of the tracks of 2016 in the process.

“Too Many Voices” is out now on Modern Love.

http://modern-love.co.uk/

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(xiii). Katie Kim – “Salt” (Art For Blind)

‘Salt’ sees the revered Irish musician explore deeper into the ethereal dimension, for which she has long ago established. The hypnotic guitar drone of ‘Day Is Coming’ envelops the deepest of fears and anguish, culminating in a swirling symphonic haze of heavenly harmonies and brooding strings. ‘Someday’ is a delicately beautiful piano lament and searching prayer for hope. The striking intimacy and hypnotic spell cast by the gifted songwriter throughout ‘Salt’ unleashes the most deeply affecting batch of songs to have been unearthed for quite some time. Sonically, the latest record is a partnership between O’ Sullivan and producer John Murphy, whose expansive, guttural soundscapes of album opener ‘Ghosts’ and centerpiece ‘I Make Sparks’ are masterfully contrasted with the closing fragile piano ballads ‘Thieves’ and ‘Wide Hand’. One of the album’s defining moments arrives with the pulsating ‘Life Or Living’; a euphoric exploration into the depths of darkness. An image depicted on the second verse becomes the engulfing embodiment of ‘Salt’s realm of raw emotion and blissful transcendence: “Holding my hand now the tides incoming/Make us a shield so the light won’t get in.”

“Salt” is out now on Art For Blind.

https://katiekim.bandcamp.com/
https://www.facebook.com/DANCEKATIEKIMDANCE/

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(xiv). Marissa Nadler – “Strangers” (Bella Union, Sacred Bones)

“Strangers” finds Marissa Nadler’s sonic palette expanding (synths and drumbeats are at times added to Nadler’s voice and guitar). But despite the added instrumentation and more intricate arrangements, a purity forever remains in the treasured songbook of Nadler’s forever timeless oeuvre. Beautiful subtleties exist within the sonic tapestries while striking imagery such as disintegrating cliffs, towering skyscrapers, darkening woods and deep rivers are offset with characters often feeling at odds with the world they find themselves in (or more accurately find themselves suspended into, all of a sudden). There’s a tangible sense of contrasting dichotomies lying at the heart of “Strangers” (between the familiar and the unfamiliar; safety and danger; darkness and light; life and death) which makes the journey Nadler takes us on all the more real. Tangible. Life-affirming. And like a silent witness we can quietly navigate that darkness with her. For we are not strangers after all.

“Strangers” is out now on Bella Union (UK) / Sacred Bones (USA).

http://www.marissanadler.com/
https://marissanadler.bandcamp.com/

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(xv). Brigid Mae Power – “S/T” (Tompkins Square)

Brigid Mae Power’s stunningly beautiful latest solo full-length – and Tompkins Square debut – is an album drenched in reverb-soaked emotion and lament. Enchantingly performed and produced, the record showcases a songwriter of immense talent in a soundscape that naturally merges itself to Brigid Power’s engulfing sound. The magic lies in the songwriter’s expression of raw emotion, in all its delicate beauty. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. In the words of Power, the album is about “trusting if you lose yourself or your way — you can come back.”

Such is the album’s timeless brilliance, the nearest parallels that can be drawn to Power’s quietly unassuming, divine artistry are those blessed folk spirits of bygone times such as Sibylle Baier, Tia Blake or Margaret Barry. As reflected in the lyrics of closing heartfelt lament of ‘How You Feel’, this deeply personal and intimate set of songs become a place of hope and solace where the path laid out in front you is filled with the light of day and sea of love.

“Brigid Mae Power” is out now on Tompkins Square.

http://brigidmaepower.com/
http://www.tompkinssquare.com/

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(xvi). Syrinx – “Tumblers from the Vault (1970–1972)” (RVNG Intl)

A collection of experimental synth music culled from the early 70’s Toronto music scene is beautifully celebrated by the ever-indispensable Brooklyn-based RVNG Intl label on the shape-shifting, genre defying musical document, ‘Tumblers From The Vault (1970-1972)’. The band in question are the avant-garde three-piece Syrinx whose wholly unique hybrid of chamber pop and electronic experimentation crafts an utterly timeless journey into the limitless possibilities of music. The dreamy, lo-fi gem ‘Hollywood Dream Trip’ remains as vital and fresh as the day it was recorded. The sprawling epic ‘December Angel’ dumbfounds the listener in its sheer beauty and compelling sound: a piece of music from some future age, unknown and mysterious all at once. Psychedelic flourishes are etched across the more electronic-oriented ‘Ibistix’; the amalgamation of distorted voices and cosmic strings creates a symphony of rapture and transcendence.

Syrinx consisted of composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. Syrinx’s self-titled debut arrived in 1970, followed in 1971 by ‘Long Lost Relatives’, which is highlighted as the first album on Tumblers From The Vault. Re-issue of the year, hands down.

“Tumblers From The Vault (1970-1972)” is out now on RVNG Intl.

https://igetrvng.com/syrinx-tumblers-vault/

Designs for the first ten albums are by Craig Carry, a limited edition series of screen prints (each edition is limited to 25 copies) have been created to coincide with Fractured Air’s favourite albums of 2016. Prints will be available to purchase online from January 2017. 

With very special thanks to each and every one of our readers. Wishing you all a peaceful and happy new year.

https://fracturedair.com/

Don’t Look Back: 2014 (Part 2)

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Final part of our “Don’t Look Back” series; which is our look back on the year from the perspective of both musicians as well as various members of the arts community at large, who — despite varying geographical locations and backgrounds — all share the following in common: a deep passion and love for music. We’re both honored and delighted to be able to share the words of these special people through their personal accounts of the year that was: 2014. 

Part 2 of a 2-part series.

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William Tyler (Nashville, USA)

William Tyler is a Nashville guitarist and composer who has played an integral part in world-renowned U.S. bands such as Lambchop, Silver Jews and Hiss Golden Messenger. In recent years, Tyler has carved out a deeply enriching solo path, beginning with 2010’s universally-acclaimed ‘Behold The Spirit’ (Tompkins Square) and its exquisite follow-up, ‘Impossible Truth’ (Merge Records), released in 2013. Last April marked the release of ‘Lost Colony’ – a limited-edition 12-inch – featuring the new song ‘Whole New Dude’, a full-band re-working of ‘We Can’t Go Home Again’ (from ‘Impossible Truth’) and ‘Karussell’; a cover of a Michael Rother (Neu!) song.

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My year in review:

Hanging with my buddy Michael Slaboch talking records and life in early January. Michael came down to Nashville from Chicago and got stuck in a rare snow storm the precluded his return to the Windy City, which I believe was suffering from some of the coldest temperatures on record. We ate bbq and watched Auburn lose to Florida State in the national championship game while Nashville buckled from the cold outside.

Touring with Califone in the dead of an intense midwestern winter.  We did “Big Ten” country: Minneapolis, Madison, Columbus, Omaha, Detroit, Chicago. I should have brought a snowplow instead of a Volvo station wagon. Beautiful people and music. Frigid temperatures. Haunting drives through cracked Michigan highways covered with snow. Listening to Bruce Hornsby in a Tim Horton’s outside of Benton Harbor.

Taking a series of trains across central and southern Europe on tour in February. Played a rock club that doubled as an indoor shooting range in Belgrade. Played a theater in Zagreb. Played a wine bar in Switzerland. Played a cinema in Lausanne, another cinema in Dresden. Watched “Dallas Buyer’s Club” with German subtitles. Read “Blues People” by Amiri Baraka and “Where the Heart Beats”, an incredible book about John Cage and Zen Buddhism. Train hopped across Italy. Wrote fragments of songs in hotel rooms like you are supposed to. Ate everything that was offered to me. Bought Fernet at an Italian gas station.

I drove across America with my buddy Garland two days after returning from Europe. One day we drove from Nashville to Omaha, the next day across South Dakota to Wyoming. Next day all the way to Coeur D’Alene Idaho. The fourth day we made it to Seattle. I did a three-week tour opening for Daniel Rossen. My other best bud Brad Cook accompanied me for most of the trip. Stoned day off driving through the redwoods for a weird evening of awesome beer and sketchy Mexican food in Eureka, California. Playing a winery in Napa valley. Playing the Hollywood Forever Cemetery in Los Angeles. Driving across the west by myself in a rental car. San Diego to Phoenix, Phoenix to Santa Fe, Santa Fe to Roswell, Roswell to Marfa, Marfa to Austin, Austin to Jackson, Mississippi. Putting about 8000 miles on that poor rental car. Up and down the east coast. Driving back through the North Carolina mountains to home finally and the ‘welcome to Tennessee’ signs greeting me.

I moved temporarily to Oxford, Mississippi for a month. Spent a lot of time writing and reflecting, walking every afternoon down to the town square and sharing a few drinks with new friends. This was the place my parents went to college and I settled into the lazy, deliberate pace of the environs. I feel like as I grow older, the pull further South is stronger. It felt like home.

Green Man festival in Wales. Epic hang with my man David Morris. Playing to a field of friendly folks as the sun set. Being cold in the middle of August and drinking lots of cider.

Some things I enjoyed:

Steve Gunn – Way Out Weather
“Citizen Four”
Harold Grosskopf – Ocean Heart
Swans – To Be Kind
Bob Dylan – Basement Tapes reissue
Bitchin Bajas
Tashi Dorji
Blake Mills
“The Soul of Designer Records” – Big Legal Mess box set
“Jodorowsky’s Dune”

My favorite modern country singles of 2014:

Blake Shelton – Neon Light
Keith Urban – Somewhere in My Car
Dierks Bentley – Drunk on a Plane
Anything by Taylor Swift

 

—William Tyler

 

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‘Lost Colony’ E.P. is available now on Merge Records.

http://www.williamtyler.net/
http://www.mergerecords.com/

 


 

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Félicia Atkinson (The French Alps, France)

Félicia Atkinson is a French visual and sound artist based between the French Alps. She also co-curates Shelter Press, an independent music label and contemporary art publishing house. Félicia Atkinson also releases music via her Je suis le petit chevalier guise and exhibits regularly across both Europe and the US. Atkinson lives presently in the French Alps and has released over 20 records and tapes with labels such as Shelter Press, NNA, Umor Rex, Aguirre, Spekk, La station Radar, Home Normal. Atkinson has performed extensively all over Europe/USA-CANADA with such artists as: Sun Araw, Grouper, Gabriel Saloman, Theo Angel and Hamish Gilmour, Mind Over Mirrors, Lee Noble. She is also involved in the duo Naked Island on the L.A based label Peak Oil (alongside Ensemble Economique’s Brian Pyle). Her new album, ‘A Readymade Ceremony’, will be out on Shelter Press during 2015. 

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2014: A YEAR OF RENDEZ-VOUS

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Caption: Félicia Atkinson painting yogo balls during the preparation of her latest art show at Saprophyt, Vienna, last November.

 

January:

New Year’s Eve, dancing with candles and flutes outside in the snowy mountains with my friends, the musicians and artists Mc Cloud Zicmuse, Anne Brugni, High Wolf, Marsh Cavern, Chicaloyoh and Bartolomé, my partner in life and in Shelter Press.
Anne Brugnu makes incredible colorful ceramics and drawings. She just published a children books with Mc Cloud called “bonjour”, published by L’artichaud, here is an image of it:

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It’s a very sensitive book about natural phenomena and the marvels of earth. And here is an example of her vivid collages:

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You can also hear Mc Cloud Zicmuse’ poetic words and music HERE.

February:

Driving from California to New Mexico with Bartolomé. We also met a series of unforgettable artists. In Joshua Tree we walked among the prickly pears with Alexander Stewart and Lilli Carre. They are from Chicago and make very interesting minimalist animated films. Lilli is also an illustrator and ceramic artist. She exhibited recently at the MCA of Chicago. Here are two images of her sculptures:

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Alexander made collaborative films with musicians from Chicago, such as Jeremy Lemos, who plays now in Acteurs and also with Disappears, two Chicago bands that I strongly recommend. I particularly like the specially designed EP Disappears published with the Belgian Sleeperhold publications with a silkscreen on the B-side by this young and talented Belgian photographer, Stine Stampers. You can see the design here:

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Here are video stills of Alexander’s films ‘Peacock’ and ‘Power’:

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March:

In March Bartolomé and I did an exhibition, ‘The Last Frontier’, at this artist-run space in Basel called OSLO 10. They are also a music venue and there was a wonderful list of music shows during the exhibition, some with shelter press artists and some with people, even if we don’t publish them, we feel related to. One of them played at Oslo 10 in March 2014, it’s the French-Japanese musician Tomoko Sauvage who plays with water and bowls: a mesmerizing and meditative music.

April:

April was a beautiful month in the Alps, with butterflies and flowers everywhere. On the 1st of April I invited Jennifer Tee, an artist from the Netherlands, to make a lecture at the art university I am teaching in: Annecy, L’ESAAA. I am a huge fan of her works that include: performance, sculpture and installation. Some examples of her works here, including her latest exhibition at Signal in Malmo:

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May:

In May I played a music show for Videoex Festival in Zürich with the experimental film-maker from San Francisco, Paul Clipson. I don’t know if you are familiar with his works, but he showed his films with a lot of interesting musicians from the Bay Area such as Grouper, Jefre Cantu and Barn Owl, who are all musicians that inspire me everyday. Here are some images of Paul’s films:

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June:

June was a month spent listening to Suzanne Ciani’s amazing re-issues by Finders Keepers.

July:

In July I toured in Canada with the amazing Sun Araw and D/P/I. I feel like I learned a lot while seeing them playing and each of their shows was a source of joy. I recommend you to see them live and to listen to their latest album. I also played in Seattle with RM Francis that month, which was the occasion to discover his beautiful and smart music.

August:

August was a month spent in Oregon. I always love Portland. It was great to hang out there with my friends and see very good shows and have such great vegetarian food. Then we spent some time camping at CAPE LOOK OUT before I recorded with my friend Peter Broderick. Stay tuned… the project will be called La Nuit and will be out next summer on Beacon Sound.
In Portland I bought a lot of records at Little Axe Records, Mississippi Records and Beacon Sound Records. One of my favorites is ‘Put No Blame On The Master’, a record of Jamaican gospel, published by Mississippi.

September:

In September 2014 I did a mini tour in Switzerland with the amazing Gabriel Saloman, with whom we just published a record on Shelter Press. I recommend also his records on Miasmah and Infinite Greyscale. When he played in Geneva​, it was so powerful that the sound engineer actually cried. We are all blown away. I also listened very much to the re-issues of K. Leimer on RVNG.

October:

In October I saw Lieven Moana / Dolphins into the future and Spencer Clark / monopoly childstars playing also in Geneva, with wonderful visuals. It was like being in another time. Lieven is a kind of Caspar David Friedrich of modern times.

November:

In November I played at Soy Festival where I had a chance to see playing some people I admire: Lee Noble, Noveller, Steve Hauschildt and Robedoor.
Do you know Lee Noble’s cassette labels NO KINGS? They do amazing artworked tapes that you should take an ear/eye at!

December:

My highlight of December was feeding and meeting the neighbor’s little cat that love to visit us and watching VANISHING POINT by Richard Sarafian and CARRIE by De Palma. I also listened a lot to Valerio Tricoli album on PAN, Miseri Lares. And Bartolomé bought me this wonderful book by and about Robert Ashley, ‘YES, BUT IS IT EDIBLE’ published by New Documents.

THE END/THANK YOU!

 

—Félicia Atkinson

 

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Naked Island’s self-titled debut, the collaboration between Ensemble Economique’s Brian Pyle and Félicia Atkinson, is available now on Peak Oil. ‘A Readymade Ceremony’ is a forthcoming release on Shelter Press.

http://feliciaatkinson.be/
http://shelter-press.com/

 


 

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Cian Ó Cíobháin, An Taobh Tuathail (Galway, Ireland)

Cian Ó Cíobháin is the presenter of An Taobh Tuathail, a music show dedicated to promoting the very best in independent music. Cian’s show is broadcasted on RTÉ Raidió Na Gaeltachta on weeknights from 22.00 to midnight, Monday to Friday. Cian also compiles a series of compilations which are made available for free download. Presently, the An Taobh Tuathail compilation series is at volume 6 (they have this year been uploaded to Ó Cíobháin’s Mixcloud page HERE). Additionally, Cian DJ’s at 110th Street, Galway, with Cyril Briscoe. As of this year Cian Ó Cíobháin has also carved a name for himself as a specialist wedding DJ.

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In January and February, I dipped my toes into English language broadcasting for the first time in eons, with a six-part series on Pulse about my ‘An Taobh Tuathail’ compilations. My thick-tongued mumbling were well received, in some instances it was the first time listeners were able to follow what I was saying on the radio. ATT was shortlisted for two awards this year. In April I visited the picturesque St. Ives in Cornwall for the Celtic Media Awards, then had a night to remember in Kilkenny in October at the PPI Radio Awards. The Lyric FM contingent were seated at our table and helped us to party with panache. The winners of both categories were utterly deserving. JJ O’Shea’s superlative ‘The Global Village’ took the gong in St. Ives and Ray Wingnut’s excellent documentary on the Community Skratch games topped the PPI list.

Two of the best DJ sets I heard this year happened at Ireland’s best off-the-radar summer festival (so secret that I’m afraid to even refer to it by name). A fine summer’s evening somewhere in deepest Longford, the intimate & enthusiastic gathering in convivial spirits, were treated to the DJ début of Roscommon-native Peter Casey who simply blew the roof off the place with a perfect festival set: a combination of bangers, anthems and sing-a-longs. Later on, underground Liverpool legend John Heckle showed what an outstanding DJ he is, reading the crowd perfectly, working some amazing disco basslines into his high-octane techno set…. Speaking of Scousers, following Liverpool last season was a riot. Sure they fell short, sure they may never win the Premiership, but what a gallant effort it was, playing some of the most scintillating football in Europe, which even Pep Guardiola tipped his hat to. Of course, we’re back to a level we’re sadly more accustomed to now, in the wake of Luis Suaréz migrating to warmer climes. In a peculiar way, like when the winter evenings begin to draw in, there’s almost something strangely comforting about being simply mediocre again. Almost.

In other sports, my native Kerry thrilled in their two game battle against Mayo in August before grinding out an unexpected All-Ireland victory in September (unexpected to everyone bar the team and management), ending a five-year Celtic Cross-less drought in the Kingdom. All this without The Gooch. Great to see Star poach an opportunist’s goal in the final. I was DJing in West Kerry a few years ago and he was right up the front urging the crowd to sing along to the words of Warren G’s ‘Regulate’.

Jonathan Glazer’s ‘Under The Skin’ was a haunting cinematic experience, made all the more powerful by Mica Levi’s superlative soundtrack. One of her featured compositions ‘Love’ is my tune of the year: somehow evoking ‘Loveless’-era MBV, Badalamenti and Bernard Herrmann. I only recently realised that the movie is based on a book by Michel Faber. I picked up his latest novel ‘The Book Of Strange New Things’, as endorsed by the wonderful West Cork-based author David Mitchell and have been in a trance reading it the past few days… Other movies I enjoyed this year were ‘12 Years A Slave’, ‘The Wolf Of Wall Street’ and I finally watched ‘The Good, The Bad & The Ugly’. How had I ignored it up to now? Simply one of the finest movies I’ve ever laid eyes on. If only I could roll a cigar around in my mouth like Clint Eastwood. The original ‘Blondie.’

Summer 2014 was one of the most consistently summer-like summers in recollection, the rain seemed to bypass our island. How good was the vibe at ‘Body & Soul’ during the shortest nights of the year? It was my first time in attendance and I was bowled over by the genuinely magical, fairy-tale atmosphere. Galway legend Mike Smalle played a beautiful set under the trees, that weaved everything from Max Romeo to Nolan Porter to Hot Natured into its fabric. Mike was busy recording again this year, his first work since B-Movie Lightning, under the Augustus & John moniker collaborating with Matteo Grassi. Check out their excellent ‘Crosslines’ EP.

In late August, with the help of Galway’s Electric venue, 110th Street hosted a boat party on the river Corrib, where Cyril Briscoe & I were joined by Jon Averill and Sol O’ Carroll. Between the genial atmosphere on the boat, where everyone was best friends by the end of the voyage, followed by a hothouse atmosphere in the club, created by a combination of our guest DJs being on top form and the visiting influx of revellers, it was a day and night that will live long in my memory.

I read shed-loads of books this year but the two that stood out were ‘The Casual Vacancy’ by JK Rowling, a brilliant take on that peculiar and specific genre of ‘English village’ literature and ‘I Am Pilgrim’ by Terry Hayes, one of the most breathtaking thrillers I’ve ever read. Re-reading Oscar Wilde’s ‘The Portrait Of Dorian Gray’ was a great pleasure. Two evocations of hedonistic life in our capital city in different eras also provided food for thought. Anthony Cronin’s ‘Dead As Doornails’ recounts the lives of Patrick Kavanagh, Brendan Behan & Myles na gCopaleen in the pubs of post-war Dublin. The drinking and the poverty they endured to keep on drinking is utterly startling. Rob Doyle’s ‘Here Are The Young Men’ recounts a different Dublin, that of the early to mid-‘noughties’. If the pre-mentioned literary giants had access to the drugs that the characters in Doyle’s début novel binge on, well … the mind boggles at the consequences. Both books shine a torch into our nation’s gluttonous, booze-centric culture and reveal long, dark shadows extending well into the background.

The best TV show I saw this year was ‘Fargo’ but I was also impressed by ‘Boardwalk Empire’ (seasons 3 & 4), ‘Ray Donovan’, ‘Vikings’ (second season), ‘Love/Hate’ (which found its groove again – though I’d love to sort out their often incongruous soundtrack choices for them) and ‘The Fall’. Caught the first season of ‘Sherlock’ too, the opening episode was particularly good. I waded my way through most of the first season of ‘Game Of Thrones’ but was left cold by its clunky pace and prolixity.

My best nights DJing all happened at weddings. I was lucky to be invited by some remarkable people to play at their nuptials, more often than not in memorable, bucolic settings to intimate gatherings of sound heads. The atmosphere at these evenings were off-the-hook and has encouraged me to launch myself in the specialist DJ wedding market in the year ahead. So (here comes a plug) if you’re getting married and want to avoid the usually stodge, I’m available through cianociobhain.com or the One Fab Day site.

And what about the night the Sleaford Mods came to Galway? Like Gang Of Four, The Fall, Jello Biafra, Henry Rollins & Bez rolled into one Tour(ettic)-de-force. Middle-aged rock stars showing everybody else how it’s done. Proper.

Oh! One of my music moments of the year was when my truelove bowled me over by playing the soundtrack to ‘Tales Of The Unexpected’ out of the blue at a party last summer. I hadn’t heard it in decades and it completely transported me another place. Somewhere special, beyond mere nostalgia.

 

—Cian Ó Cíobháin

 

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There will be two An Taobh Tuathail Christmas specials on Christmas Eve & Christmas Day, 22.00 – 00.00. Cian Ó Cíobháin is also now taking bookings as a specialist wedding DJ at cianociobhain.com

Web: http://www.rte.ie/rnag/an-taobh-tuathail

Facebook: https://www.facebook.com/AnTaobhTuathail
DJ bookings: http://cianociobhain.com/

 


 

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Seán Mac Erlaine (Dublin, Ireland)

The Dublin-based woodwind composer (saxophonist and clarinetist) and music producer Seán Mac Erlaine is one of Ireland’s best-loved musicians and composers. Mac Erlaine is also a member of the Irish/Swedish four-piece This Is How We Fly and has collaborated with numerous musicians in the past in both live and studio settings (The Gloaming, Bill Frisell, Lisa Hannigan, The Smith Quartet, Iarla O’Lionaird). This Is How We Fly had an extensive European and Irish tour this year promoting their remarkable debut self-titeld album (having been released at the end of 2013 via Playing With Music) while Mac Erlaine also released his latest solo album ‘A slender song’ via Dublin-based label Ergodos. Earlier in the year, Mac Erlaine contributed to the Ergodos-released ‘Songs’ album which featured numerous re-interpretations of songs by members of the Ergodos roster of musicians. In September, Mac Erlaine performed at Dublin’s annual Bottlenote Festival (which Mac Erlaine co-runs) for a site-specific “The Walls Have Ears” series of live improvisations. 

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Two thousand and fourteen began in an urban idyll: Prenzlauer Berg. Waiting on fingers to defrost to record a range of songs from John Dowland to Richard Thompson. That record, released a few months later, turned out to be a beautiful thing – listen to Michelle O’Rourke sing! Germany has a lot of saxophone players and a lot of dead saxophone players – I bought a sleeping beauty from a dusty shop – a Martin alto saxophone from 1968.

Nobody saw it coming but in February I made my dancing debut in Willfredd Theatre’s CARE, this was a great eye-opening process working with super people looking into the work of hospice workers.

I was very lucky to find myself lost in Pauline Oliveros’ near infinite reverb chambers in the company of fine musicians broadcasting live to the nation on my favourite medium, radio. More radio followed later in the year working with director Dylan Tighe on a new sound piece celebrating one of our favourite poets, the late Michael Hartnett. We poured many hours into this work and in every moment (almost) there was a richness that can only come when your two singers are the incomparable Nell Ní Chróinín and Iarla O’Lionaird.

Spending time with the three other members of This is How we Fly has been such a rewarding and important aspect over the last few years. In 2014 we got to play in France, Sweden and all over Ireland (Baltimore Fiddle Fair does seem in fact to be the best festival here!).

