Archive for the ‘First Listen’ Category
We are thrilled to premiere the new remix album ‘Cycles_1’ – a collection of remixes of London-based organist and composer James Mc Vinnie’s ‘Cycles’ opus – which comes out this Friday, 24th March 2017 via the prestigious Icelandic label Bedroom Community.
‘Cycles_1’ features Remixes by Sam Slater, Matt Huxley, Scanner, Talos, Paul Evans, Liam Byrne and Alex Groves. Taken from James McVinnie’s debut Bedroom Community album, ‘Cycles’ (music composed by Nico Muhly).
This is the fifth release on Bedroom Community’s HVALREKI digital series.
‘Cycles_1’ is available this Friday 24th March 2017 as part of Bedroom Community’s HVALREKI digital series. ‘Cycles_1’ can be purchased HERE.
“I wanted to take one of the shortest and most frenetic pieces on the album and flip it on it’s head, turning it into this extremely slow and very spacious piece. There are just a few tiny fragments that repeat and layer and gradually build up into this big wall of noise. It kinda feels like the original got stretched beyond recognition and all these other sounds came into view.”
“The track itself is this beautiful, stirring set of motifs that speak to each other but never really touch. In a way I saw the remix as the aftermath of that conversation… Something ponderous and tactile.”
“I was looking towards expanding upon the original piece, whilst retaining its elegance and grandeur. It explores a form of cinematic expression with pulsing light and dark, with a series of repetitive motifs that gradually develop into a percussive workout that continues to envelop a skeletal adaptation of the original Prelude throughout. Most of the string and keyboard parts I added were played live with no computer trickery to improve the timing. It closes in a very intimate way with additional vocal and guitar parts. I always enjoy the flow and tension of performing live to tape.”
“My idea was to use as little as possible. I broke a plate in the kitchen, sampled it and mangled a single loop of Nadia’s breath, violin and a single organ chord from Jamie. Everything else is just processing and kick drums, all placed inside some kind of ceramic texture world. It’s meant to sound like rocks underwater, or cracking knuckles or something.”
“I have had a longstanding love for liturgical music and the interaction between sound and architecture. With this remix I wanted to explore the space between notes and to build a sonic temple to religious ecstasy.”
“This remix was mostly made back in 2013, as a way to pass the time on the plane back from having visited Nico in New York. I wanted it to be a pure collage, so there are no extra bits added in, with everything coming from the original track. I think this was the first of all these remixes to be made, so I’m very happy to see it released.”
‘Cycles_1’ is available this Friday 24th March 2017 as part of Bedroom Community’s HVALREKI digital series. ‘Cycles_1’ can be purchased HERE.
We are thrilled to premiere an exclusive track from Limerick City-based pianist and composer Paddy Mulcahy. The gifted Irish producer’s latest record ‘The Words She Said’ is scheduled for release later this week (Wednesday, 1st March) and follow-up to 2016’s solo piano works ‘Tape Sketches’ and ‘TwentySix’ (released via the prestigious Swedish imprint 1631 Recordings).
The sonic palette expands on ‘The Words She Said’ with pulsating analogue synthesisers fused with layers of mesmerizing piano patterns, forming in turn, beguiling and luminous soundscapes.
The achingly beautiful piano lament ‘Brother Walks In’ can be streamed below:
‘The Words She Said’ is available on 1st March 2017 and is available for pre-order HERE.
We are delighted to premiere an exclusive new track from Seattle-based ambient artist Benoît Pioulard. The ethereal ambient bliss of ‘Rook’ is taken from a brand new, handmade, tour-only album of recent works, limited to 100 copies, which will be for sale during Thomas Meluch’s upcoming European tour (see dates below).
The towering instrumental work ‘Rook’ permeates a vast, otherworldly realm of total transcendence, evoking the timeless sound of fellow luminaries – and Kranky labelmates – Stars of the Lid, Loscil, Grouper and Meluch’s own cherished songbook and storied career. The angelic tones and radiant pulses somehow maps all of life’s fleeting moments in one gorgeous, captivating ripple flow.