Other high points included: sharing the stage and shaking the soft, soft hand of maestro Bill Frisell… The honour of playing solo to many rooms of silent listeners over the year… Playing Bowie’s back catalogue in NCH with such a killer band… Walking around Cork City in the very early morning… Walking around the Lower East Side in the almost late night… Swimming through a lake in Northern Sweden at midnight watching the paling sky… Cycling thousands of kilometers through the mountains of Wicklow, the flatlands of Kildare and the streets of Dublin… Cycling a 180km round-trip to play a gig in a sauna…

I loved seeing Ger Wolfe sing in Dublin – gotta be one of the most honest songwriters out there these days. Steve McQueen’s ‘12 Years A Slave’ didn’t hit me quite in the same way his first two features did but this was a fine piece of work. Irish film-maker Pat Collins produced another beautiful work with ‘Living in a Coded Land’ and Lenny Abrahamson’s ‘Frank’ was superb. Contemporary fiction isn’t a strong point for me but I was astounded by the beauty of Tarjei Vesaas’ ‘The Ice Palace’, a Norwegian novel from 1963. Gabriel Rosenstock’s monumental collected poems ‘The Flea Market in Valparaíso’ seems to have slipped under the radar but that can happen easily. Richard Mosse’s work ‘The Enclave’ got a lot of lookers, it blew many of us away. Israeli choreographer Danielle Agami had me up out of my seat whooping after her dance piece as did Irish actor Shane O’Reilly’s piece ‘Follow’ in The Abbey Theatre. A great time for Irish music: The Gloaming album made many revolutions on my CD player (I hope they press it on vinyl!), seems to have classic album written all over it. Deaf Joe’s ‘From The Heights Of A Dream’ is refreshingly really going for something and presented so beautifully – strongly recommended. Caoimhín Ó Raghallaigh and Dan Trueman’s fiddle duo record ‘Laghdú’ (also presented as a highly covetable good) is a tender thing of beauty.

 

Seán Mac Erlaine

 

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‘A Slender Song’ is available now on Ergodos.

http://www.seanmacerlaine.com/
https://ergodos.ie/

 


 

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Kat Epple, Emerald Web (Los Angeles, USA)

Kat Epple has released 30 music albums internationally, composes music for film scores and television soundtracks, and performs live original music featuring synthesizers and flutes with her various ensembles, including the legendary “Space Music” band Emerald Web (comprising Epple and her late husband Bob Stohl), whose hugely influential music continues to impact music audiences worldwide through many recent re-issues. ‘The Stargate Tapes’ album was re-issued in November 2013 via Finders Keepers, and consists of music originally recorded from 1978-1989; earlier this year, Emerald Web’s ‘Whispered Visions’ has also been re-issued by Finders Keepers, while ‘Catspaw’, Emerald Web’s seminal recording (first issued by Larry Fast’s Audion label) will be re-issued by Anodize in January 2015.

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Highlights of my year 2014 include: a concert for dolphins, ancient dead Indians, growling dinosaurs, and ‘Whispered Visions’. These events transpired as I concert toured, recorded new albums, did session work, archived old reel-to-reel masters, and enjoyed some amazing adventures!

“Legends of the Giant Dinosaurs” is a film for which I composed music, sound effects and Foley, for The Hong Kong Science Museum. The high-tech digital animation was projected onto a sixty-foot-wide HD screen with my music and sound effects in surround sound. I enjoyed creating the music, but especially making the sounds of the dinosaurs as they tromp, fight, and perish as a meteor strikes the earth. CRUNCH…….GROWL……..RUMBLE…….SCREAM………EPIC CRASH!

Playing native flute at sunset, on the top of a burial mound built by the extinct Calusa Indian tribe, may have been one of my concert highlights of the year. I felt as though their spirits were surrounding me, and softly singing. Now THAT is surround sound!

My favorite jam session happened one night as I was playing flute for a star-gazer cruise on a beautiful ship on the Gulf of Mexico. A pod of dolphins arrived, then surrounded the ship as they lifted their ears above the waterline, apparently to listen. They all joined in as they clicked, splashed, and squeaked along with the sound of my flute.

There has been a resurgence of interest in the music of my vintage synthesizer and woodwind band, Emerald Web. In fact, this year, our second album, “Whispered Visions” was released on vinyl LP, thirty-four years after its original issue. The master tapes had to be baked and archived after sitting on the shelf for decades. It was very moving to hear the music again after all those years, as it transported me back to the moment it was created so long ago. Music has the power to do that, especially when it is your own music!

I recorded acoustic tracks for a new album with World Percussionist, Nathan Dyke. I played World Flutes in the session, and am now in the process of overdubbing synthesizer tracks to the album. Yep……Thirty four years later, I am still pissing off the purists who don’t like it when I mix ancient primitive instruments and technology. Yay!

My session work on flute, EWI, and synthesizers for albums by a variety of musicians include: New Age pioneer Steven Halpern, enchanting folk musician Mariee Sioux, electronic guitarist Barry Cleveland, and legendary heavy metal guitarist Devin Townsend.

I did manage to get out of the studio once in a while to go camping, running on the beach, and to attend concerts, including King Crimson, the “Hardly Strictly Bluegrass” festival in San Francisco, and a variety of amazing house concerts.

I am grateful for the wonderful experiences that 2014 brought, and look forward to 2015 being even better!

 

—Kat Epple

 

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‘The Stargate Tapes’ and ‘Whispered Visions’ by Emerald Web are available now via Finders Keepers Records. ‘Catspaw’ by Emerald Web is to be re-issued on 20 January 2015 via Anodize (pre-order HERE).

http://www.katepple.com
https://www.facebook.com/KatEppleMusic

 


 

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Roll The Dice (Stockholm, Sweden)

Roll The Dice comprise the Stockholm duo of Malcolm Pardon and Peder Mannerfelt, who released their hugely anticipated third LP this year, ‘Until Silence’, via the renowned UK-based independent The Leaf Label. ‘Until Silence’ sees a brave and intriguing shift in the duo’s sound (most noticeably with the addition of a 26-piece string section ensemble during the recording sessions with an even greater focus this time around on an intensity of emotion across an ever-expanding sound palette) while the conceptual framework of the album draws inspiration from World War One (the album’s title is inspired by a book on the period). To date, Roll The Dice have released a trilogy of monumental albums, beginning with their self-titled debut LP (Digitalis, 2010);‘In Dust’ (Leaf, 2011); ‘Until Silence’ (Leaf, 2014), confirming the Swedish electronic group as one of independent music’s most intriguing and compelling contemporary artists.

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Tracks of 2014 by Roll The Dice:

Malcolm:
Future – ‘Look Ahead’
The groove and the sample and the 123 /15 hi hat pattern. Lovely.

Aphex Twin – ‘Produk 29’
Surprisingly likable. As I haven’t been a big fan in the past, I had no “issues” with him putting out a new album whatsoever.

Vessel – ‘Red Sex’
Simple and to the point monotony as it should be.

Nils Frahm – ‘Says’
A bit cheesy in the best possible way. Reminds me about us…

Katy Perry – ‘Roar’
I have been force-fed this track every morning all spring by my 10 year-old daughter. A bit like a musical stockholm syndrome…I have fallen in love with my tormentor.

Peder:
Gazelle Twin – ‘Anti Body’
Just found out about this record, totally feeling the attitude and impact of it. Really got a sound of it’s own which is pretty rare these days.

Klara Lewis – ‘Msuic II’
Klara is probably the artist that has had the biggest impact on me this year. It’s a real privilege to be able to work with such a unique and gifted talent.

DB 1 – ‘Nautil 1/3 B1’
The whole Nautil series on Hidden Hawaii is so amazing but if I have to pick a favorite from the 3 records this has to be it. Perfectly balanced and executed.

Surgeon – ‘Fixed Action Pattern’
The best techno 12″ this year from the best label, Token.

QT – ‘Hey Qt’
The PC music camp is the most punk of 2014. The fact that both my girlfriend and my 3 year-old daughter told me that it was the worst thing they ever heard me play at home makes me like it even more.

2014 Highlights Roll The Dice:

Putting out ‘Until Silence’ of course but also the fact that it turned out exactly the way we wanted.

Semibreve festival in Braga, Portugal: it was a delight to get to play in this beautiful old theatre where they have hosted the festival off the beaten track for several years. The organisers and everything surrounding this small and heartfelt festival was a delight.

 

Highs 2014: 

Malcolm:
My 10 week old Staffordshire puppy, Billie.

Peder:
Being able to do what I do for another year, to be able to make music and do whatever I want is something I am truly grateful for.

Lows 2014:

Malcolm:
The Swedish parliamentary situation which is going from bad to worse rapidly.
We all hope that the re-election in march will clear things up a bit, but as is now its just a farce, with very sinister undertones.

Peder:
See Mal’s answer. One love, fuck fascism.

 

—Roll The Dice

 

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‘Until Silence’ is available now on The Leaf Label. 

https://www.facebook.com/rollthedicesthlm
http://www.theleaflabel.com/

 


 

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Klara Lewis (Stockholm, Sweden)

Earlier this year marked the eagerly awaited debut full-length release from Swedish electronic artist, Klara Lewis, on the prestigious Editions Mego label. ‘Ett’ was recorded, sampled, edited, manipulated, mixed, produced and arranged by Lewis. A collection of four new works — contained on the sublime ‘Msuic’ EP — would later see the light of day on the Swedish imprint, Peder Mannerfelt Produktion (released on 12″ vinyl last November). ‘Msuic’ sees Lewis further expand the sonic envelope with her signature explorations of field recordings, electronics, rhythm, sound and atmosphere; confirming the Swedish artist as one of electronic music (and independent music at large)’s most exciting new talents.

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My top albums:

1. ‘Under The Skin’ OST, Mica Levi
2. ‘Because I’m Worth It’, Copeland
3. ‘All Over + All Under’, Edvard Graham Lewis
4. ‘The Epic Of Everest’, Simon Fisher Turner
5. ‘The Aquaplano Sessions’ (re-release), Donato Dozzy & Nuel

 

—Klara Lewis

 

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‘Ett’ is available now on Editions Mego. ‘Msuic’ (12″ & Digital) is available now on Peder Mannerfelt produktion. 

http://klaralewis.bandcamp.com
http://editionsmego.com

 


 

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Seti The First (Dublin, Ireland)

Seti The First is the Ireland-based cello-led group comprising the songwriting duo of Kevin Murphy (cello) and Thomas Haugh (drums, marxophone, percussion). ‘Melting Cavalry’ was the band’s debut album, released in 2012 to widespread critical acclaim. The band’s distinctive sound draws inspiration from a wide number of diverse sources (Steve Reich, Philip Glass, Arvo Pärt, John Tavener, Henryk Gorecki, The Haxan Cloak). 2015 will see the highly anticipated follow-up to their mesmerizing debut, ‘Melting Cavalry’, entitled ‘The Wolves of Summerland’.

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Kevin: It’s probably a question of tunnel vision but for me 2014 was all about finishing our second album which is called ‘The Wolves of Summerland’. We toiled relentlessly and finally put it to bed in December. It marks a bit of a departure from our first album ‘Melting Cavalry’ and therefore was a bit of a nerve-wracking adventure, however, we’re thrilled with the results. Cellos still provide the bedrock but there is much more frantic Marxophone and Zither leading the way; overall there is a more aggressive intend this time out. We had strong themes of unrest and revolution in mind––the dynamics of denial & delusion and the blindness to rising tides of societal upheaval among those in power; and of course, the recurrence of these things time and time again. So we focused on some extraordinary historical events, the rise and demise of entire empires and the regimes that followed, huge moments of passion, bloodshed, tragedy and melancholia. This became the canvas unto which we offered our wandering brush. In November we collaborated with visual artist Brian Kelly at the Cork Film Festival which took these ideas into the live arena, something we’ll hopefully further explore going forward.

Other than that, highlights of the year include playing on Adrian Crowley’s brilliant album ‘Some Blue Morning’. Myself and Seti’s live cellist Mary Barnecutt also played at Adrian’s launch in The Workman’s Club in Dublin which was a special night.

Thomas: Working on the second Seti album likewise dominated my year, rhythm made an unexpected return to my musical outpouring. As we got into the spirit of the music–with all of these big themes and ideas, it just became necessary to have that kind of foundation. It’s been a long time since I got behind the drums to really drive the bus, I just let it happen and it more or less flowed. Some new discoveries for me here too–the Persian Daf (drum), an incredibly versatile instrument. It’s a powerful and sacred centre piece in lots of Sufi music of which I’m very fond. Some Hurdy Gurdy made it on there too and I’ve loved that instrument since my teenage years when I first heard a Nigel Eaton album.

As for the music of others in 2014, Perfume Genius and Wildbirds & Peacedrums come to mind, both of which also took rhythm to new levels on their latest releases. Mica Levi’s incredible soundtrack for ‘Under The Skin’ thrilled me, also Grouper’s ‘Ruins’ and Arca’s ‘Xen’. Hildur Gudnadóttir’s ‘Saman’ took some time to settle with me but it was worth the effort. I also took some time to listen to the works of Ligeti–the music of whom most of us are probably familiar with through it’s prolific usage in films, music that is both terrifying and thrilling in equal measure. Not a bad aul year.

 

—Seti The First

 

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‘Melting Cavalry’ is available now; its much-anticipated follow-up, ‘The Wolves of Summerland’, is due for release in 2015.

http://setithefirst.bandcamp.com
https://www.facebook.com/SetiTheFirst

 


 

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Adrian Crowley (Dublin, Ireland)

2014 marked the special return of Irish songwriter Adrian Crowley with his hugely anticipated (and career-high) seventh studio album, ‘Some Blue Morning’, via Glasgow-based independent label Chemikal Underground. ‘Some Blue Morning’ is the follow-up to Crowley’s masterful 2012 Choice Music Prize nominated ‘I See Three Birds Flying’, and features contributions from Seti The First’s Kevin Murphy on cello; Dublin-based songwriter Katie Kim on vocals and members of London string ensemble Geese, amongst many more.

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When I cast my mind back to the beginning of 2014 I am brought back to the familiar recording den with my old friend Stephen. I remember a few crisp mornings where the sun was shining in its wintry way. I’d walk from the north of the city all the way to the south reaches, along the grand canal, the path on the bank with the weeping willows near Portobello and on and on towards Dolphin’s Barn… thinking all the while about the day’s recording that lay before me and wondering how it would all sound by the evening when I’d walk back along the same way along the canal banks to Portobello…and turning then towards Kelly’s corner, up Camden Street and onto Wexford Street, South Great George’s Street… continuing through the city and finally on to the home stretch of North Strand. Those walks were times I would relish every day with a spring in my step for the record that was beginning to take shape. That daily ten-mile leg-stretch became a part of the process of making the record. Yes, I’m pretty sure there is no joy quite like the joy of recording new songs and building an album from the those first glimmers of ideas. And then I finished the record that, later in the year, I would call ‘Some Blue Morning’. 
I suppose much of early 2014 was taken up with making ‘Some Blue Morning’. It is all-consuming and, really, I found little time for anything else. I remember thinking that until I had something complete I would hide myself away. Even after the recording there was that matter of coming up with suitable artwork for the album. Which brings me to Steve Gullick.
2014 was the year I first met the fine gent that is Steve. We had ‘spoken’ over the years and talked about maybe making some pictures and indeed had planned to meet once or twice, usually when I was in London for a gig. But things happened and we never seemed to manage to get to the same spot at the same time. Not until Easter, ‘14, that is.I remember waiting in a café down the street from Highbury and Islington tube station across from Union Chapel. I sat in the window seat with a huge coffee staring out at the brick portico of the chapel. Then the door of the café swung open and Steve was greeting me in person for the first time. He was carrying three cameras. We sat there chatting for some time. About the world, about making records, about people, about life and mutual friends. About Jason Molina who had tragically passed away the year before. Something that has deeply effected me and so many others. Then Steve said, “okay, let’s get started” and we left the café and walked across the busy street and approached the heavy locked doors of Union Chapel. A quick phone call to Les who was working in the chapel that day (installing a new lighting rig) and we were inside wandering about corridors and back stairwells. Steve must have taken more than 800 photos and by the end of the afternoon we were sure that he had captured something that would be the cover art for ‘Some Blue Morning’.
Oh, 2014 was the year I discovered I could play clarinet. There is a charity shop near where I live. One day I ducked in for a quick look round. And there at the back of the shop in a glass cabinet was an opened black box with a dissembled clarinet inside. I knew it had to be mine and a few minutes later I was at home checking on YouTube how to put a clarinet together. A few minutes after that I was getting some sounds. I suppose all those years of playing saxophone in my bedroom had some bearing. I told Thomas and Kevin of Seti The First about this “haunted clarinet” I had found. Thomas called me a few weeks later and asked me to have a go at recording some parts for the new Seti record.
So the next thing you know I’m on a 123 bus to Thomas’ house with the charity store black box under my arm. I’ve been listening to the finished record and I have to say that I am proud to have played a small part in it. I’m so happy that my clarinet notes didn’t end up on the cutting room floor.
I’m trying to remember what films I went to see in the cinema. I spent a week in London by myself in the summer in a little house in Golders Green by Hampstead Heath. A friend of mine kindly let me stay there and I thought it would be a nice way to work on some writing. I did get some writing done but I also did a lot of walking around. One day I went down to Soho and headed for the Curzon Cinema. That’s where I saw ‘Boyhood’ by Richard Linklater. What an incredible film. I didn’t feel the three hours pass. I loved ‘The Double’ by Richard Ayoade which I saw at the IFI in Dublin, the Nick Cave documentary ‘20,000 Days on Earth’ at The Lighthouse Cinema in Dublin. ‘Under The Skin’ was creepy and great.

Oh, and speaking of London, I’m brought back to a late night taxi ride with my sister. It was late September. We had hopped in a cab in Hammersmith and didn’t speak once all the way to Woolwich Arsenal where our younger sister lives. Why didn’t we speak? Well, we both suffer from car sickness and we had just been on a pilgrimage, you see, and were still trying to process the three hours or so that had just passed. I’m talking about Kate Bush. Kate Bush at Eventim Apollo. The opening bars of ‘Running Up That Hill’. Now there was a moment.

But that was the night there was a power outage on stage before the show was due to start. We, the audience, sat waiting for around 50 minutes. At one point when the house lights went up, we all thought the show had been cancelled but a few minutes later Kate is onstage telling us matter-of-factly and down-to-earthedly that “it had been sorted”.

I managed to see a lot of great concerts. Bill Callahan at the Olympia, Dublin in February. Cat Power in July, also at the Olympia. Eels at Muziekgebouw, Eindhoven for Naked Song festival. I was playing at the festival and I managed to duck in behind the sound desk an watched the whole concert (at the end of the concert Mark jumped off the stage and went around the entire auditorium giving hugs to everyone in his path before ending up back on the stage to play an encore).

My Brightest Diamond at The Workmans Club. Shara Worden’s voice is incredible and it was so great to finally see her live. Violinist Cora Venus Lunny played an astonishing improvised set at her album launch in The Grand Social in Dublin. The National at The Iveagh Gardens in Dublin. Speaking of the Iveagh Gardens, I got to see some great comedy there… namely Eddie Pepitone.

Albums released in 2014… I really loved ‘Brothers and Sisters of The Eternal Sun’ by Damien Jurado and wonderful albums by Cora Venus Lunny, Caoimhín Ó Raghallaigh, Kate Ellis, Tindersticks, Einsturzende Neubaten, Marissa Nadler… I’m sure I’m missing others and I’ll probably kick myself later.

Well, my own album came out towards the end of the year…early November. I had a kind of belated album launch at The Workmans Club on December 12th. I am pretty confident that was the favourite gig of mine in 2014. I had been rehearsing with the twin cellos of Kevin Murphy and Mary Barnecutt, and also with Katie Kim who sang on more than half of ‘Some Blue Morning’. It felt so good having Katie, Mary and Kevin on stage with me not to mention my good friend Matthew Nolan who plays guitar on ‘The Wild Boar’ when we perform it live (just saying “plays guitar” feels like a gross understatement, though, considering the vast soundscapes he conjures).

Other favorite live moments from the point of view of the stage were the Daylight Music event at Union Chapel with Katie Kim (it just so happens it fell on the Summer solstice. I remember waking up that morning at 4am to the near deafening sound of birdsong from Hampstead Heath. It was quite something). Explore The North Festival in Leeuwarden, Netherlands was special too. That was in a church also, a Lutheran church with a lot of history. Oh, singing some David Bowie songs in The National Concert Hall in July was much fun.

And there was a special show that I was invited to be a part of during the East Cork Early Music festival. Justin Grounds and Ilsa de Ziah who play baroque violin and baroque cello respectively rearranged an hour-long set of my songs which we performed together at L’Atitude for a late night show. It was the first time I sang my songs on stage without playing an instrument. It felt like a new discovery. What incredible musicians. Also sharing the stage with David Thomas Broughton, Roddy Doyle, Mark Andrew Hamilton of Woodpigeon at the Golden Factories event for Young Hearts Run Free at St. Michians Church was quite special.

In theatre… I saw the final show of a seven-day run of ‘A Girl Is A Half Formed Thing’ performed by Aoife Duffin. She was incredible. It was intense and staggeringly impressive. I wondered how long it must have taken her to unwind after giving so much.

This Is The Kit played in the engineering library of The National concert Hall as a part of the Brassland weekend there in December. Well, that was a beautiful show but equally sweet was having them sing happy birthday to my five-year old daughter in the hallway of my house at 7:30am before they rushed out the door to catch the ferry to Holyhead. I hope they didn’t miss it.

 

—Adrian Crowley

 

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‘Some Blue Morning’ is available now on Chemikal Underground.

https://www.facebook.com/adrian.crowley
http://www.chemikal.co.uk/

 


 

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David Westlake (London, UK)

The Servants formed in 1985 in Hayes, Middlesex, England, by singer and songwriter David Westlake (Luke Haines would later join The Servants in ‘87). Their unique blend of poignant lyrics, intricate arrangements, and utterly compelling indie-pop sounds was a world away from the mundane and noisy lo-fi scene heralded by the NME’s C-86 compilation the band would later appear on. ‘Small Time’/‘Hey Hey We’re The Manqués’ re-issued double album is available now on 2CD via Cherry Red and on double LP via Captured Tracks. David Westlake’s ‘Play Dusty With Me’ will be re-issued next year by U.S. independent label Captured Tracks.

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2014? Deficit, devolution, free movement, Remembrance, Crimea, Ebola, ISIS, One Direction, Rolf Harris. But you know all this already. My 2014 – I got married, I played the NME C86 show, and first time since 1991 I played music with Luke Haines.

I am 49, so the best 2014 music release is unsurprisingly a reissue. It’s the Kevin Ayers Original Album Series five-disc set. The award for best latter-day recording (that I’ve heard) goes to Morrissey, from whom the very existence of new work is always an event. Cherry Red Records reissued C86 in 2014. I am on the compilation, but I always hated that song. Captured Tracks Records will issue my album ‘Play Dusty For Me’ in April 2015. Highly recommended.

Best book of 2014 has to be ‘Coming Up Trumps’ by Jean Trumpington. Multitudes of dull and deluded people trot out self-satisfied memoirs nowadays. Many can claim worth only as purgative toilet-seat reads. ‘Coming Up Trumps’ earns its right to exist – a remarkable life winningly told. Aurum’s paperback selection of John Betjeman newspaper pieces, ‘Lovely Bits of Old England’, is a treat.

Best film – ‘Grand Budapest Hotel’. Impeccable in every respect. Ralph Fiennes delivers a tour-de-force performance. Tenacious and good as Leslie Howard’s Scarlet Pimpernel. Or Anthony Valentine as Raffles, the Amateur Cracksman. There’s one for the teenagers. Someone would have to have a pretentious heart of stone not to love ‘Paddington’, too.

Memorably best new TV – Andrew Graham-Dixon’s BBC documentaries on Paul Nash and William Sickert, with the centennial focus on World War One. Most momentous TV – a repeat in March 2014 of a 1979 episode of ‘Top of the Pops’. Momentous because my wife was on-screen in the audience, then aged 14. Who could have known that thirty-five years later we would be thanking our lucky stars that the presenter she found herself standing next to that week was blameless Mike Read?

 

—David Westlake

 

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‘Play Dusty For Me’ by David Westlake will be re-issued by Captured Tracks (LP & CD) on 18 April 2015. ‘Small Time’/‘Hey Hey We’re The Manqués’ by The Servants is available now on Cherry Red Records (2CD) and on Captured Tracks (2LP).

http://www.lostsheep.com/davidwestlake
http://www.cherryred.co.uk/
http://www.capturedtracks.com/

 


 

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K. Leimer (Seattle, USA)

For the third installment in Brooklyn-based RVNG Intl.’s archival series, the tape is wound back to 1970s Seattle, home place of ambient music pioneer K. Leimer. ‘A Period of Review (Original Recordings: 1975 – 1983)’ unearths unreleased portions of Leimer’s vast archives and highlights the work of a self-taught visionary whose use of generative compositions ferried his music to infinite resonance. Kerry Leimer was born in Winnipeg, Canada. He was raised in Chicago before his family permanently settled in Seattle in 1967. This year’s ‘A Period of Review’ heralded one of 2014’s most prized re-issues. K. Leimer’s forthcoming full-length player, ‘The Grey Catalog’ will be released on Palace Of Lights in January 2015. 

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It’s odd that highly obscure music, written and recorded more than 34 years ago, would matter in any way at all today. So despite performing again and completing and releasing a few albums on our little label, much of the past year was spent talking and writing about the germinal work that was assembled as ‘A Period of Review’. Which made 2014 seem more like 1979 to me. But between bouts of studio time and grappling with miles of tape there was some remarkable listening: Gudnadóttir’s ‘Saman’; the Jakob Ullmann ‘Fremde Zeit’ / ‘Addendum’ box; Taylor Deupree’s ‘Faint’; David Sylvian’s ‘There’s a light that enters…’; Nils Frahm’s ‘Screws’; and A Wing Victory for the Sullen’s ‘Atomos’. impossibly rich diversity and innovation. And now wrapping up the year with ‘Different Every Time’, a book that’s unevenly written but compelling all the same. And the recording — especially important to me because it includes Wyatt performing one of the ‘Experiences’ by John Cage from a record, also thirty+ years old, originally issued on the Obscure label. Now if i could just find the piano pieces from that same document! The free hours that remained were given over to compiling another reissue, based on ‘The Neo-Realist’ (at Risk). A compilation for my fake rock band Savant which will be released in the first half of 2015. Titled ‘Artificial Dance’, it seems set to guarantee that my experience of 2015 will seem more like 1982. But beyond the solace and joy of such sustained musical innovation and accomplishment, the overriding experience of 2014 remains the naked violence and injustice that my country visits upon so many people. Our own citizens routinely and unjustifiably killed by police; The published and redacted details of the Bush administration’s torture program; pornographic levels of wealth set beside unprecedented income inequality; blanket denials of our shared environmental crisis. Just who is meant to be left solvent and able to purchase the refrigerator magnets and iCrap that drives most of the culture?

 

—K. Leimer

 

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‘A Period of Review (Original Recordings: 1975-1983)’  is available now on RVNG Intl.

http://www.palaceoflights.com/
http://igetrvng.com/

 


 

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Matthew Collings (Edinburgh, UK)

Matthew Collings is a Scotland-based composer. In addition to his solo recording and live output, he collaborates regularly with artists from disparate backgrounds, including musicians Dag Rosenqvist from Jasper TX and Denovali label-mate Talvihorros, dancers and filmmakers. 2014 marked the release of Collings’ new sophomore full-length, ‘Silence Is A Rhythm Too’ on the prestigious German-based independent label, Denovali Records.

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So, 2014.

Has been another year of slow growth. I spent much of the year wrestling with the idea of Edward Snowden. Realising that my work is much better off with other people, and made with other people…and so am I.

It saw various births and deaths of beautiful people who I will miss and look forward to getting to know. I wonder what role I will play in people’s lives.

This year saw a furry of releases – a beautiful vinyl/photobook with Elin Svennberg, the dark yet uplifting pop of Graveyard Tapes, and a new record in ‘Silence is a Rhythm Too’ and a re-release of ‘Splintered Instruments’ on Denovali. 2015 will expect the Snowden monster to rear it’s head, as well as a record with Dag Rosenqvist which I’m finishing right now.

I’ve been incredibly lucky this year to meet so many amazing, inspiring people. The thought of them keeps me positive when I start to complain about my place and position in the world, which I really have no ground to do.

I’m a very very lucky person.

Some music to listen to this year: These New Puritans, Ben Frost, Talvihorros, Numbers are Futile.

Here’s to 2015 ; chasing sound, not chasing my tail.

 

—Matthew Collings

 

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‘Silence Is A Rhythm Too’ is available now on Denovali.

http://mcollingsmusic.com/
http://www.denovali.com/

 


 

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Sophie Hutchings (Sydney, Australia)

‘White Light’ is the latest collection of mesmerising piano music from Sydney-based composer and pianist Sophie Hutchings. Beginning with 2010’s debut ‘Becalmed’, the gifted composer has crafted her unique blend of neo-classical, piano-based compositions, which would later be followed-up with the spellbinding ‘Night Sky’ LP in 2012. Both records are available now on the Australian independent label, Preservation. Hutchings is currently working on her third studio album – and follow-up to ‘Night Sky’ – which will be released in 2015.

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Does anyone get nostalgic as midnight creeps towards the closing of a year, the beginning of another…… Reminiscent. Looking back over years, contemplating life…….

As a child I often created a sacred moment as the year wound down. Preparing for the approaching strike of midnight, setting up the record player with one of mum or dad’s records. I took life very seriously! Always allowing a moment over midnight to ponder over life… And so we should…… Casting our minds back and then casting it ahead in view of a new beginning.

I often start the year with the goal of uncomplicating my life. Uncluttering my brain… Simplfying and yet as weeks and months go by, slowly or quickly enough, the complicated starts to work its way back in. Whether it be the things in your life or the things you fill your mind with…

There was a lot of creative purging this year associated with writing the new album.. The highs and lows that come with that and life in general. So as I venture down the beautiful south coast of Australia this week, and make my way through the diverse landscapes of Myanmar in January, I want to remind myself of a basic fact. The simple things in life can offer so much contentment…

A boundless vast ocean, lying under a star lit sky, or gazing into an open fire……..Things like these..
I’m going to press the reset button and see how it goes for me this year ….

 

Inspiring Highlights of 2014:

Reads and Watch:
First read of 2014 – Donna Tarts ‘The Goldfinch’ one of the best contemporary authors to date. Her compelling narratives lead to not being able to put the book down!..

‘Tracks – The documented Solo Journey of Robyn Davidson’ (also known as ‘The Camel Lady’) through the Australian West Desert. The cinematography and soundtrack by Garth Stevenson created for the actual film was also a highlight.

Reading Solzhenitsyn’s contemplative and symbolic story ‘The First Circle’ depicting the lives of a secret research development made up of Gulag inmates set in Moscow. His sayings and philosophy on life pack some punch… Indeed an author to respect.

I watch so many movies so this is a hard one, but first one that comes to mind is Lao film ‘The Rocket’. It wasn’t released this year but was a standout for me. After living in Laos for sometime, Kim Mordaunt (director) was inspired to write the film whilst working on the documentary ‘Bomb Harvest’, and discovering Laos was the most bombed country on the planet, per capita. Two young children play the main characters in the movie, both whom had never actually acted before. It was a really inspiring film and gives insight to a country that has suffered at the hands of war.

I wanted to watch Béla Tarr’s 8 hour epic film ‘Satantango’ this year and it’s on my film hit list for 2015! There’s some beautiful shots HERE from it set to one of my all favourite composers Arvo Pärt.

Music:
I’ve been embracing a few new musical eras and genres. 60’s Vietnamese rock, Gamelan and also Turkish singer songwriter Fikret Kızılok!…
Also, ‘Open’ by The Necks was on high rotation.
Cleaning the house to this year’s Liars release ‘Mess’.
Touring with Ólafur Arnalds…
Creatively purging and mapping out the journey for the new album which will continue into the new year…….

All the best to everyone’s start to 2015.

 

—Sophie Hutchings

 

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‘White Light’ is available now as a free download via Bandcamp HERE. ‘Becalmed’ and ‘Night Sky’ are out now on the Preservation label.

http://www.sophiehutchings.com/
http://www.preservation.com.au/

 


 

To read Part 1 of Don’t Look Back, click HERE.

To read our Albums & Re-issues of 2014, click HERE.

With very special thanks to all the wonderful contributors for their contributions.
Wishing all our readers a very happy new year and best wishes for 2015.

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Web: http://fracturedair.com

Facebook: https://www.facebook.com/FracturedAir
Twitter: https://twitter.com/Fractured_Air
Mixcloud: http://www.mixcloud.com/Fractured_Air/

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Don’t Look Back: 2014 (Part 1)

with 5 comments

“Don’t Look Back” is our look back on the year from the perspective of both musicians as well as various members of the arts community at large, who — despite varying geographical locations and backgrounds — all share the following in common: a deep passion and love for music. We’re both honored and delighted to be able to share the words of these special people through their personal accounts of the year that was: 2014. 

Part 1 of a 2-part series.

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Susan Schneider, The Space Lady (Colorado, USA)

There are fewer people in the universe more deserving of such a rewarding and special year than The Space Lady. And 2014 has been that (and so much more) for the much-fabled Outsider Artist Susan Schneider, who, after the NightSchool Records release of “The Space Lady’s Greatest Hits” in November 2013, suddenly found a whole new audience (and new generations) of adoring music fans. After decades of street busking across the States (San Francisco’s Castro and the Haight areas would become her adopted home) with her beloved Casiotone keyboard and iconic winged helmet (with flashing red light), 2014 would see The Space Lady embark on her first ever tour of venues, where she toured extensively across both the United States and Europe to universal critical acclaim. 

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What a cosmic whirlwind 2014 was for The Space Lady, after what I thought was her long-ago retirement. First, a tour of America’s West Coast, then off to the UK and Ireland in April – where those strange rumours about TSL having thousands of adoring fans around the world proved overwhelmingly true, and held true throughout the European tour, and then in Denver, Toronto, and finally in little, picturesque Crestone, Colorado.

From the daily struggles of playing on the streets – dealing with traffic noise, inclement weather, dying batteries, complaints to police, and indifferent, or sometimes outright rude people – to playing to enthusiastic crowds of TSL fans in artistic, counter-cultural settings with powerful sound systems, my songs – and my self-esteem – sky-rocketed!

Not only that, but with the support of my husband Eric, “The Space Manager,” I realized I could actually have a music career, doing what I really love, not just what I had to do to make money. Once again, Joseph Campbell’s advice to “follow your bliss” became a viable alternative to doing what’s expected, schlepping along uninspired on that proverbial wage-slave treadmill. All those years of hand-to-mouth struggle not only weren’t wasted – after all, I did support my family of five – but my unique sound and style had taken on a life of its own and traveled around the world, thanks to the internet and word of mouth.

Coming back home to quiet, conservative Colorado after the tours was not unpleasant….in fact, at first it was replenishing. Then a book by Elizabeth Kolbert, ‘The Sixth Extinction’, slapped me upside the head. Of course we’ve all heard about climate change to a nearly numbing extent; but the author’s dispassionate, scientific reporting on eco-collapse from around the world shocked me awake like never before. I found myself almost paralyzed emotionally with despair. What can I possibly do? Well, the next right thing for me was to get behind my keyboard and mournfully wail, which led to the creation of my new song, ‘The Next Right Thing’. I call it a love song to Mother Earth…and a call to action.

Then more recently, Eric discovered another book called ‘The More Beautiful World Our Hearts Know Is Possible’, by Charles Eisenstein. Upon reading that, my hope for the future of nature and humanity was rekindled. It’s all about inventing a new cultural “story,” i.e., making a very necessary shift from our old, black-and-white story of separation, frantic competition and endless expansion, to a new story that creates a world of inter-connectedness, steeped in kindness and patience. To illustrate, Eisenstein quotes an African tribal chief who was warned by activists that his world was about to be destroyed by encroaching civilization, and that it was urgent for him to fight back. The chief calmly replied, “Urgency is not something we have here.”

We can’t fix what’s wrong in the world by simply revamping those old methods that got us here. We have to change our way of being. So we really have nothing more to do than follow our hearts and practice patience. That’s what I began doing in 1980 when I joyfully started busking with an old accordion in downtown Boston, which led to the creation of The Space Lady. But after 20 years of playing on the street, I had given up. Now, thanks to my fans, promoters, agents, record producer Michael Kasparis, and most of all to Eric – my ever-supportive husband/manager – I am following my heart again. Thank you all – you’ve given me the opportunity to once again step into the role of The Space Lady – that cosmic, other-worldly messenger who comes to us on Wings of Song!

 

—Susan Schneider

 

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‘The Space Lady’s Greatest Hits’ is available now on NightSchool Records.

http://www.thespacelady.net/
http://nightschoolrecords.com/

 


 

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Iker Spozio (San Sebastián, Spain)

Italian artist Iker Spozio is an illustrator, engraver and painter whose artwork is handmade using traditional techniques (such as monotype, collage, ink and paint) and without computer. Spozio’s work has been widely reproduced and seen in the context of music: producing album sleeves for such musicians as: Colleen, Hauschka, Mark Fry, Adrian Crowley, Half Asleep and working with music labels such as FatCat, The Leaf Label, Thrill Jockey and Deutsche Grammophon. Spozio is represented internationally by various illustration agencies (including London-based Folio) while his client list also includes publishers Laurence King and Penguin Books. Extensive commission work for Laurence King for a series of Artist books entitled “This Is” will be published next year (including “This Is Magritte”, to be published in Autumn 2015).

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– Jamaican music.
Mostly old 7″s, 10″s and 12″s which haven’t been reissued yet. My favourite find of the year would be Lee Van Cliff’s ‘Wiser Than Solomon’ 10″ (HitBound, mixed by Scientist).
Also several reissues released in 2014 by Pressure Sounds, DKR and OnlyRoots.

– Tommaso Landolfi.
My all-time favourite writer. I treasure all his books (which are being repressed by Adelphi in Italy) and always will.

– Medieval art.
I’ve always been interested in it, but only in 2014 I took the time to investigate it in-depth. I saw many great examples of it during a holiday in the South-East of Italy, this year, and read several interesting books on the subject. I’ve grown a great passion for Mozarabic miniature painting in particular.

– Italy in the 70s.
I was a child then, hence I don’t remember much about it. I’m currently trying to learn as much as possible about a particularly complex period in the history of my native country.

– Birdwatching with Cécile by the river, especially to see my beloved kingfisher.

 

—Iker Spozio

 

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http://www.ikerspozio.net/
https://www.facebook.com/iker.spozio

 


 

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Cécile Schott, Colleen (San Sebastián, Spain)

The Paris-born musician Cécile Schott has been making music as Colleen for over a decade now: beginning with a string of much-loved records for The Leaf Label (debut 2003 album ‘Everyone Alive Wants Answers’, 2005’s ‘The Golden Morning Breaks’ and 2007’s ‘Les Ondes Silencieuses’, as well as 2006’s ‘Colleen Et Les Boîtes À Musique’, an E.P. originally created for Atelier de Création Radiophonique as a commission from France Culture). After a four-year break, Colleen made her long-awaited return to music in 2013 with the release of her album ‘The Weighing Of The Heart’ via London-based label Second Language, its eleven songs featuring, for the first time, Schott’s own voice as well as a new-found love for Jamaican music and rhythm. Colleen’s hugely anticipated fifth studio album ‘Captain Of None’ will be released by Chicago-based label Thrill Jockey Records in April 2015.

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2014 started promisingly with settling in my newly renovated rehearsing and recording studio: the doors and windows of this former olive and pepper brinery were literally 50 years old and full of gaps, so that a lot of noise passed through them, making recording possible only late at night. Everything was changed for state-of-the art triple glazing, and tiles were added to a part of the floor that suffered from dampness problems, and these two changes have made a world of difference and turned an OK place into a truly welcoming and adequate work environment.

This in turn led me to a major upgrade of my recording equipment. I’m quite the anti-consumerist and believe a minimal mindset can be beneficial to making music, so whenever I make a new purchase, it’s usually preceded by months of thinking and research on the product that will best fit my requirements. With this finally silent working environment, it made sense to invest in my first nearfield monitoring system (the basic mixing tool, which I did without for all my previous albums exceptLes ondes silencieuses’). My soundcard was from 2003, so that also needed a major upgrade, along with a new computer, two pairs of really good headphones (one for mixing, one for recording), and an analog delay Moogerfooger pedal which unexpectedly ended up playing a major role on my new album.

This all contributed to making the recording of my fifth album by far the most pleasant and pain-free recording I’ve ever experienced. It was actually the first time I was able to record in a near-professional environment, with the invaluable advantage of this being my own place, which means unlimited time and freedom, and no neighbours to worry about. It was also the first time I recorded during the spring, and the light coming from outside, although filtered, imparted a real sense of joy to these sessions. It was awesome to get out of the studio at 8 in the evening and still see the light outside!

I finished the album in early July and got the confirmation that American label Thrill Jockey would release it, which has been tremendously exciting, and is hopefully the start of a long and fruitful working relationship with a label that has a truly impressive and diverse roster of free-thinking artists.

I was then able to relax for real during the beautiful summer, and in September, due to having to rehearse with more bass frequencies than in the past (the 5th album contains lots of bass lines), I also bought a small PA system, which has made rehearsing for the shows a much closer experience to actually playing live, making it all the more exciting.

The walls of our home have been vibrating daily to the sounds of Jamaican music almost non-stop for more than 2 years now, vastly thanks to my partner in life and in art Iker Spozio, whose  obsession with the Jamaican stuff keeps the house filled with new vinyl. I’ve listened to Jamaican music several times in my life, including when I was very young and had no clue as to what it was, and it seems entirely logical and natural that it has finally entered my own music.

Last but not least, in a year that also contained some very sad news, some small creatures have come to play an increasingly important part in my life and help me stay sane: birds. I started to get into birdwatching last year, in great part thanks to Martin Holm who curated the Music and Migration series at Second Language, the label that released my fourth album ‘The Weighing of the Heart’. My interest progressed steadily with the acquisition of the birdwatching Bible that is the ‘Collins Bird Guide’ and a good pair of binoculars, and since then there’s been no turning back. It’s hard for me to describe in words what it is about being in nature and observing birds that feels so right to me… Apart from the sheer amazement at their beauty and at the biodiversity that was right on my doorstep without me even knowing it (I live in the Spanish Basque country which is very varied in terms of landscape), there is something incredibly liberating about an activity that has nothing to do with us humans, and indeed with me: birds don’t care about us and that’s why watching them is so great – the feeling of disconnecting from modern life and reconnecting with something wild and ancient is truly priceless. For me, birdwatching even acts as a metaphor for life and how I should try to live it: I used to think I paid attention to my surroundings, but now I know that I was half-blind, and that when you start to *really* watch, *really* listen, you discover a whole new world that was there all along – and I can’t really think of better news than that.

 

—Cécile Schott

 

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http://colleenplays.org/
https://www.facebook.com/colleenplays

 


 

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Julia Kent (New York, USA)

World-renowned Canadian cellist Julia Kent has three solo albums released to date: 2007’s ‘Delay’ (Shayo); 2011’s ‘Green And Grey’ (Important Records) and 2013’s ‘Character’ (The Leaf Label). Previously, Kent worked and collaborated extensively with numerous musicians and groups, including: Antony And The Johnsons; Rasputina and Parallel 41. This year, Kent contributed original scores for numerous film works, including award-winning short film ‘Oasis’, directed by Carmen Jimenez and Chris Boyce. As part of artist Peter Liversidge’s exhibit, “Doppelgänger” at the MAC, Belfast (which took place during October), Julia Kent made a special one-off collaboration with Kentucky-based pianist, arranger and composer Rachel Grimes. During November 2014, Kent was in Italy, performing live with Balletto Civile (a company of performers, established in 2003) for “How Long Is Now” in Genova and “In-erme” in La Spezia and Florence.

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I can’t remember at all the beginning of 2014; it’s been, for me, a rather vague year, involving a lot of traveling and a bit of consequent disorientation in terms of time and space…but I do remember vividly playing in Cork this past March with the spell-binding Caoimhín Ó Raghallaigh, after a stressful and dramatic journey involving the temporary loss of my cello and the enormously gracious and generous loan of another, from a sympathetic music store in Cork, Pro Musica. It was my first solo show ever in Ireland, and was a memorable and beautiful experience: Cork is a special place, and I’m so grateful to the Carry brothers for bringing me there, and also to the welcoming audience! It was also a really special experience to play with Caoimhín in Cork and Dublin and have a lovely and wide-ranging chat on the journey in between.

For me, time is really defined by the people and places I encounter, and 2014 brought some other wonderful encounters: I was thrilled to have the chance to collaborate with the extraordinary Rachel Grimes for Peter Liversidge’s metaphysical and fascinating show, “Doppelgänger, in Belfast; to create live music for the dance companies Balletto Civile in Italy and Compagnie Tensei in Paris; and to contribute music to other theatre works, dance, and film, in the U.S. and Europe. Performing at William Basinski’s festival in London was another highlight of the year: he brought together so many incredible artists to celebrate the spirit of his and James Elaine’s glorious Arcadia, a seminal arts space that contributed so much to New York and still is sorely missed. And just this past week, I was so thrilled to share the experience of seeing some images from Antony and the Johnsons’ and Charles Atlas’s “Turning” on the breathtakingly enormous screens in Times Square…it was incredible to see those heartbreakingly beautiful images in that context, and in the company of some of the iconic women who embodied them on the “Turning” tour, which was and always will remain a special and emotional experience for me.

I’m looking at my calendar to try to remember some other details of 2014…and seeing the week where I went from Athens to Joshua Tree to Torino. I continue to feel enormously fortunate to have the chance to travel and play music in such disparate, beautiful, and inspiring places, and encounter, along the way, equally beautiful and inspiring people. Right now, since I’m home for a moment, I’m working on a new record that I hope will come out next year…and I hope will distill some of the memories and essence of this one…thanks for letting me share some of them!

 

—Julia Kent

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“Happy Holidays NYC, 2014”

 

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‘Character’ is available now on The Leaf Label.

http://www.juliakent.com/
http://www.theleaflabel.com/

 


 

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Caoimhín Ó Raghallaigh (Dublin, Ireland)

2014 has been a remarkable year for Ireland-based composer and fiddle player Caoimhín Ó Raghallaigh. Firstly, January saw the release of contemporary quintet The Gloaming’s stunning self-titled debut album via Real World Records. Subsequent concerts would be performed across the globe (including Sydney’s Opera House and triumphant homecoming shows on Irish soil including Kilkenny’s St. Canice’s Cathedral) to mass celebration and widespread critical acclaim on both sides of the Atlantic. As well as touring with his other band, the Irish/Swedish quartet This Is How We Fly, across both Ireland and Europe, Ó Raghallaigh also performed a series of truly special solo concerts (entitled “In My Mind”, a solo fiddle and film show) across the length of Ireland for the month of October, organized by Music Network Ireland. Despite the hectic touring schedules, Ó Raghallaigh also released two stunning works: the solo album ‘Music For An Elliptical Orbit’ (via Dublin-based label Diatribe Records as part of their ‘Solo Series Phase II’ project) and the mesmerizing ‘Laghdú’, a collaboration between Ó Raghallaigh and U.S. fiddle player Dan Trueman. 

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Time marches on, there’s no stopping it: do you remember a time when the only way to pronounce 2014 was two thousand and fourteen, when even the year 2000 seemed like the far distant future?

We find ourselves here at the tail end of twenty fourteen, looking back on a euphoric whirlwind of a year. My thirty-fifth year on this bluegreen orb has been truly wonderful, in so many ways. There have been major milestones and moments of wonder and beauty. This act of looking back is welcome, too, this year in review, not something I naturally do, and it brings home just how special it has been.

Above all else, ‘Laghdú’ has given me endless pleasure this year. Musically, it’s the thing I’m most proud of I’ve ever made, and playing that music with Dan has been unfailingly rewarding and delightful. Equally wonderful was working with Rossi McAuley of Distinctive Repetition, whose design for the ‘Laghdú’ packaging continues to surprise and give immense pleasure every time I touch, see and feel it. And I love that we have an ongoing relationship with the object, as we must continually assemble the albums ourselves from the printed card, discs and rubber bands, spending time touching, feeling, learning and living with this beautiful object, deepening our relationship with it.

One day I called over to Rossi’s studio while he was working on the design, and he told me the music on the record really reminded him of Patrick Scott’s work, whose extraordinary retrospective was still occupying the Garden Galleries at IMMA. Experiencing Scott’s work for the first time at that exhibition was one of the highlights of 2014 for me, as was Maria Simmonds-Gooding’s retrospective at the RHA. Maria is a neighbour of mine down in Kerry, and her large-scale aluminium pieces have been living inside my head for a few years now, married to a line of Beckett’s: “they were things that scarcely were, on the confines of dark and silence”. But it was her plaster canvas works and the carborundum prints that got inside me at the RHA, and live there still. Like Scott, I find her work deeply satisfying and profoundly moving. Instructive, too, informing the music I wish to make, the feeling I wish to produce, and it somehow inspires a conviction in the worth of doing so.

Earlier in the year at the RHA, Richard Mosse’s “The Enclave” completely blew my mind with his infrared immersion in that jungle of sadness that comes of war. To be surrounded by that violently pink world of the Congo, to feel that sound move your innards, to see these unknown things and feel them twist your insides, it was nearly too much, and wiped the floor with your soul. Powerful beyond words.

Early in the year, too, we released The Gloaming’s debut album, and what a year for the Gloaming it has been, going to #1 in the Charts, playing the Royal Albert Hall and the like. But playing the Sydney Opera House beats all, I truly never imagined such a thing was possible. I woke that morning well before sunrise, at jetlag’s insistence, and set out across the Sydney Harbour Bridge, looking down at the Opera House and trying to process the idea that we’d play there that night. The following morning myself and Iarla took off for a long old walk before breakfast, down through the Botanic Gardens and out to Mrs Macquaries Point, the pair of us looking incredulously across Farm Cove to the scene of the crime and the Harbour Bridge beyond, hardly believing we had rocked that House the night before. You know, I still don’t quite believe it.

The Gloaming were in residence at the Kilkenny Arts Festival in August, and it offered an opportunity to showcase other of our projects. Myself and Dan premiered ‘Laghdú’ there, for instance, and the This is How we Fly gig on the Saturday night really took off. There were a series of secret pop-up gigs in fancy Gardens around the town, and the one I did with Cleek Schrey gave rise to my favourite moment of the festival, when our cheeky sunspectacled selves sidled up to Nic Gareiss, who reached into his pocket, pulled out an appropriately bright vivid yellow pair of shades and started dancing up a storm on the loose gravel path on which half the audience stood. A totally joyous moment, mischievous, irreverent, unexpected, ecstatic.

Cleek is a fellow 10-string hardanger d’amore fiddler from the States, and I spent a wonderful mid-March week with him in New York, writing music together courtesy of a residency at the Irish Arts Center. There’s such a wonderful openness to his approach, a great combination of the carefree and the curated, and he’s very much a kindred spirit of mine. I feel at every moment that anything is possible, that there’s no agenda, just this feeling of co-exploration and endless possibility. The highlight of that week was an impromptu hour-long improvisation we embarked on to ourselves out in Redhook – unplanned, unrecorded, purely in the moment, sending out sound into the vast main hall of Pioneer Works.

This hardanger d’amore fiddle is a stunning instrument, and it is a joy and a revelation to play. Equally beautiful are the bows I play with, made by Frenchman Michel Jamonneau. While touring Brittany with uilleann piper Mick O’Brien in June, I visited Michel in his workshop, and fell head over heels with a bow of his, one he had recently made. Though I already had three extraordinary bows by Michel, playing with this bow was fundamentally different. Those other bows allowed me to do anything I wanted, but this seemed to float in the air, generate ideas of its own, made new things possible, brought forth the unintended. It is effortless to play with, not only a feather-light paintbrush for sound, but a creative force in its own right. When we left Michel’s workshop, that bow left with me inside my mind, and I revisited the feeling of playing with it throughout the following weeks, until Michel brought it over to Dublin to me in early August. It is a joy and a privilege to hold.

It has been a year of non-stop, nigh-on relentless traveling. It’s easy to shrink into yourself, or into your electronics, and it’s a real challenge to stay present, motivated and curious – you need something to keep you sane on the road. Looking through the camera lens has helped more than anything else – photography has been such a rewarding addition to the touring life, engaging the mind and the body. It turns drudgery to delight in alchemy, keeps you always looking outwards, seeking to connect, keeps the spirit fresh, and offers an unlimited learning curve for the curious mind.