The first Benoît Pioulard European tour in three years will take in the following cities:
04 Mar: Cork, Ireland @ Triskel Arts Centre
05 Mar: Dublin, Ireland @ Bello Bar
07 Mar: Reykjavik, Iceland @ Mengi
09 Mar: Paris, France @ Supersonic
10 Mar: Ghent, Belgium @ Dauw HQ
11 Mar: Brussels, Belgium @ Huis 23
12 Mar: Girmont, France @ Une Figue dans le Poirier
14 Mar: Geneva, Switzerland @ L’Usine
15 Mar: Zurich, Switzerland @ Zukunft
16 Mar: La Chaux-de-Fonds, Switzerland @ L’Entre Deux
18 Mar: Trieste, Italy @ Tetris
At all shows, a brand new, handmade, tour-only album of recent works, limited to 100 copies will be available at the Merch table.
We are extremely pleased to be hosting Benoit Pioulard’s Cork concert:
Fractured Air & Plugd Records present:
Benoît Pioulard (Kranky) + Wry Myrrh @ Gupld, Triskel Arts Centre, Cork SAT 4th March 2017
Tickets: €12.50 (excluding booking fee)
Purchase tickets HERE
We’re very pleased to premiere the live studio version of ‘Temperature Drop’ from UK ambient collective Marconi Union, taken from the recently released double album ‘Tokyo+’ (via London-based imprint Just Music).
‘Tokyo +’ by Marconi Union, the original ‘Tokyo’ album together with a new accompanying EP ‘+’ of Live Studio Remixes was released last week by London-based imprint Just Music for the first time as a double album.
Originally released as the single album ‘Tokyo’ by the German record label Bine in 2009, ‘Tokyo’ was only made available as a CD in Germany and then only in a very limited number of copies.
The Manchester-based group create introspective ambient soundscapes that evokes the far-reaching ambient works of Brian Eno, Harold Budd and Biosphere. The hypnotic synthesizers and soothing warmth of guitars radiates throughout ‘Temperature Drop’, recalling the early 70’s Krautrock movement as well as legendary Chicago ensemble Tortoise and the experimental German label Denovali Records’ output.
“The original idea (and title) for Tokyo stemmed from a chance comment. We had just finished recording a track and after playing it back one of us (we can’t remember who) said that it reminded them of Tokyo. Neither of of us had ever been to Tokyo and we realised that our entire conception of the city originated from films, TV and books. We liked this idea of creating music for a place that only existed in our minds. We weren’t interested in faithfully representing the reality of Tokyo and had no wish to make “authentic” Japanese music, we really just liked the images of Tokyo we’re regularly exposed to. We thought of this music as a form of Hi-Tech Ambience.”
‘Tokyo +’ by Marconi Union is available now on Just Music.
Cheval Sombre (New York-based poet and songwriter Christopher Porpora) has earned his reputation in recent times as one of independent music’s true treasures. Having released two full length albums to date: 2008’s self-titled debut album (Double Feature Records) and 2012’s moving opus ‘Mad Love’ (Sonic Cathedral Recordings); 2017 marks the eagerly awaited third Cheval Sombre LP ‘Time Waits for No One’. We are delighted to premiere the video to the achingly beautiful lament ‘If It’s You’, the record’s illuminating first single.
On “If It’s You”, Porpora’s drone-infused psych hazes infiltrates the human space amidst a windswept beauty of fragile vocals and mesmeric viola passages; navigating lyrical, emotional and spiritual depths. The majestic ballad “If It’s You” conjures up the timeless sound of the early Stones ballads penned by Jagger & Richards interwoven with Robbie Basho’s transcendent flow of lyrical guitar tapestries. A master of intimate mystery. The sparse arrangement of Porpora’s voice and guitar is accompanied by Gillian Rivers’ divine viola playing.
The exclusive vinyl-only release – released via UK independent label Static Caravan Records – are viewmaster reel 7″ records – true pieces of art in and of themselves. The record also features the hauntingly beautiful B-side “Give Me Something”, a haunting instrumental performed as a collaboration by Porpora (guitars) and legendary New Zealand-based artist Alastair Galbraith (elbowed guitars), recorded at the Bhakti Box and Hope St. Studios.
Watch the video for “If It’s You” here:
“If It’s You” is available now (limited vinyl) via Static Caravan Records (purchase online HERE).
The prestigious Fruits De Mer label have also released a split 7″ with Static Caravan, featuring a Cheval Sombre cover of Sam Cooke’s “A Change Is Gonna Come”, (purchase online HERE).
There is also a recently finished LP with Dean Wareham which is expected in 2017, recorded between Los Angeles & New York, as well as the third Cheval Sombre full-length album, “Time Waits for No One”, destined to be one of 2017’s hidden gems.