Curious minds were in evidence aplenty in the Redwoods of California, as was the sheer joy of making music and being alive, when I spent a week teaching outdoors amongst the trees at the Valley of the Moon fiddle camp. One of the most enjoyable moments, aside from all the music, connections and conversations, was an epic game of water polo/football/chaos in which I became so fanatical that the rough bottom of the pool rasped right through three of my bare-footed toes, and put me hobbling around for the remainder of the week on tender feet. An enchanted bubble of a week topped off by the most wonderful Alice-in-Wonderland-themed Fancy Dress Banquet, the entire host appareled in the most colourful and fanciful costumes. A week that I came away from feeling as though life would never be the same again.

All this is only the beginning. The moments go on. The wheels turn, twenty fourteen is well-nigh gone.

 

—Caoimhín Ó Raghallaigh

 

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The Gloaming’s self-titled debut album is available now on Real World Records; Caoimhín Ó Raghallaigh’s solo album ‘Music For An Elliptical Orbit’ is available via Diatribe Records HERE; ‘Laghdú’ by Caoimhín Ó Raghallaigh & Dan Trueman is available from Irishmusic.net HERE.

http://www.caoimhinoraghallaigh.com/
https://www.facebook.com/caoimhinoraghallaigh

 


 

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Cillian Murphy (Cork, Ireland/London, UK)

The ever-prolific Irish actor Cillian Murphy contributed stunning performances for numerous roles — spanning TV, film and theatre — during 2014. Murphy reprised his role as Thomas Shelby in the BBC2 epic British gangster drama ‘Peaky Blinders’ which returned to TV screens for its second season this Autumn. Murphy also continued his collaboration with award-winning playwright Enda Walsh (‘Disco Pigs’, Misterman’) for ‘Ballyturk’ (a play written and directed by Walsh starring Murphy alongside Mikel Murfi and Stephen Rea) which spellbound sell-out audiences at Galway International Arts Festival; Dublin’s Olympia Theatre; Cork’s Opera House and London’s National Theatre during 2014. Numerous film roles are set for release in 2015, including the hugely anticipated Ron Howard-directed film ‘In the Heart of the Sea’ which is due for release in March 2015. Cillian Murphy is also set to star in ‘Free Fire’, a Boston-set crime thriller from ‘Kill List’ writer-director Ben Wheatley.

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Twelve months slipped by at a pace this year. Thinking about it at first I was convinced that 2014 had been worryingly barren for me culturally, due to the restrictions of work and life and a new-found affection for sleeping. On reflection it seems I did manage to get out of the house on occasion, listen to the odd record and take in a show or two. Here’s what I liked, or what I can remember liking in no particular order….

‘Salad Days’ by Mac Demarco made a big impression on me. I am a sucker for melody in music and this kid (he is only a kid, twenty-three or something) can’t help but write songs with an instant hook. He also has a gorgeously dry sense of humour, plays a mean guitar and is Canadian. I like Canadian people. The album speaks very simply but with great fluency about love, the fear of losing that love, and what it means to be alive today. It is beautifully and simply produced and puts a smile on my face every time I listen to the album. I managed to catch Mac play in Manchester in may, a brilliantly ramshackle gig which climaxed with the whole venue on our knees singing along to ‘Unknown Legend’ and giving thanks to Neil Young.

I love the new Blake Mills album ‘Heigh Ho’. Another great guitar player, with a tone very reminiscent of George Harrison, it’s a definite grower but one worth waiting for.

The new Caribou album deserves all the plaudits its earning. Such a great record – designed to make you dance.

A Winged Victory for the Sullen very slowly prised the roof off the Barbican in October with genuinely affecting and moving music. An amazing show and an amazing group of musicians.

I also caught Damon Albarn live in Manchester at the 6music festival – thank God for BBC 6 music! I am very impressed by Damon Albarn as a man and musician. This is a highly personal record, filled to the brim with gorgeous melodies and revealing lyrics, my high point being ‘Heavy Seas Of Love’ a duet with Brian Eno.

Ok I did see a lot of gigs in Manchester, I was working there for a stretch, they are coming back to me now……. with maybe the highlight being Prince. I’ve wanted to see him play live for ever and the man did not disappoint. It was a three and a half hour gig, during which he jumped effortlessly between hits and space-funk jams with his all female backing band. It’s a nice feeling when a legend lives up to their legendary status. Finally, I managed to catch Tame Impala in L.A. Love this band, such confident musicians, they completely filled the auditorium with blissed out fuzz-drenched tunes. Their support act Delicate Steve I also highly recommend, a very unusual guitar player, his music is of the joyous instrumental kind you want to listen to walking around feeling warm inside while everybody else looks worried.

The Richard Ford trilogy of ‘The Sportswriter’, ‘Independence Day’ and ‘The Lay Of The Land’ rank high amongst my favorite all-time novels, and this year Ford re-introduced us to Frank Bascombe (protagonist of all three novels) in his latest novel ‘Let Me Be Frank With You’. Frank is now in his late sixties but as compelling a character as ever. It’s a brief book, written as a series of short stories but is as incisive and acerbic an investigation of the American dream as I have read.

‘The Dog’ by Joseph O’Neill is also a joy, a book that is as tragic as it is funny.

For some reason I recently decided to re-read some books that I had read in my teens to check if they were still the masterpieces I had first ostentatiously judged them to be. ‘The Book Of Evidence’ by John Banville certainly remains one. Such an extraordinary tour-de-force. If you haven’t read it recently please do. It will inhabit you. I also re-visited some Salinger. Those early short stories still must be unmatchable in terms of heartache and droll musings on American youth and life.

After the sad passing of Dermot Healy this year the only fitting tribute I could think of was to read ‘A Goats Song’ once more. I fell in love with it all over again, sad and mournful and touching – part of this Island’s history.

I’ll finish up now as I realise writing these things can cause quickening anxiety about leaving some wonderful book or poem or song out without a mention.

Before I go I must write briefly about some visual art I saw. Mark Garry’s show – at the Model in Sligo town, “A Winter’s Light” – was a thing of beauty, delicate and life-affirming. I recently saw Douglas Gordon’s show ‘Tears become Streams’ at the Armoury in NYC. It featured concert pianist Helene Grimaud play a series of pieces inspired by water while the extraordinarily vast space was slowly flooded by water creating a lake on which she seemed to hover and also turning the space upside down in reflection. Breathtaking.

So that is it……. I appear to have completely left out any mention of film and theatre. So be it. They will have to wait until next year.

 

—Cillian Murphy

 


 

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Dean Wareham (Los Angeles, USA)

The legendary Los Angeles-based Dean Wareham (Galaxie 500/Luna/Dean & Britta) released his sublime self-titled solo album this year via London-based label Sonic Cathedral (Europe) and his own label Double Feature (USA). Produced by My Morning Jacket’s Jim James at his home studio in Louisville, Kentucky, ‘Dean Wareham’ features Wareham alongside the formidable line-up of Britta Phillips on bass and Anthony LaMarca on drums.

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Favorite gigs:

Calvin Johnson at Ooga Booga in Los Angeles. Cate LeBon at Amoeba Los Angeles.

Favorite books read:

‘10:04’ by Ben Lerner
‘The Wet & the Dry: A Drinker’s Journey’ by Lawrence Osborne
‘The Book of My Lives’ by Alexsandar Hemon
‘Morvern Callar’ by Alan Warner
‘A Place of Greater Safety’ by Hillary Mantel

Records enjoyed:

Velvet Underground deluxe 3rd album with bonus live discs recorded 1969 at the Matrix
Brian Jonestown Massacre ‘Revelation’
Jack & Eliza ‘No Wonders’ EP
Ultimate Painting ‘Ultimate Painting’
Papercuts ‘Life Among the Savages’
Courtney Barnett’s ‘Double’ EP
War on Drugs ‘Lost in the Dream’

In 2014 I released my first solo album after 26 years making records. I also worked with the Andy Warhol Museum on a film/music project, selecting a group of performers (Tom Verlaine, Marty Rev, Eleanor Friedberger, Bradford Cox and myself) to perform live onstage to never-before-seen silent films by Andy Warhol. And Britta Phillips and I scored another excellent film for Noah Baumbach and Greta Gerwig — ‘Mistress America’ — which will likely hit theaters in 2015.

But I will remember 2014 for horrific images from the Gaza Strip, and for the terrible suffering in Libya and Iraq and Syria (courtesy of European and American politicians who “liberated” two of those countries without caring about what might come after). Many smart people have observed that 2014 in the Middle East can only be understood in the light of 1914: the Great War and its aftermath. We will remember also a coup and civil war in the Ukraine (where again the US is not blameless). Here at home 2014 will be remembered by the slogans “Hands Up Don’t Shoot!” and “I Can’t Breathe.”

 

—Dean Wareham, Los Angeles

 

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Dean Wareham’s self-titled debut solo album is available now on Sonic Cathedral (EU) and via Double Feature (USA).

http://deanwareham.com/
http://www.soniccathedral.co.uk/

 


 

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Terry Magson, Puzzle Muteson (Isle of Wight, UK)

Iceland-based label Bedroom Community’s much-prized Puzzle Muteson (aka Isle of Wight-based singer-songwriter Terry Magson) released his divine sophomore full-length release this year. Entitled ‘Theatrics’, the album was recorded between Iceland’s Greenhouse studio and Magson’s friends’ studio at the Isle of Wight and features contributions from Magson’s trusted collaborators (and label-mates) Valgeir Sigurðsson and Nico Muhly. Puzzle Muteson’s debut LP, ‘En Garde’, was released in 2011 (preceded by a 7″ of the same title which featured the B-side ‘Brittle Break’) which was also released by the prestigious Bedroom Community label (Ben Frost, Valgeir Sigurðsson, Sam Amidon).

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2014 has been a peculiar one for me. It really has gone too fast for me to comprehend. I spent far too much time in my own head, and maybe too much time in the company of cats. As far as listening to music went I slightly strayed from it.
I listened to mainly a bunch of separate songs when I did…

P.M Dawn – ‘Set Adrift On Memory Bliss’
Julia Holter – ‘Hello Stranger’
London Electricity – ‘Just One Second’ 
Chantal Acda – ‘We Must Hold On’
Drake – ‘Come Thru’ (James Blake Remix)
Jon Hopkins – ‘Breath This Air’
Ben Frost – ‘Venter’
Nightcrawlers – ‘Push The Feeling On’
Robin S – ‘Show Me Love’
Tan Dun – ‘Gone With Leaves’
Black – ‘It’s a Wonderful Life’
Doveman – ‘The Best Thing’
The Blue Nile – ‘Headlights On the Parade’
Airhead – ‘Believe’ 
Red – ‘Sorry About Your Love’ (RUCKAZOID Remix)
Akira Kosemra – ‘Light Dance’

Three live shows that I enjoyed for three different reasons would be Zebra Katz, Boys Noize and Gideon Conn.

 

—Terry Magson

 

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‘Theatrics’ is available now on Bedroom Community.

https://www.facebook.com/Puzzle.Muteson
http://www.bedroomcommunity.net/

 


 

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Erik K Skodvin (Berlin, Germany)

One of the true cornerstones of the thriving contemporary independent music scene, Erik Skodvin is both a remarkable composer (as both a solo performer and via his numerous musical projects including: Svarte Greiner, B/B/S/ and Deaf Center), visual artist, designer and label owner (Skodvin runs the ever-impressive Berlin-based Miasmah label). 2014 was a particularly busy year for Skodvin with an extensive touring schedule as well as the release of numerous records (Skodvin’s second solo album ‘Flame’; ‘Recount’, a mini-album by Deaf Center, who celebrated their 10-year anniversary during 2014). Miasmah Recordings released a number of spellbinding albums during 2014: ‘Sprang’ by Eric Thielemans; the self-titled album by Shivers and Andrea Belfi’s ‘Natura Morta’.

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2014 started for me with finalizing my soon-to-come second Erik K Skodvin album “Flame”. A mastering date was set for late January and I pretty much worked on it nonstop up until the day of mastering. Right after this, my good friend Otto A Totland’s debut album was released, something I was helping out Sonic Pieces with.

Next up, in mid February was a small northern EU tour with my trio B/B/S/ as we had a live LP recorded in 2013 that got released this time. I really like to play with Aidan and Andrea although we rarely all have time to meet up. We played a boat in Hamburg, Copenhagen jazzhouse, a studio in Gothenburg and an atelier on the Polish border, amongst others.

It’s funny to look back at a year and see how much different things were going on at the same time. Sometimes it can be a bit overwhelming. We did a couple of house shows at our miasmah + sonic pieces HQ in Berlin, something that’s really fun but also quite exhausting. I’m also constantly working on artwork and communication for new upcoming miasmah releases, which I’m actually using most of my time on. Personally at this time I was also not completely well and used big parts of the year to get myself back in action.

Then something I’d been looking forward too for a long time, which was the sonic pieces Japan tour together with Otto, Rauelsson and Monique. This was maybe the highlight of the year and something I’ll for sure remember. It was also my first time visiting Asia.

No more than a couple of weeks after the Japan tour, me and Monique went to London to do merch for the two first Slowdive shows since 20 years. Being a big Slowdive fan having the opportunity to see them on such small stages was incredible. I guess this is a perk of having released some of Simon’s solo records.

Some more weeks at home before I had another small tour, this time as Svarte Greiner. Together with Alexander Rishaug we played 4 Norwegian gigs in Bergen, Fredrikstad, Trondheim and Oslo. Went quite well though I was still not completely in shape, and all the traveling was taking it’s toll. We had one amazing evening in Oslo at a small Izakaya (!) where we played on a home-made sound-system for a packed crowd.

My second Erik K Skodvin album “Flame” was then released, on my birthday actually – Well planned, Monique!  It also came out as a 2LP together with my first EKS album “Flare”, which sold out quite quickly. Also the Shivers album on Miasmah was released then, though slightly delayed from the pressing plant. Around this time I also worked on a new commissioned piece of music to my now regular collaborator, Marit Følstad, for whom I also was commissioned the Black Tie material I released last year. This was later in the year exhibited in Bergen, Norway where both me and Monique attended.

The mid-summer was quite event-free when it comes to music, though once August started to approach I was invited to play a Svarte Greiner set on the Danish island of Fanø, at the Fanø free folk festival, which turned out to be really great. Set in a local commune house on the tip of the island, with mostly bands I never heard of before. Found some great new musical tips there.

Just a week later I played another Svarte Greiner set, this time on a pretty much complete opposite setting, being Berlin electronic/techno music festival Krake. I played in between techno sets and was forced to do a massive drone-noise attack, which ended pretty great, as I immediately got another booking just minutes after I finished.

Shortly after this I played at an ambient festival in Poland on the border to Belarus. This was an outdoor stage in the middle of a big park. It was only myself and Rafael Anton Irisarri who were to play, and of course it started to rain during sound check already, fucking up some of Raf’s gear. We ended up playing together, something we havent done for 5 years. It was also good to see him again. He had quite the bad year, with him and his wife losing all their possessions during a move to the east coast.

Berlin-based electronic-gear wizard Derek Holzer had contacted me earlier with the idea of custom making me a processing box for my effect pedal rig. After a good bunch of back-and-forth talking on what to do, it turned out as a “chaotic synthesizer-ringmod-guitar-processing box” as he calls it, and is something amazing I’m still trying to figure out properly.

Rest of August was set off to work on Miasmah stuff + two B/B/S/ shows in Berlin, one where we headlined and one where we opened for Thurston Moore at Lido, which was fun, but maybe not our best show so far. We also played a B/B/S/ show at the Italian festival Flussi, in Avellino outside of Naples, where the accommodation was set in an Italian olive farm in the mountains. This was pretty amazing. On top of this, our first Deaf Center material since 4-5 years was released on a new sonic pieces series I’m doing together with Monique called “Pattern”, which is pretty much based on laser cut sleeves. “Recount” as the record was called, was 2 lost long pieces made in 2007 and 2012.

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For once I didn’t have a lot of gigs set up for the Autumn, so I spent most of it in Berlin with the occasional trips to Norway. I used my time working on graphics, arranging house shows with Monique and going on sunday trips to the country side. One other thing I did during this time was to use a whole day at the Funkhouse studio here in Berlin being directed by Nils Frahm to make sounds and music for this film he’s scoring. It will be interesting to see if some of what I contributed ended up in the film which will premiere in the new year. I did a similar thing like this for Jóhann Jóhannsson last year for the film ‘Prisoners’. Both were fun but difficult as I needed to play spontaneously to the film over and over.

On a different note I also ended up going to Unsound festival for once without playing. Not often I go to a festival just to hang out, meet people and see shows, but this was a good occasion and I saw both some great and quite bad shows. The highlight of which was a band I never heard of before, named “Cyclobe”.

Seeing this was Deaf Center’s 10 year anniversary we did quite a lot more than we usually do this year. On top of the Japan tour we played 3 more shows in Germany. Mainly being Hauschka’s “Approximation festival” in Düsseldorf, then at UT Connewitz in Leipzig with Tomaga and a fairly secret house show at our own place. All went pretty good to great I’d say. Just one week after this tour, I did a small NL/BE Svarte Greiner tour, playing Antwerp and Brüssels but also visiting Amsterdam and Mechelen. Got to hang out with the Miasmah Belgian gang, which is always a great time. It was a little stressful trip all in all, but can’t complain. Also by now I was very ready to stay at home for a while.

The last big bang of the year is something that’s yet to happen as I write this. We’re going to open for Slowdive at massive venue The Forum in London this Friday the 19th. Quite scary but also very exciting. This will be the ending of our 2014 Deaf Center anniversary and although some things are set for next year, it will probably be quieter on that front.

To sum up, looking at what I just wrote it seems like a very busy year, something it kind of was. For sure an improvement from last year, which was not so good for me, so with this I write off 2014 with a big thanks to my working and living partner, Monique Recknagel, who’s been a big part of pretty much everything on this list. Next year will for sure not be any less busy as I haven’t even mentioned all the upcoming Miasmah stuff I used A LOT of time preparing and working on during this year. It’s gonna be a very exciting year I think.

 

Erik K Skodvin 2014 TOP 12 albums:

Matt Christensen – ‘Coma Gears’ (Bathetic)
HTRK – ‘Psychic 9-5 club’ (Ghostly)
Valerio Tricoli – ‘Misery Lares’ (PAN)
Josef Van Wissem / SQÜRL – ‘Only Lovers Left Alive’ OST (ATP recordings)
Mica Levi – ‘Under the Skin’ OST (Milan)
Ai Aso – ‘Lone’ (Ideologic organ)
Tomaga – ‘Future Grotesk’ (Hands in the dark)
Andy Stott – ‘Faith in Strangers’ (Modern Love)
Otto A Totland – ‘Pino’ (sonic pieces)
Black To Comm – S/T (Type)
Simon James Phillips – ‘Chair’ (room40)
Driftmachine – ‘Nocturnes’ (Umor-rex)

 

Top 5 films 2014:

‘Enemy’
‘Under the Skin’
‘Only lovers left alive’
‘Snowpiercer’
‘Gone Girl’

 

Top 5 concerts 2014:

Marsen Jules (Berghain 10 year anniversary, Berlin)
Cyclobe (unsound festival)
Nils Frahm & Stargaze performs Terry Riley in C (volksbuhne, Berlin)
Tomaga (UT Connewitz, Leipzig)
Driftmachine (miasmah+sonic pieces HQ, Berlin)

 

—Erik K Skodvin

 

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‘Flame’ by Erik K Skodvin and ‘Recount’ by Deaf Center are available now on Sonic Pieces. 

http://www.miasmah.com/eks/
http://www.sonicpieces.com/

 


 

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Mary Lattimore (Philadelphia, USA)

Mary Lattimore is a Philadelphia-based harpist whose name has become synonymous in independent music circles as both a gifted solo composer as well as a versatile and accomplished collaborator. 2014 saw the release of ‘Slant Of Light’, the gorgeous collaboration between Mary Lattimore and Jeff Zeigler; a record featuring heavenly harp and synthesizer improvisations released by Chicago-based indie label Thrill Jockey. Mary Lattimore has also contributed her highly distinguished harp playing for numerous artists, including: Sharon Van Etten’s ‘Are We There’ and Steve Gunn’s ‘Way Out Weather’ albums. Previously, Lattimore has collaborated with New York-based songwriter Ed Askew and ex Sonic Youth frontman Thurston Moore. 

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Okay, here goes! Hi from a cold night in Philadelphia:

Favorite Things of 2014 List

Favorite Records, in no order:

Myriam Gendron – ‘Not So Deep As A Well’
Steve Gunn – ‘Way Out Weather’
Grouper – ‘Ruins’
Watery Love – ‘Decorative Feeding’
Amen Dunes – ‘Love’
Marissa Nadler – ‘July’
Total Control – ‘Typical System’
Weyes Blood – ‘The Innocents’
War on Drugs – ‘Lost in the Dream’
Tinariwen – ‘Emmaar’
Sharon Van Etten – ‘Are We There’
Nathan Bowles – ‘Nansemond’
Purling Hiss – ‘Weirdon’
Lewis – ‘L’Amour’ (Reissue)
David Kilgour & the Heavy Eights – ‘End Times Undone’
K. Leimer – ‘A Period of Review’ (Reissue)
Mike Cooper – ‘Trout Steel/Places I Know’
William Basinski – ‘Melancholia’ (Reissue)
Jennifer Castle – ‘Pink City’
Daniel Bachman – ‘Orange Co. Serenade’
Chris Forsyth and the Solar Motel Band – ‘Intensity Ghost’
Brigitte Fontaine – ‘Est…Folle’ (Reissue)

Favorite Song I Just Learned Of In 2014 (thanks to Justin Tripp and Nathan Bowles):
https://www.youtube.com/watch?v=osZsDIEI0UQ

Favorite New Place:

Marfa, TX

Favorite Shows of 2014:

Slowdive and Low, two favorites, same show (Philly)
War on Drugs secret shows (Philly)
Big Ears Festival in Knoxville, TN
Transfigurations Festival in Asheville, NC (an anniversary party for Harvest Records)
Memorial Show for Jack Rose (Glenn Jones, Daniel Bachman, Chris Forsyth, Nathan Bowles, Megajam Booze Band) (Philly)
Getting to see Steve Gunn and his incredible band every night while on tour together!!
Kensington Picnic II (Philly)

Other Favorites:

Pew Fellowship.
Sitting in with Cass McCombs and his excellent band, wow.
Getting to play harp for some elegant parties at the Philip Johnson Glass House, architectural gem in Connecticut.
Improvising with bandmate Jeff Zeigler and dancers Elle Erdman & Laura Bartczak.
Orange Polenta Cake with Honey and Rosewater Syrup, wow.
Thrill Jockey putting out the record and getting to know those guys.
Becky Suss’s paintings (beckysuss.net).
Recording session with Steve Gunn and friends at Black Dirt Studio in upstate NY.
James Turrell Skyspace in Chestnut Hill, PA.
Seeing top American actor Michael Shannon in a play.
Finally buying a rice cooker instead of burning the rice all the time!
This unreal experience of natural beauty – https://www.youtube.com/watch?v=QCWkzQqO7Ro (you can catch me and Naomi Yang and my mom on this news show, haha).

 

—Mary Lattimore

 

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‘Slant Of Light’ by Mary Lattimore & Jeff Zeigler is available now on Thrill Jockey Records.

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https://www.facebook.com/lattimorezeiglerduo
http://www.thrilljockey.com

 


 

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Ed Askew (New York, USA)

The New York-based painter and singer-songwriter Ed Askew was born in Stamford, Connecticut. He moved to New Haven to study painting at Yale Art School in 1963. During his mid-twenties, while working as a teacher at a private prep school in Connecticut, Ed Askew began to write songs. Significantly, he also at this time purchased his much-loved Martin Tiple (a 10 string lute-like instrument originally from Columbia). Over the preceding years and decades, Askew would continue to write songs and paint consistently. However, a lack of fortune with record labels (like many musicians of the time) led to years of uncertainty and obscurity. Debut LP ‘Ask the Unicorn’ (initially released via ESP Disk and UK’s Parlophone) would quickly disappear into folk-psych obscurity. Second LP, ‘Little Eyes’ was recorded next; however, it sat in the vaults for some 40 years until its long-overdue limited release in 2007. In the summer of 2011, Ed Askew embarked on his first US tour at the age of 71; while in 2013, Ed Askew’s masterful album ‘For The World’ was released via Tin Angel Records. 2014 found Ed Askew writing its hugely anticipated follow-up.

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My recent birthday was on Dec. 1st, and I spent a quiet day alone doing stuff at home. Later, I said to Jay (my keys player): “lets do something”. So the next Saturday we joined friends at a nice little west side restaurant to have drinks and dinner.

It’s amazing to imagine that only a year previous I was at a gallery in Paris, on Nov. 30th, and chatting with people after the show; when, at midnight, I turned around and was greeted with a rousing chorus of Happy Birthday.

The next morning we all went to a place where the band could have it’s picture taken with the Eiffel Tower. My idea. Then on to Brussels.

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The tour was for about two weeks and took us to Köln, Gent, Utrecht, Paris, Brussels, London, Copenhagen, Coventry, where we also played and stayed with John, on an old rebuilt farm. John is a friend of Richard Guy, who runs Tin Angel Records, and drove us around for the duration of the tour. We also played in Bristol and Glasgow. I remember the beautiful hills in Scotland, and won’t forget all the great people we met.

I also have to mention Jordan Hunt (a London boy) who was violinist for the band during the tour (and Tyler Evans who is a regular member of our band; plays tipple and guitar).

Well, once back in the states I resumed my normal life of occasional shows in Brooklyn, rehearsals with the band, working on new songs at home, occasional visits from friends, and painting.

A big event in my, life this year, was a fall I had in June that just about put me out of action for a few months. but not to dwell on THAT. I will put up this recent poem that relates:

Watching the Hudson River through a tangle of
Trees, broken limbs, and late Autumn leaves.
I walk..tap..tap..tap..
Like James Joyce’s blind man,
Walking across Dublin. 
Except that I am not in Dublin
And I am not blind.

This is the longest I have walked
Since I fell, in June;
Infuriating the nerves in my legs.
But looking at the gold and green,
And tangle of trees, before me,
I can almost not notice the discomfort
In my legs.
And as I walk home from breakfast
I pass a child, learning to ride a bike.
And I remember the pleasure in overcoming difficulties,
(Even ones that are NO fun)
Learning to play an instrument,
Or finishing a new painting.

11/14

At any rate, aside from doing some shows in Brooklyn; we played at a show in July with Plastic Crime Wave. P C W is Steve Krakow’s band. Steve is a Chicago-based music promoter, musician, and all around psychedelic freak.

Ed Askew Band got most of the songs recorded for a new LP for Tin Angel. Going to Philly and upstate NY to do it. And Jay and I went to Canada to play, and see friend Molly Sweeney and enjoy her set. From Canada went to Maine, where we played during the closing week of the Oak and the Ax. A great venue in the Portland area. Sad to see it go.

Otherwise I have been working on a new set of abstract paintings and new songs for another Bandcamp self release.

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And, oh, me, Jay and Tyler played a show at Issues Project Room with Josephine Foster (who will be on the new album) and Victor Herrero, back in January. The hall was packed, which is gratifying.

Some artists whose records and CDs I got during 2014 are:

Atlas Sound
Virginia Rodrigues
Baby Dee
Zachary Cale
Mark Kozelek & Jimmy Lavalle
Lambchop
Do Make Say Think
Smog
Conor Oberst
Bill Callahan
Big Blood
Baby Copperhead
Family Planing
the Milkman’s Union
James Blake
Deer Hunter

Because I live in Northern Manhattan and it takes 2 trains and some time to get to Brooklyn and, I’m just lazy, I don’t go to many shows that I’m not playing in. I did see my friend Jerry DeCicca (producer of ‘For The World’), at Union Pool recently, though. They have Sunday afternoon shows there, that are relaxed and make for a nice, low-key time.

So here I am, at my trusty MacBook and another year has come and gone.

Another birthday,

some more paintings,

another song….

 

—Ed 12/13/14

 

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edaskew_web

‘For The World’ is available now on Tin Angel Records. Ed Askew also released the double 10″ ‘Rose’ (w/ Joshua Burkett & Steve Gunn) via Okraina Records (Info/Buy HERE).

http://edaskew.bandcamp.com/
http://eaband.tumblr.com/
http://www.tinangelrecords.co.uk/

 


 

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Carl Corcoran, The Blue Of The Night (Dublin, Ireland)

Dublin-based broadcaster and radio presenter Carl Corcoran presents his radio show “The Blue Of The Night” nightly on RTE Lyric FM from 10pm to 1am. The much-loved show has become widely regarded as one of the finest resources to Irish music fans for both its vast eclecticism and its unwavering dedication to showcasing the very best musical talent from both Irish and international shores. All genres of music are catered for: from jazz to blues, classical to neoclassical and from traditional to modern composers, and all points in between. 

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I consider myself to have the greatest job in Ireland. I listen to, I play, I share music with an audience that ranges in age from young teens to octogenarians with tastes in music that run the whole gambit from 13th Century polyphony through Baroque, Classical and Romantic periods — from trad to jazz and where the two meet, right up to contemporary neo-classical, baroque pop and fusions of all sorts. The Blue of the Night defies categorisation – in fact we have become a genre of our own. My desk (and that of my co-Presenter Eamonn Lenihan) is piled high with CDs and my Inbox is jammed with emails containing Mp3s and links to Soundclouds, Bandcamps and Dropbox tracks which songwriters and composers feel is Blue of the Night material. Isn’t that cool! Isn’t that the greatest testament to the programme! What a compliment! What a thrill! So when I get around to listening to all this new music I marvel at the creativity that exists. The internet has facilitated the dissemination of new music. There is a Universe of great stuff out there – and for me it is a privilege to be able to share some (and it is only a small “some”) of this creativity. As a performing musician in another period of my life (and still am from time to time) I respect the “circular reciprocity” that emanates from a great performance. In other words performers enjoying their gig connect with their audience who in turn transmit that enjoyment back to the performer thereby completing the circle. Similarly, the same happens in my current role on Blue – I play the music, the audience responds and they in turn suggest music and artists that I am genuinely enthralled to hear and enjoy.

Music that came my way this year (and not necessarily released this year) that excited me and my listeners include Portadown musician/singer songwriter Katharine Philippa – her ‘Broken to be Re-built’ EP is great. NY’s Bryce Dessner (The National) impresses with his neo-classical creations for the Kronos Quartet; Sean MacErlaine’s latest release of solo reed (Clarinets and sax) musings along with his sonic backdrops is equally impressive; Dylan Tighe produced a personal and moving collection of songs in his “Record” Cd while the Ergodos Musicians (who in the past have paid tribute to 12C composers) on their CD ‘Songs’ captured the art of the song from writers such as alt-country singer Steve Earle, UK indie trio The xx, folk-rock hero Richard Thompson, maverick Irish composer Donnacha Dennehy, and Italian Baroque genius Antonio Vivaldi. Ailie Blunnnie is another young songwriter that caught my ear, as did Slow Skies, Seti the First, Chequerboard, Owensie and a recent find from the UK – composer, singer songwriter Sasha Siem.  There is so much good music out there – there are so many great music appreciators out there…….and we share. So much great music to be heard on the Blue of the Night. So much great music to send to Blue of the Night. I hope that circle continues – I hope I can reciprocate.

 

—Carl Corcoran

 

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Carl Corcoran presents The Blue Of The Night on Irish radio station RTE Lyric FM nightly from 10pm to 1am. Playlists and playback options are accessible online for each show.

http://www.rte.ie/lyricfm/the-blue-of-the-night-with-carl-corcoran/

Twitter: https://twitter.com/BlueoftheNight
Facebook: https://www.facebook.com/blueofthenight

 


 

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Eithne Hand, Galway International Arts Festival (Galway, Ireland)

Eithne Hand is a Radio Producer and Writer. In 2014 she curated the ‘First Thought Talks’ Strand of the Galway International Arts Festival. She produces Gay Byrne’s weekly Jazz Programme on RTE Lyric FM and is a past winner of the Prix Italia for Work on Music with a radio documentary called Voicejazz which mixed five voices talking about jazz in a loose quintet. All she loves about radio comes from Glen Gould. She has written and directed four Radio Dramas and is working on a site specific theatre piece for 1916 based on her own family story and Caravaggio’s masterpiece ‘The Taking of Christ’.

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Musically my 2014 contained not so many ‘new’ pieces but a lot of ‘new to me’ work. Working every week with jazz from the 30’s and 40’s constantly opens my ears to some of the best playing and improvisations from a time when the form was dangerously good. Take just one example – Mugsy Spanier’s ‘Relaxin’ At The Touro’.

Lisa Hannigan, Cillian Murphy, Fractured Air and Tony Clayton Lea all took to the stage of Druid Theatre in Galway on a sunny July Sunday and provided a real highlight for the audience of muso’s and sentimentalists all there to hear an hour-long riff on the joy of the Mixtape. Cillian had the bright idea of asking all comers in advance to bring their own Mixtape/CD along so at the end we shook a box and everyone took home someone else’s offering. A true example of local ‘sharing’.

Film musical highlights were just two – I got to see ‘Good Vibrations’ – the story of Terri Hooley and the punk movement in Belfast. Great soundtrack, smart script from Glenn Patterson and a cameo appearance by Terri himself. An eerily accurate capture of a time and place.

Best book with music in it: ‘From Out Of The City’  – A John Kelly transport aptly described on the cover as “a medicated fugue”.

Ken Loach’s film, ‘Jimmy’s Hall’ was shot about 10km from where I spend a lot of time in south Sligo. The film has good and bad bits but the musical assembly of fantastic jazz foot stompers led by Tommy Higgins were a joy.

Teho Teardo’s soundtrack for ‘Ballyturk’ by Enda Walsh was the overall musical highlight. Now just out on CD and Vinyl. Stunning music.

Björk’s ‘Bibliophilia’ came along and having been at the concert in Alexander Palace which was recorded for the movie I had to go. Surreal, stunning imaginative effort to ‘show’ the music as having an organic visual life alongside the sounds.

Elvis Costello in October in Dublin was forgettable but Julie Feeney in the Spiegeltent on the Wexford Quays on Halloween night was the opposite.

Lowlight award goes to David Byrne/Fat Boy Slim collaboration ‘Here Lies Love’ – the musical based on the Imelda Marcos story at the National London. Poor taste and disappointing all round.

Year ending with Cyrille Aimee and the wonderful Aaron Diehl as well as Christian McBride and Cecile McLorin Salvant all together on the new Mack Avenue CD release for Christmas (‘It’s Christmas on Mack Avenue’).

For 2015  I am looking forward to a much rumoured chamber opera involving both Donnacha Dennehy and Enda Walsh. All details coming soon !

 

—Eithne Hand

 

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http://www.giaf.ie/

 


 

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Brigid Power-Ryce (Galway, Ireland)

Brigid Power-Ryce (born in London and now based in Galway) is one of Ireland’s most talented and unique songwriters. Having supported such world-renowned musicians as Lee Ranaldo, Peter Broderick, Alasdair Roberts and Richard Dawson in the past; Brigid Power-Ryce’s moving and powerful concert performances (involving accompaniment with accordion, guitar, ukele or simply a cappella performance) demonstrate the supreme power still inherent in the songwriting form. Brigid Power-Ryce released the stunning ‘I Told You The Truth’ album this year via Galway-based Abandon Reason Records, comprising recordings made at St. Nicholas’ Church in Galway.

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2014 was a crazy and hard year for me. Come to think of it, I’m not sure if it was any crazier than previous years, but it definitely was a year of “burning the candle at both ends”. There was a lot of change, which brought about a lot of chaos and loss, but then ultimately strength. It wasn’t a big year for me for soaking up new music or books. I go through phases where I will listen to a lot of music or read many books, but then I go into blank-brain mode and I need a lot of empty months, where I’m not usually listening to anything new, just listening to a lot of old favourites or sometimes nothing at all. Old stuff that I listened to a lot this year was Neil Young – ‘Zuma’, ‘Rust Never Sleeps’. Planxty. I listened to a lot of Prokofiev too and Satie.

My 4 year old son made us listen to and dance on repeat, the song ‘Only Daddy That’ll Walk The Line’ by Waylon Jennings. Hearing him shouting and sort of side-stepping “EVERYBODY KNOWS YOU BEEN STEPPIN ON MY TOES AND I’M GEDDIN PWETTY TIRED OF IT” was special. We’ve recently moved very close to a beach and he always says, “I see Waylon Jennings sailing a boat over there Mum. There he is Mum making a sand castle!” He has a connection with Waylon Jennings. How strange.

I played a lot of memorable gigs. Around April 2014 I played a few gigs around the UK. I started off with opening up for Cian Nugent & The Cosmos in Cafe Oto, London. They were really raw and alive. Then I went to Manchester, Sheffield and Edinburgh. Playing those gigs really nourished me. The audiences were all so appreciative and connective and so were the acts I was supporting, Alasdair Roberts and Sir Richard Bishop, they were great and the latter so funny. I felt like I was floating the whole time of that tour. When I came home I came crashing down with a post-gigs anti-climax. It was hard to get back to day-to-day life and get my feet back on the ground. But I’ve learned how to handle the aftermath a bit better since Spring.

An artist I discovered in 2014 who made a big impact on me was Angel Olsen. It’s funny because when I first heard her in maybe 2012/13, I didn’t want to listen, I sort of shut it off. It almost hurt to listen, because I had been laying low for quite a while and not performing or writing or even singing so I wanted to avoid listening to something that I might have unconsciously known would remind me of who I am. But then I did let myself listen this year and her two albums ‘Half Way Home’ and ‘Burn Your Fire For No Witness’ were pretty much on repeat for the whole summer in our house. Here’s the evidence. I love her music, her voice and her lyrics too. I went to see her in Whelans too which was great, although there were a few assholes at the gig.

I played a good few gigs in the autumn. I supported a great American band upstairs in The Workman’s in Dublin, called Spires That In The Sunset Rise. They were incredible musicians and people. Then I supported Lee Ranaldo in Dublin, an exciting gig that went really well. And then my last gig was with Peter Broderick in the Half Moon Theatre in Cork. That was a really special gig. The promoters (ahem!) were extremely kind, generous, and without a hint of ego. Which was really unique. The audience was great and Peter Broderick was also lovely and I really liked his violin playing and multi-tasking abilities. After the show, we talked a lot about ‘Curb Your Enthusiasm’ and ‘Seinfeld’, which brings me on to “what I watched in 2014”. A LOT of CYE. I know it wasn’t out this year or anything, but hey I’m always a few years behind on stuff. I also watched the first season of ‘Broad City’ which I really liked. I’m excited for that new season to come out in January. It’s about two young women in New York and they are pretty funny. I used to live in New York when I was 18 and I was in a similar mindset to them then, so it feels familiar.

I know this has probably been a boring read, with not much substance or music/film/book recommendations (oh I just remembered I re-read ‘Shakey’, and ‘East Of Eden’ which is very different to the film, very dark but brilliant), but it’s because I am tired. That sums up 2014, really: tiring. I think 2015 will be a lot more easier going. I think I will organize some more gigs and get over to America and maybe get a band together. I’m going to try and not waste so many hours on the internet also.
Bye!

 

—Brigid Power-Ryce

 

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‘I Told You The Truth’ is available now on Abandon Reason Records HERE.

http://brigidpowerryce.com/
https://www.facebook.com/brigidpowerrycemusic

 


 

With very special thanks to all the wonderful contributors for their contributions.
Wishing all our readers a very happy new year and best wishes for 2015.

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Web: http://fracturedair.com

Facebook: https://www.facebook.com/FracturedAir
Twitter: https://twitter.com/Fractured_Air
Mixcloud: http://www.mixcloud.com/Fractured_Air/

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Albums & Reissues Of The Year: 2014

with 14 comments

The following is a selection of the albums and re-issues that had the greatest impact on us for a wide range of different reasons. As difficult as it proved to settle on a final (and very concise) selection, we both turned to these special albums most often throughout the year. 2014 has been a year which has produced so many absolutely wonderful and truly special albums, here’s our personal selection of some of these (with a selection of ten albums and five re-issues).

Words: Mark & Craig Carry, All artwork: Craig Carry

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Albums of the year:

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Grouper ‘Ruins’ (Kranky)

‘Ruins’ was made while U.S. musician and artist Liz Harris was on an artist residency (set up by Galeria Zé dos Bois) during 2011 in Portugal’s Aljezur region. The location would provide a striking influence to Harris’s subsequent recordings (recorded in typically minimal fashion: a portable 4-track, Sony stereo mic and an upright piano) while the sense of both departure and a new-found freedom flow throughout ‘Ruins’ and its majestic and dreamlike eight tracks. During her Aljezur residency, Harris would embark on daily hikes to the nearest beach where she would encounter the ruins of several old estates and a small village. As Harris has said: “The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.”

‘Ruins’ is a stunning achievement which proves all the more astonishing considering the already extensive (and consistently breathtaking) recorded output of Grouper since the mid 00’s. ‘Clearing’ is arguably Harris’s most singularly beautiful song conceived to date. As Harris sings: “What has been done / Can never be undone” over a gorgeously delicate piano line we embark on yet another wholly unique and deeply personal odyssey under the stewardship of Harris’s very heart. Like a silent witness we hold our breath as we remain under Harris’s spell throughout (from the timeless ballad ‘Holding’ to the closing epic drone-heavy tour-de-force ‘Made of Air’). ‘Ruins’ is a quietly breathtaking force of nature: an album made as much by Harris’s own hands as by the moonlight’s illumination in the night sky or the evening sun’s last rays of faded half-light.

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‘Ruins’ is available now on Kranky.

https://www.facebook.com/pages/Grouper/
http://www.kranky.net/

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Caribou ‘Our Love’ (City Slang/Merge)

One of my most memorable moments of this past year was undoubtedly witnessing Caribou’s storming live set at 2014’s Body & Soul festival. A euphoric feeling ascended into the summer evening skyline as each transcendent beat and luminous pop-laden hook flooded our senses. The majority of 2010’s glorious LP ‘Swim’ was revisited, from the tropicalia-infused ‘Odessa’ to the hypnotic ‘Sun’ and all points in between. Dan Snaith & co’s set further confirmed the legendary status of Caribou; whose innovative and utterly compelling sonic creations (where elements of krautrock, dance, jazz, soul, hip-hop, and electronic soundscapes form one irresistible, mind-blowing sound spectrum) have long served a trusted companion for the independent music collector.

This year marked the highly anticipated fifth Caribou studio album, ‘Our Love’, which, in many ways, nestles beautifully between its predecessor ‘Swim’ and Snaith’s more techno-oriented project of Daphni. Lead single ‘Can’t Do Without You’ is an instant classic with a seamless array of melodic patterns and soulful vocals that evokes the soul-stirring songbook of Al Green as much as it spans the history of the dance floor. Several of the songs were co-written by gifted Canadian composer/violinist Owen Pallett (whose own solo record ‘In Conflict’ has been one of the most original, daring and innovative records of 2014) and Pallett’s distinctive violin-led melodies coalesce effortlessly with Snaith’s visionary dance structures.

Numerous remixes have since seen the light of day (where new perspectives and insights are drawn and re-configured) with the latest example being Carl Craig’s techno mix of ‘Your Love Will Set You Free’. Much in the same way as ‘Swim’, I know (and firmly believe) ‘Our Love’ will remain as vital and significant for many more years and decades to come.

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‘Our Love’ is available now on City Slang (EU) and Merge (USA).

http://www.caribou.fm

http://cityslang.com
http://www.mergerecords.com

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Sharon Van Etten ‘Are We There’ (Jagjaguwar)

When Jersey-native and New York-based songwriter Sharon Van Etten first announced the arrival of ‘Are We There’, Van Etten’s fourth full-length and follow-up to her 2011 seminal work ‘Tramp’, she had these words to share: “I really hope that when someone puts my record on that they hear me.” Of course, Van Etten’s wishes have clearly been fulfilled. If there’s one thing we can firmly establish by now it is this: Van Etten makes music from the real world; a world of real events and real people with real feelings. Subsequently, steeped in a sometimes harsh reality, Van Etten’s songs are imbued with fears, struggles and (often) much pain. Much like Chan Marshall’s pre ‘The Greatest’ recorded output, Van Etten bravely examines her own life’s immediate surroundings and relationships to share her most innermost confessions and feelings for us all to bear witness. Through Van Etten’s songs we too can find our own deepest feelings long hidden in the shadows of some forgotten, distant dream.

‘Are We There’ is Van Etten’s first self-produced album (The National’s Aaron Dessner produced its predecessor ‘Tramp’) and features a host of wonderful musicians, including: Torres’s Mackenzie Scott on vocals (who toured extensively supporting Van Etten); Heather Woods-Broderick (on strings and vocals); Mary Lattimore (harp) as well as Van Etten’s trusted and formidable rhythm section (Zeke Hutchins on drums and David Hartley on bass). The use of vocal harmonies (Van Etten, Scott and Woods-Broderick) is a pure joy to witness. The resultant musical arrangements are stunningly cohesive and yet genuinely innovative, providing for many moments of challenging and divine musicianship — at times wonderfully dense and strikingly tactile (‘Our Love’ or ‘Every Time The Sun Coms Up’) — other times remain starkly sparse (‘I Know’) but, importantly, such intricacies of musicianship and arrangements only ever serve the song.

“Everybody needs to feel” sings Van Etten on ‘Your Love Is Killing Me’. It’s a sentiment that best serves the phenomenal and beloved artist that is Sharon Van Etten and ‘Are We There’. It’s another step to becoming your own true self. It’s a destination no one is ever likely to realistically reach but striving for it is proving to be Van Etten (and her sacred songbook)’s true towering achievement.

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‘Are We There’ is available now on Jagjaguwar.

http://www.sharonvanetten.com/
http://www.jagjaguwar.com/

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Clark ‘Clark’ (Warp)

‘I Dream Of Wires’ is a documentary based on the phenomenal resurgence of the modular synthesizer; exploring the passions and dreams of people who have dedicated part of their lives to this electronic music machine. The splendid documentary — released earlier this year — features interviews with Ghostly’s Solvent (who co-wrote the film in addition to composing the film score), Carl Craig, Jeremy Greenspan (Junior Boys) and Warp’s Clark. Reflecting on this particular film now, I feel it is precisely this exploration of passions and dreams that filters into the dazzling music of  UK’s Chris Clark. The unique blend of utterly transcendent electronic creations is forever steeped in a rare beauty, filled with endless moments of divine transcendence.

This year marked the eagerly awaited release of new self-titled full-length (and seventh for Warp), following up 2012’s magical ‘Iradelphic’. The gifted producer’s meticulous touch can be felt throughout, from the cold-cut classic ‘Unfurla’ to the blissful synth-laden ‘The Grit In The Pearl’. Dance music for the here-and-now that breathes life and meaning into music’s endless possibilities.

As Clark has said: “Music is like sculpture. It’s like trying to capture a moment of ultimate momentum, and distill it forever”.

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‘Clark’ is available now on Warp.

http://throttleclark.com/
http://warp.net/

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Hauschka ‘Abandoned City’ (City Slang/Temporary Residence Ltd)

Witnessing Hauschka’s Volker Bertelmann — whether in live setting during his renowned concert performances or in recorded contexts — a certain sense of magic fills the air. Sylvain Chomet’s 2010 animated marvel ‘The Illusionist’ comes to mind, as we are left in wonderment to observe the artist’s vast collection of skills and unlimited wells of talent. Known worldwide as one of the most recognizable 21st Century proponents of what is known as Prepared Piano, Bertelmann has amassed a considerable body of work over the last decade, ceaselessly weaving his own singular path — and on his own terms — to wondrous effect (much like fellow modern composers and restless souls Nils Frahm and Max Richter or such Twentieth Century masters as Eric Satie, John Cage and Steve Reich). Importantly, the album itself draws from research Bertelmann made (after the discovery of a series of photographic prints depicting the subject of abandoned cities) on the number of actual vacated cities in existence (each track title references a particular city). As Bertelmann has said: “I was interested in finding a metaphor for the inner tension I feel when I’m composing music, a state of mind where I’m lonely and happy at the same time.”

‘Abandoned City’ proves a certain milestone in Hauschka’s recorded output to date. An intriguing sense of both adventure and discovery seeps through every pore of the album’s ten compositions. Like all of Hauschka’s art, nothing is as it first seems. As we delve further into this abandoned city Hauschka has built for us we begin to lose all sense of what we initially thought was important in the process. We lose all traces of ourselves for that beautiful instant we are under Bertelmann’s sacred spell and that is what Hauschka’s divine art forever manages to do.

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‘Abandoned City’ is available now on City Slang (EU) and Temporary Residence Ltd (USA).

http://hauschka-net.de/

http://cityslang.com/
http://temporaryresidence.com/

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Steve Gunn ‘Way Out Weather’ (Paradise Of Bachelors)

The flawless North Carolina-based independent label Paradise of Bachelors has yet again been responsible for a string of modern-day Americana masterpieces, not least the latest tour-de-force from the ever-prolific, Brooklyn-based guitar prodigy and songsmith, Steve Gunn. This year’s ‘Way Out Weather’ feels like a natural culmination where every aspect of Gunn’s deeply-affecting songs — poignant story-telling quality, immaculate instrumentation and intricate musical arrangements — is heightened as the towering eight creations hits you profoundly and stirs your soul. 2013’s ‘Time Off’ was the starting point of Gunn’s song-writing path, having collaborated closely with Kurt Vile, Michael Chapman, Mike Cooper, The Black Twig Pickers and a host of others in recent times.

A timeless feel permeates every corner of the record. The recording sessions took place at Black Dirt Studio in Westtown, New York, featuring a formidable cast of musicians (and Gunn’s long-term collaborators) further adding to the widescreen, cinematic sound to ‘Way Out Weather’s sprawling sonic canvas. Longtime musical brothers and kindred spirits Jason Meagher (bass, drones, engineering), Justin Tripp (bass, guitar, keys, production), and John Truscinski (drums), in addition to newcomers Nathan Bowles (drums, banjo, keys: Black Twig Pickers, Pelt); James Elkington (guitar, lap steel, dobro: Freakwater, Jeff Tweedy); Mary Lattimore (harp, keys: Thurston Moore, Kurt Vile); and Jimy SeiTang (synths, electronics: Stygian Stride, Rhyton.)

On the utterly transcendent album closer, ‘Tommy’s Congo’, shades of Sonny Sharrock beautifully surfaces beneath the artefacts of time. The deep groove and rhythm interwoven with this vivid catharsis is nothing short of staggering. The cosmic spirit captured on the closing cut — and each of these sublime recordings — permanently occupies a state of transcendence. As each song-cycle unfolds, the shimmering worlds of Dylan’s Rolling Thunder Revue or the Stones’ ‘Exile On Main St.’ fades into focus. ‘Way Out Weather’ is dotted with captivating moments from the ways of a true master.

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‘Way Out Weather’ is available now on Paradise Of Bachelors.

http://steve-gunn.com/
http://paradiseofbachelors.com/

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Caoimhín Ó Raghallaigh & Dan Trueman ‘Laghdú’ (Irishmusic.net)

2014 has been a remarkable year for Ireland-based composer Caoimhín Ó Raghallaigh. Firstly, January saw the release of contemporary quintet The Gloaming’s stunning self-titled debut album via Real World Records. Subsequent concerts would be performed across the globe (including Sydney’s Opera House) to mass celebration and widespread critical acclaim on both sides of the Atlantic. As well as touring with his other band, the Irish/Swedish quartet This Is How We Fly, across both Ireland and Europe, Ó Raghallaigh also performed a series of truly special solo concerts (entitled “In My Mind”, a solo fiddle and film show) across the length of Ireland for the month of October. Despite the hectic touring schedules, Ó Raghallaigh also released two stunning works: the solo album ‘Music For An Elliptical Orbit’ (via Dublin-based label Diatribe Records) and the mesmerizing ‘Laghdú’, a collaboration with U.S. fiddle player Dan Trueman.