We are delighted to premiere the new single ‘Someone told me I was Paradise for you’ from the gifted Copenhagen-based quartet We Like We. The gorgeous new sonic creation is the first material since the band’s critically acclaimed debut album ‘A New Age of Sensibility’ (released in late 2014). The highly anticipated single is released tomorrow, 1st September 2016.
Copenhagen-based quartet We Like We comprise the gifted talents of Katrine Grarup Elbo (violin) Josefine Opsahl (cello) Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice). All four members are classically trained, but each share a desire for exploring, experimenting and shaping a unique sound of their own, as reflected in their diverse musical influences. The group’s first live performance took place at FROST festival in Copenhagen in February 2013: a unique double-bill concert with Efterklang. We Like We have collaborated with an array of musicians and projects in the past: Efterklang; Julia Holter; Mew; Sofia Gubaidulina; The Danish National Symphony Orchestra, to name but a few. We Like We’s debut album ‘A New Age of Sensibility’ is available now on The Being Music.
“This single is one of the results of our work over the past six months. We have had a close collaboration with sound engineer Marc Casanovas (NorCat Lyd) with whom we have explored sound, space and different ways of recording”.
—We Like We
Someone told me I was paradise for you is the endless mantra that is whispered in to your ear during the late hours of a dark blue summer night. It is four individual voices and reflections braided together as a unit in the depths of the collective unconsciousness.
From the opening dream-like pulses of delicate percussion – beginning with two gongs before soft ripples of vibraphone effortlessly melds together – We Like We’s brand new recording invites the listener deep into a labyrinth of fragile beauty and encapsulating dreams. The ambient works of Harold Budd lies somewhere in the ether of these burning flames, wherein a tenderness and stillness of night radiates with each and every meditative heart-beat. Soon, achingly beautiful instrumentation of violin is carefully added, evoking the glimmering rays of hope across cascading skies: dapples of light flicker along the horizon. The modern-classical soundscapes and divine instrumentation conjures up the timeless sound of the prestigious Touch or Type labels with the spirit of Peter Broderick, Sylvain Chauveau and Hildur Guðnadóttir
At the half-way point, the mesmerising voice of Katinka Fogh Vindelev whispers directly to one’s mind’s eye. Like a bird in full-flight, these four combined elements of strings, voice and percussion soars majestically with unlimited possibilities of discovery, exploration and chance. The mantra-like phrases sung by Vindelev transports the listener to the poignant, dream-like fantasies of Kazuo Ishiguro’s master novels or the otherworldly realm crafted by Kafka. This sublime tapestry of gradual blissed-out tones reveals inner-most truths and awakens a myriad of feelings and emotion. The compelling, ambitious and sublime new single is nestled nicely amidst the avant-garde, modern-classical and luminaries such as Scott Walker (‘Tilt’ era) and L.A’s Julia Holter and ‘Parallelograms’-era Linda Perhacs.
Released on The Being Music 2016, www.thebeingmusic.com
“We often try to make very textured and rich music with minimal means.”
Irish contemporary traditional seven-piece Ensemble Ériu release their second album “Imbas” via Ensemble Music and Raelach Records this month. The much-anticipated follow-up to the group’s much-celebrated 2013 debut self-titled album, “Imbas” (an Irish word connected with inspiration and creativity) draws from a diverse source of inspiration and source material, for example old Clare-based jigs and reels performed by musicians such as John Kelly, Bobby Casey and Willie Clancy, a song collected in Connemara by Seamus Ennis and a contemporary composition written by Peadar Ó Riada. Ensemble Ériu’s distinctive sound constantly express the band’s deep-rooted appreciation and love for both traditional music while the band simultaneously seek to furrow new and intriguing paths in contemporary music circles.
Ensemble Ériu consist of the following seven musicians: Matthew Berrill (clarinet and bass clarinet), Patrick Groenland (guitar), Matthew Jacobson (drums), Maeve O’Hara (marimba), Neil O’Loghlen (double bass and flute), Jeremy Spencer (fiddle) and Jack Talty (concertina).
‘Imbas’ is out now on Ensemble Music/Raelach Records (Order HERE).
Interview with Neil O’Loghlen & Jack Talty (Ensemble Ériu)
Congratulations on the stunning new album ‘Imbas’; a work of staggering beauty. On one hand the music is certainly steeped in tradition – and the plains of County Clare – but also a contemporary twist is forever inherent in these splendid compositions. Please recount for me the making of ‘Imbas’ and indeed the six compelling pieces that comprise this sophomore full-length?