‘Laghdú’ (an Irish word which translates as: a lessening, a decrease, a reduction) is a hugely significant work for many reasons. Most notably, it was Trueman who first introduced Ó Raghallaigh to his beloved ten-string hardanger d’amore fiddle (custom-made in Norway by Salve Håkedal) during September 2000. It is the simple dialogue and deep connection which exists between the pair (both performing identical instruments and identical baroque bows) which is a pure joy to savor. Two traditional pieces are performed by the pair (‘The Jack of Diamonds Three’ and ‘Fead an Iolair’) while the remainder of ‘Laghdú’ comprises original compositions written and arranged by Trueman and Ó Raghallaigh. The dynamic range is nothing short of staggering — from the near-silent to the nigh-on orchestral, at times exploding joyously from their hybrid 10-string fiddles, at times barely there — holding time still in the process. The resultant eleven heavenly tracks occupy both the realms populated by the most ancient forms of traditional music as well as those thrillingly in-between spaces carved out and inhabited in modern neoclassical composition of the most utterly enchanting and truly sacred kind.

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‘Laghdú’ is available now via Irishmusic.net HERE.

http://www.caoimhinoraghallaigh.com/
http://www.manyarrowsmusic.com/
http://irishmusic.net/

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Christina Vantzou ‘N°2’ (Kranky)

‘N°2’ is the second solo album by the Brussels-based artist and Kansas-born composer Christina Vantzou and, like its predecessor, ‘N°1’, was issued by the formidable Chicago-based independent label Kranky. Written over a period of four years, ‘N°2’ finds Vantzou reunited with Minna Choi — of the San Francisco-based Magik*Magik Orchestra — and regular contributor Adam Wiltzie (A Winged Victory For The Sullen, Stars Of The Lid) who Vantzou effectively began her musical career with when the duo made music as The Dead Texan (Vantzou was keyboardist as well as film-maker, illustrator and animator). A wide sonic palette is used throughout, from the gentle ripple-flow of piano notes on the album’s penultimate track, ‘Vostok’ and prominence of harp on the achingly beautiful ‘VHS’ to the rapturous crescendo of strings of ‘Going Backwards To Recover What Was Left Behind’ where an emotion-filled sadness engulfs every pore. Elsewhere, slowly shifting layers of brass and woodwind drifts majestically in ‘Brain Fog’ before brooding strings come to the fore, resulting in a cathartic release of energy. Layers of angelic voices appear and disappear throughout, forming not only a monumental symphonic movement but also an other-worldly choral work.

Indeed, the most appropriate analogy to imagine while attempting to surmise the sheer magic of ‘N°2’ is the act of making those frame-by-frame animations Vantzou has so patiently and laboriously created in the past: while they are meticulously worked on, over such a long and painfully slow process, the results yielded are both stunningly imperfect and remarkably pure. It’s a characteristic which runs through all of Vantzou’s breathtaking art (from her drawings and sleeve artwork to her dreamlike slow motion film works) which truly heightens all that surrounds you.

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‘N°2’ is available now on Kranky.

http://www.christinavantzou.com/
http://www.kranky.net/

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Birds Of Passage ‘This Kindly Slumber’ (Denovali)

New Zealand-based composer Alicia Merz has been quietly amassing a soul-stirring collection of albums under her Birds Of Passage moniker over the past five years or so. ‘This Kindly Slumber’ — released by German independent label Denovali Records — is Merz’s third solo full-length album and features Merz’s spellbinding lyricism (at times recalling Mark Linkous or Daniel Johnston in their open honesty and raw emotion). Like Grouper’s Liz Harris, Birds Of Passage’s power emanates from minimal musical arrangements (vocal takes are often first takes) where a sense of both purity and intimacy is conjured by Merz throughout, providing for an unforgettable listening experience. As we delve into the innermost caverns of ‘This Kindly Slumber’s mysterious and complex maze of real and imagined landscapes; the sensation one feels is akin to the finest of Murakami’s fictional prose or the most ancient of children’s nursery rhymes and folklore tales. Interestingly, Merz holds a deep fascination with nursery rhymes since a very young age and ‘Ladybird, Ladybird’ is combined with ‘And All Of Your Dreams’ to powerful effect. Elsewhere, the deeply personal ‘Yesterday’s Stains’ contains an openness and honesty rare in music.

‘This Kindly Slumber’ is a life-affirming journey which finds Merz navigating the darkest of nights while facing her gravest of fears. On the other side of this kindly slumber we realize that even the darkest of shadows lie closest to light: through the sacred and secret songs of Birds Of Passage we learn that in every moment of hopelessness exists hope. For that, we can be eternally grateful.

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‘This Kindly Slumber’ is available now on Denovali.

http://birdsofpassagemusic.com/
http://www.denovali.com/

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Marissa Nadler ‘July’ (Bella Union/Sacred Bones)

‘July’ (which documents Nadler’s life events from one July to the next) is the ever-prolific U.S. songwriter’s latest opus of longing and hope. The album can be read and interpreted autobiographically but, crucially, like all of Nadler’s songbook, songs are masterfully left open to the listener’s interpretation. Interestingly, Randall Dunn (Earth, Sunn O))), is at the helm of production duties on ‘July’; providing a first-time collaboration for the pair. Accompanying Nadler is Eyvind Kang (strings), Steve Moore (synths) and Phil Wandscher (Jesse Sykes, Whiskeytown) on lead guitar. However, as is always the case with such a truly unique songwriter, it is Nadler’s breathtaking voice and impeccable lyricism which quietly dominate proceedings. Like such kindred spirits as Missourri songwriter Angel Olsen or British folk legends Vashti Bunyan and Bridget St. John, Nadler’s music captivates the mind (and heart) of each and every listener fortunate enough to cross paths with her. From album opener ‘Drive’ to the forlorn closing piano ballad ‘Nothing In my Heart’, immediacy and directness prevails throughout ‘July’. Transcendental moments abound, from the poetic lyricism to ‘We Are Coming Back’ (“Still I live many miles away / So I can miss you a little everyday”) to the brooding tour-de-force ‘Dead City Emily’ which combines both gut-wrenching honesty (“I was coming apart those days”) and heart-stopping beauty as, ultimately, the prevailing sense of hope outlasts all struggle and inner-conflict (“Oh I saw the light today / Opened up the door”).

As the lyrics of ‘Drive’ return to my mind: “Still remember all the words to every song you ever heard”; I feel those very words reflect the empowering feeling in which the cherished songbook of Marissa Nadler ceaselessly awakens (and continues to re-awaken) in me.

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‘July’ is available now on Bella Union (EU) and Sacred Bones (USA).

http://www.marissanadler.com/

http://bellaunion.com/
http://www.sacredbonesrecords.com/

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Reissues of the year:

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The Moles ‘Flashbacks And Dream Sequences: The Story Of The Moles’ (Fire)

Looking back on 2014, the first sounds which come to my mind is Australian band The Moles and the magical first-time discovery of their music in the form of their first retrospective ‘Flashbacks And Dream Sequences: The Story Of The Moles’, released via Fire Records. The double-album is packed to the brim with impeccably constructed pop songs, heart-breaking love songs and just about every shade and nuance in between (spanning punk, shoe gaze and indie rock). ‘Flashbacks and Dream Sequences: The Story of The Moles’ contains the band’s two studio albums; debut full-length ‘Untune The Sky’ (originally released in 1991) and follow-up ‘Instinct’ (the latter was heralded by The Sea And Cake’s Archer Prewitt as being “as close to perfection as any Beatles or Beach Boys record and it stands on its own as a classic in my book”) and a whole plethora of b-sides and rarities, culled from various EP’s and singles. Led by Richard Davies (who later would join Eric Mathews and form Cardinal), The Moles were formed in Sydney in the late 80’s and unleashed a resolutely unique songbook which would prove hugely influential on a whole host of diverse bands (The Flaming Lips, The Sea And Cake). The original band line-up consisted of Glenn Fredericks, Richard Davies, Warren Armstrong and Carl Zadra, friends from law school who were fans of Flying Nun, The Fall and The Go Betweens, drawing their name from a reference to ‘Wind In The Willows’ and spy novels (John Le Carré and Graham Greene).

What’s most apparent on this defining release is that the truly unique vision (in both Davies’s songwriting and The Moles’ music) deserves to be known — and embraced — the world over. “It’s always an adventure. There’s an element of a well that never runs dry,” Richard Davies told us earlier in the year, on discussing The Moles. It’s a sentiment which could not be more true for The Moles and their utterly visionary and absolutely essential music.

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‘Flashbacks And Dream Sequences: The Story Of The Moles’ is available now on Fire Records.

[Richard Davies Facebook Page]
http://www.firerecords.com/

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Lewis ‘L’Amour’ (Light In The Attic)

When Light In The Attic Records reissued the much-fabled, timeless cult-classic ‘L’Amour’ by Lewis (originally released in 1983 on the unknown label R.A.W.) not much was known about the whereabouts of its esteemed author, not least the actual identity of “Lewis”, for that matter. The sense of mystery only deepened when consulting the album’s liner notes: Was Lewis still alive? What has he been doing in the intervening years? What other musical treasures are lying around only awaiting to be discovered written by this elusive figure? Crucially, without even beginning to dig any further into biographical detail (or absence thereof), it’s clear that, on listening to ‘L’Amour’, Lewis created nothing short of a bona-fide masterpiece. Heartbreak is immediately evident from Lewis’s lonesome, brooding, ghostly baritone from album opener ‘Things Just Happen That Way’ (“I took her hand / She took my heart”) while a sparse set-up of whispered voice together with only piano, synthesizer (or an occasional plucked guitar) remains throughout — recalling Waits or Springsteen at their most hushed and introspective best — creating a defining album of heartbreak — and love — in the process.

And what about the biographical gaps? Indeed Lewis was, as it turned out, a pseudonym. Lewis’s true identity has proved to be that of Randall Wulff (as confirmed by famed L.A. photographer Ed Colver, who had shot the über-cool cover-shoot for L’Amour’s album sleeve). However, for the purposes of the Light In The Attic liner notes, the mystery remained unsolved (after a long two-and-a-half year search). That is, until August 2014, when the real-life Randall Wulff was found (read Light In The Attic’s amazing article HERE) — alive and well and still quietly making his own masterful music — in what must have been the year’s most enchanting and heart-warming of stories.

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L’Amour’ is available now on Light In The Attic.

http://lightintheattic.net/artists/691-lewis
http://lightintheattic.net/

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One Of You ‘One Of You’ (Little Axe)

One of the most stunning re-issues of recent times came this year via the Portland, Oregon-based label Little Axe Records (a label founded when Mississippi Records split into two labels in 2011), with it’s issuing of a self-titled LP by One Of You. The author’s name and identity remains anonymous but we do know this startling collection was made by a Czech immigrant to Canada who set up her own Scarab label in the early ‘80’s, releasing music under the pseudonyms One of You and The Triffids. Having fled her homeland in the late sixties to emigrate to Canada for hopes of a better future and life there, One Of You’s music would be imbued with a prevailing sense of loss, regret and much hardships. The music itself, written in both Czech and English, and arranged in typically minimal fashion (synthesizer, guitar, organ) touches upon outsider folk, folk-psych, Eastern European folk and minimalist music traditions. One Of You’s deeply affecting, timeless music yields moments of powerful intensity while a whole spectrum of emotions, images and textures are unleashed beautifully upon the listener all at once.

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‘One Of You’ is available now on Little Axe.

http://littleaxerecords.bandcamp.com/album/one-of-you-s-t
http://www.littleaxerecords.com/

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K. Leimer ‘A Period of Review (Original Recordings: 1975-1983)’ (RVNG Intl)

RVNG Intl. is a Brooklyn-based music institution that operates on few but heavily fortified principles, dealing with forward-reaching artists that ceaselessly push the sonic envelope. From visionary luminaries such as Julia Holter, Holly Herndon, Blondes, Maxmillion Dunbar et al, RVNG Intl. has consistently delivered some of the most adventurous, enthralling and breathtaking records this past decade. One of the label’s cornerstones has become the awe-inspiring archival series which has featured (and celebrated) musical pioneers Craig Leon, Ariel Kalma and K. Leimer. The third installment of the archival series — released earlier this year — was Seattle-based sound sculptor, K. Leimer and a vast treasure of ambient voyages entitled ‘A Period of Review (Original Recordings: 1975-1983)’. I simply cannot think of a more special musical document to have graced my life this past year than Kerry Leimer’s resolutely unique and deeply human canon of pioneering ambient music.

A glimpse into Leimer’s creative process is touched upon on the compilation’s liner notes: “The loop provided an instant structure – a sort of fatalism – the participation of the tape machine in shaping and extending the music was a key to setting self-deterministic systems in motion and held clear relationship to my interests in fine art.”

‘A Period of Review (Original Recordings: 1975-1983)’ offers the perfect entry point (across an exhaustive double-album and thirty spellbinding tracks) into the beautifully enthralling and ever-revolving world inhabited by the special soul of Mr. Kerry Leimer.

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‘A Period of Review (Original Recordings: 1975-1983)’  is available now on RVNG Intl.

http://www.palaceoflights.com/
http://igetrvng.com/

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Fikret Kızılok ‘Anadolu’yum’ (Pharaway Sounds)

Although technically issued at the tail end of 2013, legendary Turkish folk singer Fikret Kızılok (1947-2001)’s exquisite collection of singles from 1971-75 (compiled into a 14-track set entitled ‘Anadolu’yum’ and issued by Pharaway Sounds, a subsidiary label of Light In The Attic Records) proved — like the many equally formidable Pharaway Sounds releases — a true haven for music lovers. Merging genres and fuzing styles almost at will (as evidenced by the immense musical arrangements drawing from such diverse sources as Western influences, India and his own native Turkey), Kızılok’s diverse appetite and deep appreciation for music shines through in every one of this magical compilation’s fourteen tracks. From the heavenly and beautifully forlorn Anatolian folk masterpiece ‘Anadolu’yum (1972&1975)’ to the irresistible sitar-aided ‘Gün Ola Devran Döne’ (1971), Kızılok’s musical path would be dictated by numerous external obstacles of the day (namely, the political unrest of his native Turkey throughout the 1970’s) while a pressure to conform to audience’s expectations (Kızılok was a pop phenomenon in Turkey, regularly charting instant hits) proved immense in the intervening years, while he would become most often associated with his best known love ballads from his considerable 1970’s output.

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‘Anadolu’yum’  is available now on Pharaway Sounds.

http://lightintheattic.net/

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All designs and artwork by Craig Carry: http://craigcarry.net

With very special thanks to all the wonderful musicians and labels for the true gift of their music. And a special thank you to all our readers for reading during the year.

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Web: http://fracturedair.com

Facebook: https://www.facebook.com/FracturedAir
Twitter: https://twitter.com/Fractured_Air
Mixcloud: http://www.mixcloud.com/Fractured_Air/

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Don’t Look Back: 2013

with 2 comments

‘Don’t Look Back’ is a retrospective of sorts, looking back on the year that was — 2013 — and reminiscing on some of the cherished memories from the year. Having had the great fortune of crossing paths with many wonderful musicians, artists and all-round music enthusiasts these past twelve months, we would like to share with you a snapshot of the year from the perspective of some of these wonderful people. 

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ADRIAN CROWLEY (Dublin, Ireland)

Across a rich body of work (comprising six solo albums culminating with 2012’s magnificent ‘I See Three Birds Flying’), the Irish singer-songwriter’s peerless baritone immerses you into a deeply contemplative listening experience. The prose and storytelling of the master poet’s songs heightens all that surrounds you. This December marked the long-awaited release of the collaboration between Crowley and James Yorkston, ‘My Yoke Is Heavy-The Songs of Daniel Johnston’ released on the Glasgow-based independent label, Chemikal Underground.

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Forgive in advance, if you will what is sure to be a rambling and disjointed part reflection of the year gone by.
When I cast my mind on 2013, scenes like this spring to mind:
I’m in Amsterdam Central Station… or Amsterdam Centraal.
Before heading to the platform for Gare Du Nord, Paris, I decide I need to take care of some business.
There are plywood partitions everywhere, the sound of drills and circular saws fill the air and workmen are milling around in hi-vis jackets and jack boots. It’s freezing as it is January and icy blasts pervade the corridors and hallways of the station. I follow temporary signs. It soon becomes clear that all elevator service has been suspended because of the works so I find a stairs and haul myself up with all my things ( A hard case containing my guitar, a faltering wheelie case and a small rucksack that feels like it is filled with hard back bibles). The stairs bring me to a platform and there at the other end of it I see a *massive* WC sign. Huge black Roman letters on a white plastic board background. I put 50 c in the slot and as I’m squeezing through the turnstile I notice an old vagrant madwoman has commandeered the toilet attendant’s booth. I hang back for a moment, all my things slung around my person, bags and instruments. Then she squalks and barks at me and with a twisted painted index finger, she waves me by screeching something that rhymes with ‘men’.
I walk into the Heern area there are no cubicles just a sad row of improvised urinals and no wash hand basins. I head for the ladies area instead as they have cubicles in there. The unkempt toilet attendant turns into a typhoon of fury and screams that the cubicles are for women only. I try and wedge all my things through the narrow door all the while yelling back to her asking how she expects a gentleman to take care of business. A petite girl with a head scarf and long grey coat timidly holds the door open for me, quiet as a mouse.
Later as the Eurostar pulls away bound for Gare du Nord I sit back in my seat with my things stowed and tucked away. I reach for my headphones and wonder if it’ll be snowing in Paris.

I may have fallen asleep to the strains of Seti The First or Colleen and I may have dreamed of the furious toilet attendant starting to slowly rotate and gather her dark tendrils from every corner of the train station causing scaffolding to shudder and papers to fly about in a vortex as she transforms into a typhoon or a tropical revolving storm and disappears down a dark tunnel leaving shards and splinters in her wake and decimated suitcases.

2013 has seen me travel alone across Europe, station to station, in a sometimes delirious state.
It’s been a dream though. And at the same time it’s funny how things are reduced to basic things, like time keeping, eating, sleeping etc. All these things take on extra weight and magnitude.
There is a sense of the epic with otherwise innocuous things. Things that you would take for granted if you weren’t a voyager. It’s in this state of transit and transition that music shows another side to me.
And books too when I can manage to read. I must say that my affliction of a sometimes crippling motion sickness precludes me from reading on trains. It’s something that is always there. Gets worse at night and especially if I lie on my left side. Then I am spun around in a vertiginous whorl and wake in a panic. But music soothes.
And after a concert when I wearily trundle down a hotel corridor relishing the thought of my waiting room I sling my things across the floor and armchair and turn on the television. Hungry for some stimulation of drama /plot / humour English language/ …an antidote to the adrenaline that comes to me each night. A distraction. My records and CDs in boxes stacked on the sideboard. Again I think of myself as a lone traveling salesman / preacher from the last century selling bibles in some erratic trajectory across the map. I don’t know why. There must be a parallel somewhere.
And many is the time, be it in Zwolle or Copenhagen, Zarautz or Barcelona….I’ve found myself flicking on my laptop and searching for unwatched and new episodes of my new favourite series.
And it has been that the only way I could fall asleep was to the sound of a zombie apocalypse as The Walkers (The Walking Dead) invade the compound of the last survivors on Earth somewhere in the former middle America.

I remember one evening back in Dublin I was meeting a friend for a pint on Wellington Quay and we got talking about Breaking Bad and I was telling her who my favourite characters were and why Hank was my hero and how I had seen every episode including the finale…when the barman suddenly materialised at our table (only two seconds previous he had been behind the bar unloading glasses from the steam washer).
And there he stood in silent fury shaking his head slowly and making a zip gesture across his lips and then pointing his finger in my face. My friend Julie looked on in utter surprise. Then he spoke.
‘I can’t believe you are actually talking about Breaking Bad when it’s clear that most people in this room may not have finished Season 5 yet. You’re barred’.

This year I found myself queueing for a ticket in the lobby of The Lighthouse Cinema, or The Screen or The IFI..
I think my favourite film of this year was ‘Ain’t Them Bodies Saints’. Oh my golly gosh.
Casey Affleck is amazing. One of my favourite ever actors.
I went to Oblivion with my son. We love science fiction and he is at the age now where if we go to the cinema together it doesn’t have to be some CGI of an annoying remake of a talking cat. It was pretty slick but still I think ‘Moon’ by Duncan Jones towers high…my favourite science fiction since Solaris by Andrei Tarkovsky.

I haven’t seen ‘Blue Is The Warmest Colour’ yet. Maybe I’ll go next week.
Oh there was another film I loved but I can’t for the life of me remember what it was called.
It was a new American independent shot in black and white and involved a girl going to Paris for the weekend. What the hell was it called again? It had half her name in the title…

This Summer was good for reading. I went away for a few weeks to France and go through a few novels and short stories. ‘Cathedral’ by Raymond Carver. ‘Miss Peregrine’s Home For Peculiar Children’ by Ransom Riggs…. ‘Shall We Gather At The River’ by Irish writer, Peter Murphy…
‘Kafka On The Shore’ by Haruki Murikami..‘True Tales Of American Life’ – edited by Paul Auster..
I have ‘Lights Out In Wonderland’ by DBC Pierre in my pocket at the moment.
And I bought a book of poetry at a reading in Ranelagh a couple of months ago. It’s beautiful.
It’s by Patrick Chapman and is called ‘A Promiscuity Of Spines’.

This Summer I went to The Galway Film Fleadh. There was the world premiere of an Irish directed feature film called Love Eternal. As I took my seat in The Town Hall..(with my folks and sister) I remembered this was where I saw my first ever film in the cinema. Directed by Brendan Muldowney and starring Pollyanna Mackintosh among others it prominently features a song of mine The Wishing Seat. At the risk of giving too much away, the songs occurs at the climax of the film. It’s uncanny how well the song fits. When the producer Conor Barry first approached me with the request to use the song, he gave me viewing copy to see what I thought. Like I said, it was uncanny how it fitted. I think that was my cinematic experience of the year when the opening chords of my song filled the cinema, accompanied by the beautiful cinematography. It’s still touring the festivals of the world and won’t be out for a while. It’s a fine, fine film.

2013 is also the year I rediscovered Blixa Bargeld. And the album he released last spring with Teho Teardo has got to be my favourite album of 2013.

Which lead me to discover for the first time a beautiful duet he recorded with Meret Becker called Stella Maris.
I asked two friends of mine in Cologne (Rita and Sabine) to teach me German.

Oh and this year I saw the Northern Lights for the first time in my life.
But that is another story.

Oh and how can I not mention:

playing with Emma and Vince from Geese to a full house Upstairs at The Grand Theatre in Groningen in January at Eurosonic…

seeing Kris Kristofferson play at Oosterpoort (also in Groningen ) in September while playing Take Root Festival…

Seeing Kevin Barry’s short film ‘Breakfast Wine’ at The Galway Film Fleadh – a gem.

The dream trip to Iceland with ‘Young Hearts Run Free’. A totally moving week and an honour to be invited and to share the adventure with such beautiful people. My heart is a flutter thinking about it.

Catching up with old friends in Reykjavik.

Fresh in my mind is the wonderful (three date travelling festival ) Stille Nacht which I joined in on in December…(a favourite of mine was the show in Lelystad – great atmosphere.)

Seeing Marissa Nadler play in Copenhagen while on tour there.

Crossing the bridge between Copenhagen and Malmo.

Sharing the bill with Efterklang, William Tyler, broeder Dieleman…in The Netherlands..

playing The Kevin Barry Room (not the same Kevin Barry as mentioned above!) in The National Concert Hall in Dublin with two cellists, Kevin Murphy and Mary Barnecutt … and a Steinway Grand Piano.

Playing my first concert in shorts and sunglasses (during a July heatwave) at The Iveagh Gardens, Dublin (opening for Beach House). My guitar pedals nearly melted.

Playing a very memorable show in Barcelona after the ceiling collapsed shortly before I was due to go onstage. No injuries…the show went on in an adjacent room. I still have a piece of plaster as a souvenir.

Recording with Seti The First. A mighty band.

Seeing Katie Kim play several times.

Playing in an old cinema in Zarautz, the Basque Country.

Touring, touring and more touring.

Starting a new album in November…(going to finish it soon)

Going to ‘The House Presents’ monthly club in North Strand, Dublin.

Releasing ‘My Yoke Is Heavy’ on Chemikal Underground.

Working on the ‘Age Of Not Believing’ project in London with Ben Eshmade, Harry Escott and loads and loads of others (album coming out soon).

Playing in the very beautiful Triskel Christchurch in Cork in November.
A very special place.

Oh and did I mention I saw the Northern Lights…?

—Adrian Crowley

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‘My Yoke Is Heavy: The Songs of Daniel Johnston’ by Adrian Crowley and James Yorkston is available now on Chemikal Underground.

http://www.chemikal.co.uk/artists/adrian-crowley
http://www.chemikal.co.uk

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MR. STONEGOAT, GOAT (Korpilombolo, Sweden)

Hailing from Korpilombolo in Northern Sweden, Goat are responsible for some of the most transcendental rock ‘n’ roll creations for quite some time. The band’s universally-acclaimed debut record ‘World Music’ (released last year on Rocket Recordings) sees a spectrum of sounds and styles that are effortlessly combined: from psychedelia, afro beat, African, funk and soul to disco, rock, garage, blues. This December marked the release of the double-album ‘Live Ballroom Ritual’  which captures Goat’s live performance at Camden’s Electric Ballroom in London. 

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This year I haven’t read a book or seen a film. I never keep track with new releases of music. I have been listening to a lot of Beach Boys this year. There is just to much going on in popular culture. For me it’s always been like that. I have to shut off. Otherwise I can’t make music. And I haven’t seen a show either. Just fragments of bands playing at the festivals we’ve been playing on. No, that is not true. I loved seeing Holy Wave every night while we where touring in the US in march. Fantastic band. For the rock-group Goat it has been an interesting year for sure, learning how to play live and doing it on big stages. But more than that it has been like any other year. The commune has had it’s problems with tourism which has forced us to keep a low profile with our origin from now on. Other than that many children have been born and we have celebrated and rejoiced as normal. 2014 I look forward to play and travel with the Goat band some more and also finishing of our next album. I’m also gonna have my seventh child and I will become 25 in January, so I’m gonna have a couple of good reasons to party next year. What I wish more is that the world 2014 comes a little bit closer to acknowledge that individualism is our enemy, spirituality is our guide, and togetherness is happiness. We are all one. There is no boundaries. Peace out!

—Mr. Stonegoat

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‘Goat – Live Ballroom Ritual’ double album is available now on Rocket Recordings.

http://goatsweden.blogspot.ie
http://rocketrecordings.blogspot.ie

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laurelhalo

Cian Ó Cíobháin, An Taobh Tuathail (Galway, Ireland)

Cian Ó Cíobháin is the presenter of An Taobh Tuathail, a music show dedicated to promoting the very best in independent music. Cian’s show is broadcasted on RTÉ Raidió Na Gaeltachta on weeknights from 9 to 11pm, Monday to Friday. Cian also compiles a series of compilations which are made available for free download, at present the An Taobh Tuathail series is at volume 6. Additionally, Cian DJ’s at 110th Street, Galway, with Cyril Briscoe.

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In 2013 I LOVED…
LPs by My Bloody Valentine, Jessy Lanza, Laurel Halo, Oneohtrix Point Never & Chequerboard; surprise LP of the year was from These New Puritans, well worth spending time marinating in it; spending a magical break with my truelove in south Kerry last May, that lovely time of year as summer is slowly getting into her groove; successfully having laser eye surgery in mid-summer after a serious injury which resulted in six months of corneal pain made a huge change — for the positive — to my mood and sense of wellbeing; Thurston Moore live in Róisín Dubh, Galway accompanied by John Fahy simply confirmed that the former Sonic Youth frontman might still be the coolest man on the planet; continuing to meet great new people in clubs and at after-hours sessions; The Great Heatwave of July 2013; resurrecting old club night The Hive (a club for music lovers, by music lovers); being in Croke Park for Kerry V Dublin, possibly the greatest game of football I ever saw in the stadium, the superlative display from both teams numbed the pain of defeat; wonderful nights playing records in the Blue Note, Galway with my good friend Cyril Briscoe to people who truly know how to get down; genuinely amazing & unexpected fun DJ-ing at weddings in Co. Down and Co. Mayo (with a Funktion1 soundsystem), a whole new experience for me, I’m already taking bookings for weddings in 2014; the last season of ‘Breaking Bad’ was the most perfectly written season of TV I’ve ever had the privilege of seeing; having only made two pods/mixes during the first ten months of the year, I hit a November purple-patch with 4 new expressions of my musical interests VIA mixes & pods for The Hive, 110th Street, ATT & Shock; immersing myself in the books of Carl Sagan, what a wonderful & wondrous human being he was, indeed I read a great number of books this year … aside from immersing myself in music, reading is my sanctuary; those wonderful and inspiring mails I get from listeners of my show, from the most personal to the most flippant, I love each and every one of you, keep them coming, they are my Ready Brek during these dark winter mornings.

—Cian Ó Cíobháin

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‘An Taobh Tuathail VOL 6’, compiled by Cian Ó Cíobháin, can be downloaded for free HERE.

http://www.rte.ie/rnag/an-taobh-tuathail/

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Moonface

Siobhán Kane, Young Hearts Run Free (Dublin, Ireland)

Siobhán Kane runs Dublin-based collective Young Hearts Run Free, which (since 2008) organizes music and literary events in unusual spaces across Dublin, in aid of the Simon Community. The next event being organized by Young Hearts will be a very special concert at Dublin’s Christ Church on New Year’s Eve. The gala concert comprises an extensive lineup featuring the wonderful talents of Moonface (Jagjaguwar) and Alasdair Roberts (Drag City). Siobhán Kane’s journalistic and literary talents can be seen in many musical and cultural sections of the press, and has written in the past for The Wire, Thumped, The Irish Times and The Quietus. 

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In a way, looking back on the year feels like remembering light, as it has been a year full of unexpected, heartening experiences.

One of my favourite things this year has been some of the experiences running Young Hearts Run Free. I have been doing it since 2008, and it has been a real labour of love. I have about three jobs that are quite time-consuming, and didn’t realise that Young Hearts was also going to take up so much time, but it is worth it. It kind of places everything out of a fuzzy focus, and distills so much of what I love about living in Dublin; particularly people’s open-heartedness, and sense of adventure, which is good, as I am always thinking of unusual venues, and odd ideas to carry out.

This year saw some real highlights of the project so far; Andy Irvine singing The Blacksmith (among other things) in the House of the Dead on Ushers Island, providing a very emotional evening for many of us, or our pub skip around the city with an intimate, willing audience with musicians like Alasdair Roberts, and Lisa O’Neill, or taking the project to Iceland Airwaves, with Dónal Lunny, Adrian Crowley, Katie Kim, The Spook of the Thirteenth Lock, and Conor O’Brien.

That whole experience in Reykjavik now resembles a misty dream I feel I had once. I felt like my teenage self had burst through the pages of my novel as an adult and made it happen. We raised a good amount for Konukot, the homeless women’s shelter there, and had two brilliant showcases; one in Lucky Records, and the second in the Volcano Museum. Before the musicians had gone to Iceland, they had been in touch with each other about potentially collaborating on some songs together, and they eventually landed on Cúnla, A Pair of Brown Eyes, and On Raglan Road.

It’s hard to describe the feeling when those collaborations eventually happened live, and the tender excitement and enthusiasm shown by each musician was humbling, and the experience rejuvenated my fatigued self, because it reminded me of partly why I wanted to set up Young Hearts in the first place, in the hope that some kind of magic might happen. I couldn’t have imagined going with a better group of people, we had so much fun, and even now, writing about it, reminds me of how lucky I am to know such lovely, generous people, who have become friends.

We are now getting ready for our New Year’s Eve concert in Christ Church Cathedral, which to be honest, doesn’t really seem real. From the days of doing crazy events in the basement space of Clarendon House to this, has been an unexpectedly emotional journey, and at times severely anxiety-inducing, but ultimately it has meant so much, not least because of the money we raise for the Simon Community, but how it raises hearts, and brings out some really great people, and that has been something of an anchor in really difficult times the last few years.

It also reminds me of one of my favourite records of the year, because we are bringing over Moonface/Spencer Krug to play, who has always been an intriguing musician, whether when playing as part of Wolf Parade, or Sunset Rubdown, or his collaborations with Dan Bejar, I am always interested! And I really fell in love with his new record on Jagjaguwar, Julia with Blue Jeans On – it is possibly my favourite record of the whole year; elegant, epic, and emotional music – just his voice and the piano, everything is stripped right back to reveal something so true – anguish, pain, and love, it’s all there.

Some of my other favourite records of the year come from Alasdair Roberts, with his A Wonder Working Stone (Drag City) and his recent collaboration with the poet Robin Robertson Hirta Songs (Stone Tape Recordings) – both are very different, but they  harness an unusual tone of storytelling, it is so singular, and with Hirta Songs, the two singular artists totally transport you into a different world filled with sea imagery and sad farewells.

In a slightly different sense, this could also be said of Adrian Crowley and James Yorkston’s record – a loveletter to Daniel Johnston’s work – My Yoke is Heavy (Chemikal Underground) – this came as quite a late gem in the year, and has kept me quietly moving company ever since; sad and brilliant.

It does seem like so many of my favourite records tend to be sad ones – so I need to jazz this up a little by hurtling through some other, more rather upbeat compositions. I was very excited by Beyoncé’s record, and am enjoying that at the moment, Fuck Buttons’ Slow Focus is excellent, as was Colin Stetson’s New History Warfare Vol. 3: To See More Light – he is such an exceptional musician, and his work on the saxophone is so subtle, and fascinating, and when experienced live honestly provides goosebumps – as for him, the work is almost an athletic endeavour as well as creative. I loved Villagers {Awayland} – particularly songs like My Lighthouse and The Waves, and Julia Holter’s dreamy Loud City Song, and Laurel Halo’s Chance of Rain.

There have been so many good records this year, like John Grant’s Pale Green Ghosts, and Pusha T’s My Name is My Name – he is just so good, and I have always been a fan of his from his Clipse days. M.I.A.’s Matangi has some mind-bending production, as does Jon Hopkins’ Immunity, and the atmosphere on Forest Swords’ Engravings is slow-burning and immersive – off-kilter brilliance. And I am also now thinking about El-P’s and Killer Mike’s collaboration Run the Jewel’s because I have always been slightly obsessed with El-Producto, and think him a wonder, and was a willing lemming for most Def Jux releases – as I was for Rawkus – it’s nice when you have a fidelity to a label, I still check in with Stones Throw, but there are so many great independent labels trying to make wonderful things happen – I am a devotee of Light in the Attic Records in particular, they bear witness on so much good unheralded or out of print work, as well as underrated and unusual artists. Goodness, if I start writing about record labels I won’t stop.

Bill Callahan’s Dream River is one of my favourite records of the year. I used to have quite a fractious relationship with some of Callahan’s earlier work, but I genuinely love it now, there is so much poetry in it, and his voice just knocks me over into a swoon. His new record is pared back beauty, and his imagery is so evocative, he always returns back to the idea that though acute ecstacy can be achieved, you must always fall back to earth, but need to continue to pursue true happiness, continue getting back up. The record possesses a calm that I have really responded to. He has recently said that he knows what his next record is going to be, and it is going to be his “best yet”, so I am giddy in anticipation. The National’s Trouble Will Find Me has also kept me good company, with its interesting lyrics, and Matt Berninger’s yearning, crumpled vocal that captures such true feeling. Mark Kozelek & Jimmy Lavelle’s Perils from the Sea is a great meeting of minds, as Lavelle’s subtle electronica is a perfect foil for Kozelek’s heavy load, and Deerhunter’s Monomania was all delightfully creaky dream pop bric-a-brac. I thought Arcade Fire’s Reflektor contained a strange joy, and then there were people that came back that I had missed, such as Paddy McAloon – one of my favourite ever musicians, and I really enjoyed Prefab Sprout’s Crimson/Red – it’s so much about love, maybe, and McAloon does it so elegantly, cleverly, and always from the heart. I also liked Boards of Canada’s Tomorrow’s Harvest a lot, and Oneohtrix Point Never’s R Plus Seven, Low’s Invisible Way, Charles Bradley’s Victim of Love, and it was nice to have Nick Cave & The Bad Seeds go away from Grinderman work and towards Push the Sky Away – I just really liked the luscious composition and erudite lyrics. The same could be said of David Bowie’s The Next Day, I was so glad that he just popped up with such understated elegance.

There are so many other great records, but this is getting too long and this is without writing about the books I have lived with, concerts gone to, and films and television watched, so I will whittle down as best I can to a semblance of other things from the past year.

Music and books are probably the things I love most, so it’s hard to go back on the year, but I just got round to reading Grant Morrison’s excellent Supergods: Our World in the Age of the Superhero,and Eimear McBride’s surreal and gripping A Girl is a Half-Formed Thing. Morrissey’s Autobiography was a delight, as was Tracey Thorn’s Bedsit Disco Queen, it was so well-written and revealing, and she zaps you right into the period, the politics, and the cultural references. In a weird way, her book, and Morrissey’s, greatly complemented each other, although Morrissey’s book often made me laugh out loud, he has such a gift with language, that I was often quite dazzled by it. I always have some John McGahern on the go, and am re-reading some of his earlier short stories at the moment in the collection Nightlines. I am also reading Lockout by Padraig Yeates – it has been so inspiring, all this work around the Lockout, and so topical. Alex Ferguson’s autobiography was illuminating and David Peace’s Red or Dead was an epic achievement. I also re-read Mary Robinson’s autobiography Everybody Matters, as she is a great beacon, and there are so many other things! I also liked the children’s book Heap House, by Edward Carey, it is so funny and imaginative. and James Salter’s All That Is, and also the really sad, but completely engaging Woody Guthrie’s Wardy Forty: Greystone Park State Hospital, about the five years Woody spent as a patient at the Greystone Park State Hospital – it’s really moving, and I read the reissued Stoner by John Williams, which just floored me – it made perfect sense that John McGahern did the introduction to it – there is a definite sympathy between those two writers, somewhere – perhaps in the examination of a quiet tragedy, which are almost always the worst.

Concert-wise it is so hard to write highlights, because there have been so many, but some that come to mind would be The National in the Marquee in Cork, The Walkmen at La Maroquinerie, Paris, and The Walkmen at the End of the Road festival in Dorset, and there they dedicated a song “to the late, great Seamus Heaney” as he had passed away only a few days before, little did I know that would be the last time I saw The Walkmen together – live – as a band (for now, hopefully). One of my other highlights was seeing Grizzly Bear in Iveagh Gardens in Dublin. Iveagh Gardens is very special to me, and I never thought I would see one of my favourite bands there – it was very magical, very surreal, and very moving. There were a few lovely evenings there, including the dreamy Beach House, but really all my heart was full of for so long was Grizzly Bear in Iveagh, they spin a magic that is hard to describe, it transports and means so much (to me).

Dan Deacon in Whelans in the earlier part of the year was just brilliant but he always somehow lifts, no matter what is going on in your life, he radiates so much warmth and fun and love, also Winged Victory for the Sullen at the National Concert Hall was genuinely beautiful, Angel Olsen in Whelans was another highlight, just her and her guitar, she was mesmerising, and kind of resembled a lovely cat singing, and then Thee Oh Sees in Whelans were another highlight, they make you feel like you are 14 and you are going to take on the world and win. That was how I felt also with Konono No.1 in Whelans. Looking back there were so many great concerts, how lucky I was to have gone to so many; Public Enemy in the Button Factory, Egyptian Lover in the Sugar Club was hilarious and great, Why? in Whelans, Colleen in the Unitarian Church supported by Seti the First was shimmering, subtle beauty, Immortal Technique in the Sugar Club was raw, indignant and great, Chromatics/Glass Candy in the Village. Lee Fields in the Sugar Club was one of the best things I have ever been to, experiencing Ennio Morricone at IMMA was a really special thing, and The Music Tapes in the Workmans Club were so charming, and had a little game for the audience to play at the end. I really loved Low in Whelans, and the day after Tame Impala in the Olympia – I felt quite delirious about those two days. Also, Charles Bradley in The Sugar Club was fizzing with energy, and he had a costume change or two, which I admired, and I also enjoyed Villagers Christmas homecoming with Stargaze in Vicar Street.

There were many other things too, like experiencing comics such as Reggie Watts, Stewart Lee, Eddie Pepitone and David O’Doherty, and recently I got to see Harry Shearer in London do a Christmas revue of sorts, with his wife and several guests, and on the same trip, I caught Dan Bejar at Bush Hall doing a solo set, it was around the release of his latest EP, but he also revisited so much of his work from Destroyer’s Rubies, Kaputt and other records – it was such a delight to experience – particularly as he said he won’t be playing again until 2015. My memory is quite scattered at present, and I am sure that I will have forgotten experiences that have made my year, but I know it means that there have been lots – I look to mainly experiences shared with people, such as festivals like Primavera, or End of the Road, or Iceland Airwaves – I think of the feeling of being glad to be alive when David Byrne and St. Vincent performed on the Friday night at End of the Road, or when Belle & Sebastian took to the stage at the very same festival, or when John Grant and Conor O’Brien duetted on Glacier at Wiltons Music Hall in London, or feeling devastated in Croke Park with my Dad when Mayo lost the All-Ireland (again), but happy for Dublin to win, if someone else had to. On the other end of the spectrum, there are all those things you might experience alone sometimes – and for me, this year, it has been cackling at Louis CK on his perfect show Louie, or anything Larry David has done or will ever do, or being freaked out by the most violent bits of Homeland, revisiting one of my favourite shows Northern Exposure, feeling genuinely bereft when Breaking Bad finished, being immersed in Eileen Gray’s show at IMMA, and just all those simple times spent reading, walking by the sea and cycling – those things are great things to look back on with fondness in 2013, and all the cosy times spent with family and friends.

Lastly, all the films that have come out this year – there have been so many good ones – I really loved Philomena, and Good Vibrations, and Woody Allen’s Blue Jasmine elicited an astonishing performance by Cate Blanchett, Before Midnight was charming and sad and true, and hopeful (hopefully), and made me want to take off for Greece, Blue is the Warmest Colour was so affecting, and I got to see the Coen Brother’s new film Inside Llewyn Davis, which is beautiful and has such an odd atmosphere, and the documentary Big Star: Nothing Can Hurt Me – was good, and sad (a common theme!), and another interesting music documentary Beware of Mr Baker – about drummer Ginger Baker was excellent, though he is quite scary, and The Selfish Giant was lovely.

It’s strange to look back on the year, I know I will have forgotten so much, but it is a great exercise, because it reminds me of all that is good in the world, when things are so often difficult. The arts, like Laurie Lee once wrote (although it was about love) are like “the oil that plumps us up, dilates the eyes, puts a glow on the skin, lifts us free from the weight of time”. I hope that 2014 provides more of the same, where we can all live in the “private grip” of such beauty and inspiration. It helps us to understand ourselves more.

Siobhán Kane

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Young Hearts Run Free present: Moonface, Alasdair Roberts, Dónal Lunny (and more) at Christ Church, Dublin, this New Year’s Eve. Doors 8pm, tickets in aid of the Simon Community.

http://youngheartsrunfree.ie

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SONY DSC

Benoît Pioulard (Seattle, USA)

Benoît Pioulard is the alias for Seattle-based composer Thomas Meluch, who has to date released a string of formidable albums on Chicago-based independent label Kranky, culminating with this year’s stunning ‘Hymnal’. A very special compilation ‘Hymnal Remixes’ will be available on 21 January 2014, featuring remixes by Brambles, Fieldhead, Loscil, The Remote Viewer and many more. Pre-orders can be made now (including exclusive immediate download of 5 tracks) HERE.

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My favorites of the year:

Book : ‘Tenth of December’ by George Saunders
Film : ‘Leviathan’
Album : ‘Tomorrow’s Harvest’ by Boards of Canada

—Thomas Meluch

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‘Hymnal’ by Benoît Pioulard is available now on Kranky.

http://pioulard.com
http://www.kranky.net

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marylattimore

MARY LATTIMORE (North Carolina, USA)

Mary Lattimore is a Philadelphia-based harpist whose name has become synonymous in independent music circles as both a gifted solo composer as well as a versatile and accomplished collaborator. ‘The Withdrawing Room’ is the debut solo album by Mary Lattimore, released earlier this year on Desire Path Recordings. Limited to three hundred copies on black vinyl, the album draws from drone, ambient, folk and world music traditions. Lattimore’s harp compositions can be compared with Julianna Barwick’s choral-based harmonies, where both artists loop their chosen instrument to magnificent effect. Mary Lattimore has collaborated with a vast array of musicians to date, including Thurston Moore, Ed Askew, and Sharon Van Etten.

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Hi from North Carolina, here on my parents’ farm.

Favorite Things of 2013 List

Favorite Records (in no order)
Grouper – The Man Who Died In His Boat
Julianna Barwick – Nepenthe
Nils Frahm – Spaces
Daniel Bachman – Jesus I Am A Sinner
Sarah Neufeld – Hero Brother
Kurt Vile – Wakin on a Pretty Daze
True Widow – Circumambulation
Brent Arnold – Night, Exquisite
I Am The Center: Private Issue New Age In America compilation
Chris Forsyth – Solar Motel
Purling Hiss – Water on Mars
Emerald Web – The Stargate Tapes (Reissue)
Neil Young – Live at the Cellar Door
My Bloody Valentine – MBV
Steve Gunn – Time Off
William Tyler – Impossible Truth
Body/Head – Coming Apart
Mark Kozelek and Jimmy LaValle – Perils From the Sea
Michael Chapman – Wrecked Again (Reissue)
Chance – In Search (Reissue)
William Onyeabor – Who is William Onyeabor? (Reissue)

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Favorite song of 2014
https://www.youtube.com/watch?v=bsoqmFL1vlU

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Favorite new place
Asbury Park, NJ

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Favorite shows of 2013
Body/Head at Union Pool (NYC)
War on Drugs New Year’s Eve at Johnny Brenda’s (Philly)
Cass McCombs at Boot and Saddle (Philly)
Ed Askew Band (Philly and NYC)
Sun Ra Arkestra at Union Transfer (Philly)
Spiritualized at Union Transfer
Julianna Barwick at Mann Music Center (Philly)
Sarah Neufeld and Colin Stetson at World Cafe (Philly)
Chris Forsyth and the Solar Motel Band residency at Ortlieb’s (Philly)
Spacin at the Philly Record Exchange
Animal Collective Halloween at Union Transfer
Belle and Sebastian at Mann Music Center (Philly)
Woods/Parquet Courts at Morgan’s Pier (Philly)

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Favorite performance experiences of 2013
Playing in Grand Central Station (NYC) accompanying 60 dancers wearing visual artist Nick Cave’s Soundsuits twice a day for a week. Was truly an amazing experience.

Playing a few covers with Jeff Zeigler, Sharon Van Etten, and Adam Granduciel (War on Drugs) for a benefit for the Rail Park in Philly. We played a Big Star song, a Lou Reed song, and one of Sharon’s. Sooo much fun with those guys.

Little tour with Jeff Zeigler and Daniel Bachman, sleeping in this beautiful room in the incredible Coward Shoe in Baltimore.

Opening for Jeff Mangum with my great Tall Firs friends Aaron and Dave.

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Favorite Art I Saw in 2013
Mike Kelley at MoMA P.S.1 (NYC)
James Turrell at Guggenheim
Outsider Art exhibit at Philadelphia Museum of Art
Wharton Esherick House in Malvern, PA
Anthony Campuzano: Local Color
Psychedelic poster exhibit at Smith College in Northampton, Mass

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Favorite Day
Greatest birthday this year, thanks to my friends Gary O, Adam, Faryal, Dana and Jan. Yogurt with fruit, the beach, recording with the War on Drugs, tarot reading, Eric Copeland/Kid Millions/J Spaceman show, going down late at night to get close to those towers of light that they project to represent the World Trade Center, with all of the hundreds of white birds spinning and swirling in the light, so unreal. Was a perfect day. 

—Mary Lattimore

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‘The Withdrawing Room’ by Mary Lattimore is available now on Desire Path Recordings.

http://marylattimore.net
http://www.desirepathrecordings.com

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mctaylorphoto-by-Harlan-Campbell

M.C. TAYLOR, HISS GOLDEN MESSENGER (North Carolina, USA)

Hiss Golden Messenger comprises the Durham, North Carolina songwriter M.C. Taylor and multi-instrumentalist Scott Hirsch, who resides in Brooklyn, New York. Additionally, Terry Lonergan plays drums and percussion and – together with Hirsch and Taylor – combine to form one of the finest rhythm sections around. Hiss Golden Messenger’s four studio albums to date – culminating in 2013’s magnificent ‘Haw’ (available now on the North Carolina-based label Paradise Of Bachelors) – confirm Hiss Golden Messenger’s place to the forefront of the Americana music tradition, like Whiskeytown and Uncle Tupelo before them.

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Your personal favorite album from the year?

As far as new records, I’d probably say William Tyler’s Impossible Truth. I spent a lot of time on the road with William and heard those songs in various iterations. I think what William is doing — his whole process and aesthetic — is really beautiful and singular, very thoughtful and inspirational. There’s nobody else making music like he is.

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The music you found yourself listening to the most during the year?

Anytime anyone asks me what I’ve been listening to, I suddenly can’t remember. But I just looked at my phone, and was reminded how much I love Steve Gunn’s Time Off . Also, Lal Waterson’s Teach Me to Be a Summer Morning was a gorgeous set of recordings; she later made Bright Phoebus with her brother Mike, which drew on some of this material, and is a pretty foundational album for me. Gal Costa’s India is something I’ve spent a lot of time with lately, as is African Songbird, by Sathima Bea Benjamin. Oh, and the Cocteau Twins’ Heaven or Las Vegas is something I’ve been revisiting. What a great, great album. Anything by Ann Peebles too, I really like her music — Straight From the Heart is the album of hers that I’ve listened to most recently.

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Fondest memories of touring ‘Haw’ in US and EU?

It’s rare for me to not have a good time playing music anywhere, but my 2013 was bookended by some very special shows. In February of 2013, I was honored to take part in a round robin performance with my pals Heather McEntire (of Mount Moriah), Phil Cook (of Megafaun) and Amy Ray (of the Indigo Girls) in my hometown of Durham, North Carolina. Then, at the end of October, I played my last show of the year at the Haw River Ballroom in the rural town of Saxapahaw, NC, with friends The A’s (Amelia and Alexandra from Mountain Man) and Brad and Phil Cook (from Megafaun). The Haw River Ballroom is, in my opinion, among the most beautiful performance venues in the Western Hemisphere, and it was a real gift to play there.

William Tyler and I also toured the UK by train for the second time in May, which presented its own unique set of challenges but is a pretty incredible way to see that part of the world. Our last show of that trip was recorded and is available to hear as London Exodus.

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Most special moments from 2013?

My wife and I had a baby girl, Ione Clare, on July 1st, 2013. Everything about this year was centered around her arrival. Now we’re learning about life with two kids!

I’ve been very lucky to continue to make music with my longtime friend and musical partner Scott Hirsch (who also had a baby girl, Issa, this year). We just completed the recording for the next HGM album, which will come out sometime this fall, and we were so fortunate to involve many of our friends, including Brad and Phil Cook, Terry Lonergan, Matt McCaughan, Alexandra Sauser-Monnig, Chris Boerner, William Tyler, Matt Douglas and others.

—M.C. Taylor

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‘Haw’ by Hiss Golden Messenger is available now on Paradise Of Bachelors.

http://hissgoldenmessenger.blogspot.ie
http://www.paradiseofbachelors.com

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Sorcha-Richardson

SORCHA RICHARDSON (New York, USA / Dublin, Ireland)

Born in Dublin, Ireland, Sorcha Richardson is a New York-based songwriter. 2013 saw the release of Sorcha Richardson’s latest EP ‘Last Train’ on Paris-based independent label Crosswalk Records. An earlier EP  ‘Sleep Will Set Me Free’ from 2012 (featuring ‘I Heart NYC’ and ‘Birds Of Summer’) would establish recurring themes in Richardson’s songwriting — longing, connection, and a deep sense of place — where the surroundings of New York would have a growing impact on her musical output. To date, Richardson has also collaborated with numerous acts, including New York electronic outfit Colossal Mantis and the hip hop-infused project CON VOS, who release their debut EP ‘Cocoon Bloom’ in January 2014. 