Neil O’Loghlen: It started with the release of our last album in September 2013. I began writing new arrangements for the band to play live before our launch gigs for that album so some of the pieces on Imbas like ‘The Tempest’ we played for those launch gigs back in 2013. It was around then that we settled on the septet line up that we have now so the pieces on this album were written specifically for this ensemble of players. This gives it a different feel to the first album. Over the last 2 years or so either I alone or Jack and I together have written new arrangements for the live set, adding to it piece by piece, which brings us right up to before the recording session for Imbas with the arrangement for Micho Russell’s written a couple of weeks before hand.
After the release of the first album we were lucky enough to get many opportunities to play live so we had time to play and develop the arrangements and for everyone to get comfortable with them. By the time it came to record we found a room that had a nice sound and recorded live. We were just off a tour so everyone was very loose and easy with the music. The recording has a live feel to it which is what we wanted, a representation of what our gigs sound like. We were lucky enough to have Adrian Hart on board to engineer, he understands the music and knew exactly what we were looking for so it was pretty straight forward.
In much the same way as the band’s universally acclaimed debut full-length, it’s the rich instrumentation – and wide range of sounds dotted across the record – that evokes such a timeless sound. There is such a close dialogue with all the instrument parts, and aesthetically such a triumph too. Please discuss the space inside the music you create and the starting point(s) to arranging and performing these wonderfully varied traditional pieces?
Neil O’Loghlen: The starting point is always the melody we select to arrange, which can take time to find. It usually involves going through a lot of recordings of musicians that inspire us and have inspired the concepts of the band – John Kelly, Bobby Casey, Willie Clancy, Micho Russell to name a few.
As far as the arrangements go the starting point for each piece has taken a different course, for example with the West Clare Reel, Jack had a very clear idea of where he wanted the arrangement to go and the type of feel to be created so we just pieced it together and worked back from there. Some of the other arrangements like Micho Russell’s I used a simple phrase from the tune to build other material, variations on this phrase and tried to develop this over the whole piece. The Humours of Drinagh/Kilclogher and Goideadh do Ghe track was based on a rhythmic pattern which all the accompanying parts are built from. The basis of the Yellow Wattle arrangement is similar, a melodic motif drawn from the tune is the basis for variations which are then arranged for the instrumentation and developed throughout the piece.
Most of these arrangements take time to develop and the approach is quite involved, you’re really trying to get inside the tune and build from there. Obviously there is a lot of composition involved, writing melodic parts for the instruments and also coming up with an over arcing idea that is developed throughout. Creating a link between the tune, the combination of instruments and the written material is something I find exciting and challenging.
Jack Talty: Neil and I have been very much influenced by electroacoustic music, Minimalism, contemporary classical music and jazz but we certainly don’t see Ensemble Éiru as a fusion band. We simply came together to explore new ways of playing Irish Traditional music in a group context, equipped with training and ideas from other genres of music.
The opening section to the album opener, ‘The Tempest’ really is the perfect introductory note for such an eagerly awaited album. The marimba and concertina opening melody conjures up the sound of Steve Reich and Philip Glass and again re-enforces how adventurous your unique blend of traditional music is. What are your memories of this particular tune and indeed how you have developed playing this standard over the years?
Jack Talty: The tune was a favourite of Bobby Casey, a great Clare fiddler, and his music is a great source of inspiration for us. I think our blend of traditional music sounds unique because it is informed and inspired by very unique people. I think that people who may not be familiar with Irish traditional music may be surprised to learn that so much of what they may like about the Irish traditional music they hear today, is in fact also inherent to great straight-ahead interpretations of Irish traditional music. ‘The Tempest’ is one of our most straight-forward arrangements in that it is constructed with a number of relatively simple patterns that weave around the reel called ‘The Tempest’ that Jeremy and I play. For us, it’s the collective results that are important. Each person contributes to an overall soundworld and I guess that’s where we are drawing on the world of Minimalism. We often try to make very textured and rich music with minimal means.