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I rang in 2013 at a New Years party in a cottage in Wicklow. I was home from New York at the time, with a five-week Christmas break from college, so I packed as much music into those winter weeks as I could. By the end of January I had played at Whelan’s Ones To Watch Festival, travelled to London to meet with some music folk, played a sold out show Upstairs in Whelan’s (with a beautiful set from Little Rivers to open the night), travelled to Kaiserslautnern, Germany with my two bandmates, where we stayed in a hotel that had just been renovated from a prison (the hotel rooms kept all of the features of the prison cells), did some German radio promo, played to a packed out venue and then went on a bar crawl with the locals before flying home and going straight to the studio from Dublin airport to finish recording some songs for my EP. While at the studio I received an email from a hip-hop duo in New Jersey, interested in starting an indie-pop group and recording an EP. That was not an email I was expecting to get or a project I thought I’d become involved with, but within three weeks CON VOS was formed and our debut EP was complete.

Music took a bit of a backseat from February to May while I was busy finishing college. I majored in fiction writing and minored in film studies the nature of my degree meant that my final projects consumed a huge amount of creative energy. It feels like I spent every spare minute either reading or writing for those four months. But before I graduated, I skipped out of New York for a few days to visit some friends in LA. Then we drove down to Southern California for Cochaella, a festival I have wanted to visit for years, long before living I had any idea of living in America in my late teens and early twenties. That was one of the most fun weekends of the year.

I graduated college in May and then flew home to Dublin for a string of Irish shows. I played a headline show at The Workman’s Club with the super talented Liza Flume supporting, as well as festival sets at Knockanstockan, Castlepalooza and Indiependence and a really enjoyable show at Roasted Brown Café in Temple Bar with I Have a Tribe and Kinds & Cavaliers.

When I flew back to New York at the end of August, I had no idea what I would do when I arrived. It was the first time I was coming into the city with no plan in place. Since returning, some of the highlights have been moving to Brooklyn, spending a weekend at the Toronto Film Festival, releasing my EP, Last Train via Paris indie label Crosswalk Records, seeing Stevie Wonder play a show in Central Park, seeing Drake and Kanye West play at the Barclay’s center, seeing Laura play in a little church in Borough Hill, introducing CON VOS to the world in the form of Coast and Central Park, two tracks taken from our forthcoming EP, and have a very quintessential Thanksgiving with college friends in New Jersey and Philadelphia.
I’m really looking forward to getting home for Christmas and to be finishing out the year with a gig at Whelan’s on Dec 30th. Sails and Fears, two of my favourite Irish bands of the year, are supporting, so I’m really happy to have them on the bill. I’ve had both bands on repeat since discovering their music. Some other musicians that have soundtracked my year include Daughter, Wilsen, Foals, Jessie Ware, Haim, Lorde, Sampha, Drake, Kendrick Lamar, Kanye, Kyson, Volcano Choir Polica, FKA Twigs, Villagers, Blood Orange, Winter Aid, Slow Skies, I Have a Tribe, Rae Morris, Lovelier Other, Pale Seas and London Grammar. American Hustle, Behind the Candelabra and Enough Said were all films that I enjoyed a lot and Breaking Bad, VEEP, Modern Family and Friends were most commonly played on TV.

—Sorcha Richardson

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‘Last Train EP’ by Sorcha Richardson is available now on Crosswalk Records.

http://sorcharichardson.com
http://crosswalkrecords.com

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James-Murphy

YVONNE MCGUINNESS (London, UK / Cork, Ireland)

Yvonne McGuinness is an Irish artist who is currently living and working in London. McGuinness’s practice encompasses performance, video, photography and writing. Her work often takes the form of video works, which are sometimes a documentation of a performance or a stand alone film. Recent works such as ‘Procession’ (2012) where she staged a procession on the island of Inis Oírr off the West Coast of Ireland which was documented and made into film. Another recent work the film ‘This is between us’ (2011), was about the artists relationship with her mother. 

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2013. It was a good one for me. I got out more, I saw more things, I heard more things. I went to Body and Soul for the first time and never wanted to leave. Apart from the the bigger gigs (Jon Hopkins and James LCD Soundsystem my favs) I never wanted to leave the ‘our house’ tent. Every night it rocked with unpretentious hands in the air songs and I haven’t danced liked that since 1999. I try to be an artist but most of the time I lament on not being one but then I see certain shows and I think there’s a place for me and desperately want to make things. Laure Prouvost and her show at the Whitechapel, London was one of those catalyst moments. She’s French, she’s just won the Turner Prize — a bit too prematurely I think — so you’re going to know a lot more about her. She makes films that are funny, odd and brilliant and they stay with you despite their constant shift in register with sound and image. Place and event and all time good community festival and just a really positive weekend was Feile Na Bealtaine in Dingle. This is run by the community which is what we Irish are good at. It was heartfelt and uncommercial and I met some amazing people. Every night there was something great on, one of my best gigs of the year was This Is How We Fly at the St James Chapel, home of Other Voices, get their new album it’s stunning. On a closing note I’m reading ‘The Golden Notebook’ again, by Doris Lessing. She just died, she was a fierce lady, a Nobel Lauriet and she’s off somewhere now with Seamus Heaney, Lou Reed, Nelson Mandela and Peter O’Toole doing the do.

—Yvonne McGuinness

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http://yvonnemcguinness.com

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jon-Hopkins-Immunity

MARY NALLY, DROP EVERYTHING (Galway, Ireland)

Mary Nally is the creative force behind Drop Everything, a free contemporary cultural event which takes place in the picturesque surroundings of Inis Oírr, Galway. Designed to encourage and inspire creative exchange between artists and audience alike, 2013’s programme included No Way Back featuring Frank B, John Daly & Ger Z, Bande Apartment, February & Mars, White Collar Boy — among others — and a live set from Steffi & Virginia on Inis Oírr in July. Drop Everything’s 2014 festival will take place on Inis Oírr, Galway from 23rd to 25th May 2014.

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I’ve been asked for my highlights in everything. Now there’s been quite a few from breaking in the backdoor of the Nicolas Jaar party at some palazzo during the Venice Biennale to having the chats and super lolz with Richard James at Pleasure Principle.

Between 15 festivals, at least 7 significant parties, 5 live shows, a fair few art exhibits, one or two clubnights, a few random mad ones and all else in between… these, in no particular order but sort of chronologically are my top memories, highlights and magic moments from 2013.

1. –Lightshow at my absolute favourite Gallery ever the Hayward, David BatchelorCerith Wyn Evans and Jim Campbell’s pieces were particularly captivating and class in this group show.

2. –Beirut, one of the most interesting places I have ever been. I now am on first name terms with half of the publicans there, enjoyed more than one world class lunch at the restaurant Tawlet and can’t wait to go back and take up smoking and hang with the aul lads in the deadliest fucking record shop on earth.

3. -Dublin City’s most interesting festival (in my opinion) OFFSET, three days of not stop design talk brilliance. Kate Moross won with this line, “If you can’t do it. Learn how.”

4. -A roadtrip to Carrick-On-Shannon to the Phase One festival with the gent that is Cian Ó Cíobháin, the tunes & sandwiches he made us for said roadtrip definitely get a “the highlight of the year” award.

5. –Pleasure Principle in Cornwall. Not one bad set all weekend but TNGHT took the overall gold from me.

6. –Ballymaloe Lit Fest for some random foods, drinks and garden walks.  Alys Fowler is definitely one of my hero’s of the year.  Check out her column in the Guardian and have a go at planting things.

7. -VENICE,  The Venice Biennale, the highlight of my every two years. It needs no introduction and there’s no point in an explanation. It’s just everything. Art overload. Party overload. Prosecco overload. 2013 included moments like James Lavelle giving me his phone number, losing the phone ten minutes later and missing the flight home. Time of my life!

8. – Boris Festival of Writing and Ideas where PJ Harvey was the main draw but Michael Craig-Martin was the main event. What a legend.

9. – Body&Soul Festival, a given. JON HOPKINS was beyond a doubt the superstar of this show, although Mother’s rave in the woods under the stars and the sparkle of a discoball did hit all the magical notes.

10. – Inis Oírr, particularly the sunset on our impromptu party with Steffi & Virginia, a super special one that one will last long after the sun goes down on this year.

11. – John Gerrard’s show and lecture for this years Galway Arts Festival. Mindblowingly good.

12. – Inis Turk, lolled out there with a new crew of keepers, midnight swims and falling stars make for yearly highlights but our charted boat to Inishark to find the 4Bothies Gallery is stand out sensational.

13. – No Way Back – a party myself and my lil friends threw. I can safely say the John Daly/Ger Z combo dropping this track at 5am is the stuff that highlights are made from. But following nights lolz and stories with the bff crew on a rollover in a hotel called The Rio are the extra special moments that really count.

14. -The Electric Picnic gets a shout out, not for it’s messy site but for sets from BjorkThe Knife and the David Byrne/St.Vincent duo. Perfection at its best.

15. -Dinner and a Show with Neil Watkins and Co. Exceptional night at Dublin Fringe.

16. –Leonard Cohen one week and Fleetwood Mac another.

17. -Without a doubt the ultimate highlight of my year has nothing to do with music or lolz or amazing food, mind blowing art or a Rick Owens fashion show. It was October 1st, when a man named Herman Wallace was freed from prison. He spent over 40 years in solitary confinement for a crime he didn’t commit and finally his conviction was overturned. A bitter sweet victory. Know this mans story. A true, true hero.

18. -Watching a Saints game in a bar that is really more like a garage called Little’s People Place in New Orelans is major memorable as is the polar opposite tour of NeueHouse in Manhattan, incredible set up for the creative elite.

19.- October turning to November in Iceland. The Aurora Borealis lighting up the sky as I stepped out of Keflavík Aiport and waited for a bus to Reykjavík. There for Iceland Airwaves and it’s stars were Jon HopkinsSin FangMúm and Omar Souleyman. Also Sóley’s secret gig in her garage and the party we threw in a bar called Dolly with Clareman Daithí.

20. – The last weekend of November spent in a country manor somewhere in Meath surrounded by deadly pals when this tune dropped.

21. – The Dingle Peninsula. There for some Other Voices lolz – Alice Maher talking about life at Banter and scoring a ticket to see John Grant close the show in St James’ are up there in highlight territory… but looking out at the Blaskets on an overcast Monday afternoon and a drive over the Conor Pass seeing the December sun begin to set over Dingle Bay in the rear view mirror is how I’ll remember this trip.

And so it goes 2013. All that’s left now are a few debauched Christmas parties, reading all the newspapers ‘A Year in Pictures’, brandy & baileys with the bffs on Christmas Eve and dancing from 23.59 New Year’s Eve until the sun rises on 2014.

2013, done.
2014, let’s do this.
*update – oh and meeting this lad.

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Drop Everything will take place May 23-25, 2014 at Inis Oírr, Co. Galway, Ireland.

http://www.dropeverything.net

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Lucurecia_Dalt_by_Catalina_Perez_2

LUCRECIA DALT (Berlin, Germany)

Colombian-born and Berlin-based artist Lucrecia Dalt released her latest album — ‘Syzygy’ — this October on Berlin-based independent label Human Ear Music. The album (follow-up to the wonderful ‘Commotus’) confirms Dalt’s status as one of the most intriguing composers making music today. Whereas previous album ‘Commotus’ stemmed from bass-driven compositions, ‘Syzygy’ finds Dalt shifting the sonic palette to a more dreamy, ambient-textured palette (she could not use the bass notes as her apartment was in close proximity to the metro line). Film provides much inspiration for Dalt’s practice as a musician, and cites the film work of John Cassavettes, Michelangelo Antonioni and Ingmar Bergman as influences for ‘Syzygy’. 

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List of favorite things from 2013

I have a top 2 records of the year: Jerusalem in my heart – Mo7it Al-Mo7it and Connan Mockasin – Caramel.
but,
there are random things I enjoyed a lot this 2013 like (just as they appear in my memory):

Mac Demarco – Rock and roll night club (the first song of this album)
the concert that “Don The Tiger” gave at Miscelanea in Barcelona
the concert that “za!” gave at Apolo in Barcelona
the concert that Stephan Mathieu gave at KW in Berlin
Julia Holter performing “try to make yourself a work of art”, Corey (the drummer) suggested once to do an extended version of it, I couldn’t agree more!
Touring with Suuns
I hate absinthe
Touring with Julia Holter
I love German wine
I also love Catalan wine
moving to Berlin
I miss the fruits in Colombia
there’s this track by Holden called ‘Seven Stars’
Playing darts with Jason Grier and Ekkerhard Ehlers.
I love Landjäger
Strangely, I stopped liking coffee this year, but I still like to smell it, prepare it, watching people enjoying a cup of coffee.
Realising that a group of people a la “Savage detectives” of Bolaño, existed in Berlin (and they are friends of mine)
Realising that Gena Rowlands is my favorite actress after seeing ‘Opening Night’ by John Cassavetes (and ‘Gloria’ and ‘A Woman Under The Influence’)
I think I saw ‘Deserto Rosso’ around 8 times this year, it was the movie that guided ‘Syzygy’ along with ‘Daydream’ (pink film from 1964), and ‘The Hour Of The Wolf’
I watched ‘Wild Blue Yonder’ by Herzog on a train.
I realised I love to make music on trains, I can say that I could make an album only on trains but that won’t happen.
Working in the production of a series of podcasts called “the utopia is possible: ICSID Ibiza, 1971” for the Radio Web Macba.
I like this Tirzah – Micachu song, a lot!
Best discoveries: Lauren Fairon, Camino al desván “581”, Krzysztof Komeda – “Alfred Behind Sledge”, Tools you can trust.
Most played song in November: Ween – “I play it off legit”
I’m not a library music geek, but there are two library music records that changed my life: Alessandro Alessandroni – Romance and Drama and Eric Vann – Bass Moods.
I realised that the music I like the most have a sixtisomething Italian touch to it.
I’m happy that the “meridian brothers” exist.
I still haven’t finished ‘Glass Bead Game’ by Herman Hesse.
I started to read ‘The House Of Leaves’ by Mark Z. Danielewski yesterday.
I made “inframince” on the 8th of January of 2013.
I tried to get lost in Barcelona but I couldn’t, it’s easier to get lost in Berlin.
I’m learning German, and trying not to forget Catalan.
I like Mirage Hall and Elli by Dirty Beaches.
Something important: I became a Spanish Citizen in 2013.
I became a better cook, it’s a bit scary because I could see myself being only a cook and…. ok ok, I will keep up with my music, promise!
but, maybe I could just do mixtapes? oh nein.
My dearest (experienced) filmmakers: I wish I was working more in music for films, give me a call.
I liked doing shows on banana scent fog, light engineers always got a shiny eye look when I requested the fog machine.

—Lucrecia Dalt

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‘Syzygy’ by Lucrecia Dalt is available now on Human Ear Music.

http://www.lucreciadalt.com
http://www.humanearmusic.de

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directorsound

NICHOLAS PALMER, DIRECTORSOUND (Dorset, UK)

Directorsound is the moniker for Dorset-based musician Nicholas Palmer. As well as comprising one half of the musical duo The A. Lords (who collaborated with Mark Fry on 2012’s ‘I Lived In Trees’ album), Palmer’s Directorsound project has thus far created a string of gorgeous pastoral folk, jazz and exotica-inspired albums, culminating this year with the release of current studio album ‘I Hunt Alone’ (Second Language) and ‘Other Rivers’, a collection of fourteen previously unreleased Directorsound tracks (available now on Directorsound’s Bandcamp Page). 

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I’ll confess that fairly typically I’ve been largely ignorant of new musical releases this year. From what I have heard though the obvious standout was Áine O’Dwyer’s ‘Anything Bright Or Startling?’, a triumphant studio recorded culmination of the vast talents of its maker. Otherwise it’s been a year of boxsets. So, the 10 disc complete works of Mahler dominated my listening for several months. Then, partly for research for a record I’m due to make next summer I exploited the 50 year expiration of copyright of a whole load of classic Blue Note records by picking up a whole load of reissues for next to nothing. Art Blakey’s ‘Orgy in Rhythm Volume 2’ and Stan Getz’s ‘Cool Velvet’ being the standouts. I also finally completed my purchasing of all of Pharoah Sanders Impulse album’s with the superb ‘Elevation’.

Live highlights included the two-day Gamelanathon festival at the Southbank and catching the Diamond Family Archive a couple of times over the year. A little like watching Crazy Horse fronted by Robert Wyatt in the backroom of a London pub. I also had the great honour of playing the Second Language night at Café Oto on a superb bill with Colleen and Áine O’Dwyer who I had to dauntingly follow.

But mainly it’s been a year of staying in watching far too many films to mention. I had a period where I re-watched the entire filmography of Dario Argento films over successive nights. Only this time I finally bothered with Phenomena and was amazed by what I’d been missing. It could quite possibly have the most gloriously absurd end set-piece of any film I’ve watched in 2013 or indeed any other year. Then the Herzog season at the BFI gave me the wonderful and rare opportunity to see some of his films on the big screen. Worth noting too is John Pilger’s ‘Utopia’, that saw him return to the issues of his 1985 film ‘The Secret Country’ concerning Australia’s historical and contemporary treatment of its indigenous population.

This year’s reading has been somewhat dominated by academic musings and policy documents of which I won’t bore the reader with. But Steinbeck’s ‘East Of Eden’ perfectly accompanied me on a week’s rare unmusical holiday to Kerry at the end of a fine summer. Profound and ambitious family sagas are a wonderful traveling companion it would seem.

—Nicholas Palmer

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‘I Hunt Alone’ by Directorsound is available now on Second Language.

http://directorsound.bandcamp.com
http://www.secondlanguagemusic.com

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jamesmcvinnie

James McVinnie (London, UK)

James McVinnie is a highly prolific organist and keyboardist who released ‘Cycles’ – an album comprising organ pieces written by his Bedroom Community labelmate Nico Muhly – and also features Nadia Sirota, Chris Thompson and Simon Wall. McVinnie’s musical career to date has been a fascinating one; he was Assistant Organist of Westminster Abbey between 2008 and 2011 and he previously held Organ Scholarships at St Albans Cathedral, and at Clare College, Cambridge. McVinnie has also collaborated with many contemporary musicians – including Valgeir Sigurðsson, Sufjan Stevens, Sam Amidon and Beth Orton – demonstrating his immense musicianship and impressive versatility as a composer. ‘Cycles’ is available now on Icelandic independent label Bedroom Community. 

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One of the highlights of my 2013 was playing in Irene Buckley’s new score for Carl Dreyer’s iconic early film The Passion of Joan of Arc. Dreyer’s direction together with Renée Jeanne Falconetti’s astonishing portrayal of Joan of Arc has given this film cult status and is widely accepted as one of the most outstanding, harrowing and emotionally charged films of all time. If you haven’t seen it, then get on to it. Tragically, two separate fires destroyed two original versions of the film in quick succession soon after it was made, and for decades it was impossible to find an authentic version of what Dreyer had originally intended. In 1981 an employee of a Oslo mental hospital found several film canisters in a closet that were labelled as being The Passion of Joan of Arc. Miraculously, this version was found to be a copy of Dreyer’s original film prior to censorship by the church and state, and so in recent years this film has been in widespread circulation. We don’t know what music would have accompanied this film when it was premiered in 1928. Irene Buckley’s score was commissioned by the Cork International Film Festival and premiered in 2012 and is for organ, electronics and soprano. For me it is hard to imagine this film without this music. Irene’s skill at moulding and melding plainsong-like vocal melodies with ambient soaked electronics, punctuated and coloured by the organ adds another dimension to this harrowing piece of cinema. The bass frequencies of a pipe organ in a large acoustic are largely impossible to recreate successfully using even the best of sound systems. At several points throughout the film, Irene’s score calls for the lowest notes of the organ (made by sending air through pipes which are up to 32 feet in length) to be played simultaneously, creating throbbing, visceral sounds which are felt in the pit of the stomach rather than heard by the ear. We had three wonderful and highly charged showings of the film in Glasgow, Cork and in London’s Union Chapel and we drank buckets of Chablis after each one in order to recover.

Midsummer for me this year, as in previous years, was spent in Iceland. There is something wildly exhilarating about being there during the month of June. With nearly 24 hours of sunshine, everyone buzzes around on cloud nine. [There was a bizarre moment when Nico Muhly and I flew back to England for 48 hours to play at the St John’s May Ball in Cambridge – bizarre because it was suddenly dark at 11pm and people went to bed.] Whilst in Iceland I celebrated the wedding of two dear friends with many other dear friends on Viðey Island and then I got a tiny plane to the North West Fjords to play Bach for a week. I’ve been going to Iceland for years to holiday or to play in various music festivals, but it is wonderful to now be an official part of the diverse and inspiring group of artists at Bedroom Community. You can read about Cycles, my debut release of music by Nico Muhly here and you can buy it here. I’m really pleased with how this recording has turned out, both in terms of its sound but also how the physical CD looks. I returned to Iceland in August via concerts in Sweden to give a concert at the HallgrÍmskirkja, Reykjavik’s landmark church on top of the hill. It houses a spectacular Klais organ which is stunning both to look at and to listen to. Later in the year, in late October Bedroom Community offered an off-venue concert in the same church at the start of the 2013 Iceland Airwaves Festival. For me, this was one of the most memorable concerts of the year. It was wonderful to have played to a huge appreciative capacity crowd, many of whom were lying in the aisles gazing up at the church’s vaulted ceiling, and who would not necessarily have even considered the pipe organ as an instrument worth listening to. I also played a little concert in Kaffibarinn on the Yamaha home organ (think 1980s bossa nova, but expect much more), much of which you can hear on Yule 2013, Bedroom Community’s Christmas special album (get it here). There is a fun little clip of Bedroom Community’s Airwaves contributions here.

December has been busy with the usual round of Christmas carol services and concerts including appearances with various groups including the Royal Philharmonic Orchestra the choir of St James’s Palace. I’m looking forward to a busy start to 2014 with a couple of weeks of swimming and intensive music-learning in Iceland in preparation for a concert I’m giving in the Royal Festival Hall at London’s Southbank Centre on March 30th. Everyone should come – I’m playing works by Bach and a new piece specially composed for me by Martin Creed, artist and composer. I’m also planning recordings of Bach and another featuring more new music for the organ.

James McVinnie

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‘Cycles’ by James McVinnie is available now on Bedroom Community.

http://www.jamesmcvinnie.co.uk
http://www.bedroomcommunity.net

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Julia Kent by Fionn Reilly 06

JULIA KENT (New York, USA)

Vancouver-born and New York-based cellist Julia Kent released her third full-length solo album, ‘Character’, this year on the Leaf label. Alongside previous solo works ‘Delay’ and ‘Green and Grey’, Julia Kent has produced an immensely innovative and highly distinctive body of work to date. Kent had previously collaborated with numerous bands including Antony and the Johnsons’ ‘I Am A Bird Now’ album, where Kent’s cello playing provides the perfect counterpoint to Antony Hegarty’s distinctive vocals. 2013 saw Julia Kent tour extensively both in the US and Europe promoting her current solo album ‘Character’.

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For me, 2013 was a year filled with glorious music: records by The Necks, Helen Money, Teho Teardo, Lubomyr Melnyk, Lori Goldston, and many other artists were essential accompaniment to what felt like a lot of time spent in transit. Music is always a fascinating travel companion: it can take you on a parallel journey to the actual journey you are undertaking, creating a soundtrack to wherever you might find yourself. Different environments inflect what you are listening to, and vice versa. The records that I loved this year brought their own atmospheres to wherever I listened to them, whether a subway in New York City, a train somewhere in Europe, or an airport in that limbo territory that is unique to airports.

In terms of live shows: this year I had the joy of playing with Teho Teardo live for the first time: He’s a multifaceted composer whose music I have admired for a long time; he has a really special energy and it was wonderful to have the experience of playing with him and his fabulous cellist Martina Bertoni in Ferrara. Also in Italy, over the past year, I have been lucky enough to play in some spectacularly beautiful venues: churches, theatres, palaces, mountain towers and magical gardens. In Italy the venues and the audiences are always special, and I feel fortunate to have the chance to play there often.

This past year I also encountered the amazing pianist and composer Lubomyr Melnyk live for the first time, in a church, at the Reeperbahn festival in Hamburg. His performance was completely transcendent: an incredible flow of music like a waterfall, or some other natural phenomenon. And just last week here in New York I saw an equally transportative concert by Stars of the Lid (also in a church…churches are always such wonderful environments to hear music—but also chilly!).

Jordi Savall’s concert at the White Lights festival at Alice Tully Hall was another high point of the past year. It traced the relationships between various ethnic musics in the Balkan regions and was both conceptually and historically fascinating while, at the same time, immensely moving in a very elemental way. It demonstrated that, however trite it may sound, music is, indeed a universal language; a way of communication that I am very grateful to be able to share. I hope that this new year brings more opportunities to do that…

—Julia Kent

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‘Character’ by Julia Kent is available now on Leaf.

http://www.juliakent.com
http://www.theleaflabel.com

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happy holidays from nyc!

‘Happy Holidays from NYC!’, Julia Kent, December 2013.

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colleen_theweighingoftheheart

To conclude, we’d like to add our own list of our favourite albums (in no order) from 2013:

Nils Frahm – Spaces (Erased Tapes)
Julia Holter – Loud City Song (Domino)
William Tyler – Impossible Truth (Merge)
Holden – The Inheritors (Border Community)
Colleen – The Weighing Of The Heart (Second Language)
Julia Kent – Character (Leaf)
Hiss Golden Messenger – Haw (Paradise Of Bachelors)
Lucrecia Dalt – Syzygy (Human Ear Music)
The National – Trouble Will Find Me (4AD)
Jon Hopkins – Immunity (Domino)
William Onyeabor – Who is William Onyeabor? (Luaka Bop)
Laraaji – Celestial Music 1978-2011 (All Saints)
Eden Ahbez – Eden’s Island [Re-Issue] (Righteous/Cherry Red)

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We’d like to give our heartfelt thanks to everyone who has contributed their words, shared their wisdom, reflected on their music and — most importantly — given their time over the last twelve months. Most of all, we would like to say a very special thank you to each and every person for reading. We feel really fortunate to be able to do this and we hope to feature many more musicians and albums in the coming year.
Happy New Year.

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