Neil O’Loghlen: I came across this tune on a Bobby Casey recording. It’s quite well-known although when I heard this recording i was struck by the version of the melody he had. I thought immediately it would lend itself well to an arrangement. The tune pointed the way for the arrangement really, the way it has unexpected turns and a sort of undefined root or grounding. To me it floats along with no expected phrases or cadences so I explored that in the arrangement with certain harmonic ideas and repetitive phrases. Harmony, for me, or the harmony we are used to hearing in the western world, doesn’t sit comfortably in Irish traditional music, actually to me it has no place in it really. Instead of chord progressions placed underneath the melody of the tune i used a intervallic structure (stacked fifth’s) dispersed out between the double bass, marimba and clarinet which can’t really be used in a functional setting with the tune and in turn has a more coloristic effect on it. I often reference a quote of John Cage when thinking about this – ‘Freed from structural responsibility, harmony becomes a formal element (serves expression).
The original arrangement was written for more instruments, this was before we settled on the septet, so there was a bass clarinet part and some string parts too. Then when we started playing the arrangement as a septet without these additional parts it gave everyone a little more space, gradually as we played it more and more it became more embellished by the musicians and the result is quite an interactive setting of the tune between all the instruments. The open, free element to the arrangement ties in with the spirit of jazz music and that tradition. Steve Reich’s music certainly had an effect on me when I was first exposed to it, in particular ‘Music for 18 Musicians’ and ‘Music for mallet instruments, voices and organ’. Some of his other compositions haven’t spoken to me much really and Philip Glass is a composer I’m not very familiar with.
How significant is the act/art of improvisation in your playing? In terms of the recording sessions for ‘Imba’, would all the phrases have been mapped out completely prior to recording to tape? I can imagine playing live shows over the last three or so years also helped shape the album itself?
Neil O’Loghlen: Yes, all the parts for all of the arrangements are written except in two cases – the concertina solo during the bridge or middle section in the Yellow Wattle and the clarinet solo during the section which links the Humours of Kilclogher with Goideadh do Ghe. In both cases Jack and Matthew were free to improvise using the language of the melody and accompanying parts. i think in both cases the results are quite beautiful.
The accompanying parts and the arrangements as a whole are written and conceptualised beforehand. Then we workshop the arrangement, try it out on gigs and as the musicians become familiar with their parts and the piece as a whole their input becomes more personal. It’s the same way Jack and Jeremy approach the playing of the tune, its internalised first and then their own personality is applied. I feel very fortunate we have such sympathetic musicians in the band who are able to balance playing the written music with embellishing and interacting with the space that is created inside the tune.
Please discuss for me your musical upbringing and the traditional musicians that inspired you the most?
Neil O’Loghlen: Although my father was quite musical and could sing well, he didn’t play an instrument so we didn’t have much music going on in our house. It wasn’t until around 2nd class in primary school and my teacher Denis Liddy, who was a fiddle player, made everyone learn the tin whistle (I can still remember the first lesson and impression it made on me) He was my first inspiration musically, over the years after that I learnt a lot from him, he always recommended music and players to check out and I learnt about the tradition from him. He taught/managed a band which competed at competitions, toured and played together. This is where i met Jack and we began playing together, sharing music and ideas, i think we were about 15. It’s where the first seeds of Ensemble Ériu were sown, we were very interested in ensemble playing in the tradition and always listening to different bands and the approaches that were being used. At a certain stage later I became more and more interested in solo and duet playing. Bobby Casey’s solo fiddle album Taking Flight and Tony Mac Mahon’s first solo recording ‘Traditional Irish Accordion’ made a huge impression on me and still do. Also, Noel Hill and Tony MacMahon’s duet recordings are very important to me. To me their music has such feeling, a deep, poetic and spiritual feeling for the music but without the emotional content – this is truly inspiring to me.
It’s a truly wonderful time for Irish music and also traditional Irish music with the likes of The Gloaming and many others receiving deserved recognition from all corners of the globe. It must be a lovely feeling to be releasing music in this moment in time and knowing there is such a cross-over of audiences out there, particularly today?
Jack Talty: Absolutely. Irish Traditional is pretty popular globally, but I guess that we will remember this period in our Arts history as a time when Irish traditional music has resonated with people who thought they didn’t like it. The Gloaming have been instrumental in this. Irish Traditional music has been mediated in completely new ways as a result of The Gloaming. I’m also glad that straight-ahead traditional music is opening new ears all over the globe too. It’s bizarre to travel to give a workshop in Germany or wherever and speak about Elizabeth Crotty to an audience who know exactly what you are talking about.
‘Imbas’ is out now on Ensemble Music/Raelach Records (Order HERE).