FRACTURED AIR

The universe is making music all the time

Time Has Told Me: Carola Baer

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The lyrics tell a timeless story, the story is in almost every song, be nice, care, be close.”

—Carola Baer

 Words: Mark Carry

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Towards the end of 2018 came the special discovery of Carola Baer’s early 90’s private home recordings, released on the new Portland, Oregon re-issue label Concentric Circles (curated by Freedom To Spend’s Jed Bindeman). The collection’s  eleven highly emotive song cycles were recorded, composed and performed between 1990 and 1991 in San Francisco. The minimal arrangements for Yamaha-DX-7 and Casio CZ-101 synthesizers creates utterly beguiling soundscapes – masterfully blended beneath Carola Baer’s mesmerizing vocal delivery.

Themes of betrayal, isolation and anguish seep throughout the album’s striking narrative. Album opener ‘Maker of Me’ unleashes an empowering dimension as Baer quivers “I asked you to hold my hand/But you let go” on the opening verse.  Luminscent piano notes drift in the ether of broken dreams: Baer’s voice shares the hypnotic spell of 4AD alumnis Dead Can Dance and Cocteau Twins.

Total transcendence is attained on the hypnotic ‘Golden Boy’ wherein reverb drenched vocals swirl majestically alongside pulsating drum machines and divine synths. This belongs at the axis of Dylan’s ‘Blood On The Tracks’ and vintage Cocteau Twins: a tortured soul is struck down and laid to bare. Cinematic spoken word passages permeates throughout ‘We Already Feel’ while ‘Doors Talk’ contain ethereal chime-like organ dreamwave soundscapes that meld effortlessly with Baer’s powerful voice.

Gorgeous tapestries of keyboards and synths flow on the enthralling ‘See The Lights Again’ – a song of hope. The lyric “You must walk alone” resonates powerfully. The song’s rise serves one of the album’s most poignant and hope-filled peaks: from the depths of darkness uncovers the first glimpses of hope and optimism “to see the lights again”.

‘The Story of Valerie’ is out now on Concentric Circles.

https://concentriccircles.bandcamp.com/album/carola-baer-the-story-of-valerie

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Interview with Carola Baer.

 

It’s a real pleasure to ask you some questions about your captivating and beguiling song cycles. I was first introduced to your music with the wonderful compilation ‘The Story of Valerie’, released towards the end of last year. These batch of songs were recorded, composed and performed between 1990 and 1991 in San Francisco. Please take me back to this period in time and your memories of creating these sonic creations? Would this have been the first collection of songs you had written?

Carola Baer: Set in the 80’s bleak economic Thatcher years young me 24, I left UK for one year open ended trip to San Francisco, Australia, Bali and back to UK with work permit for Australia. I had no intention of coming back. Went to SF, met someone within 3 days who turned my world. It’s as much a story of immigration, betrayal, trust, hope, despair, tragedy, loss, growth, coming of age, determination and ultimately success ending with the discovery of story of Valerie and two beautiful children and a loving husband.

Gist of the Story. I was in SF for 2 weeks to pick up my Australian girl friend. I met Ian. Ian had a girlfriend who had left him with if /when I return we’ll see if we want to be together. Do what you want, I will. So we could be together but with understanding Diane would come back. Because of time restraints, passion runs high, he was a musician and I was in limbo, but bottom line I loved him from head to toe. Deeply vulnerable, insecure me, beautiful confident talented golden boy. (Though that song was written 2 years later).

Diane came back, betrayal was deep and not just between him and me but others got involved. I wrote See the lights again either the day he broke with me or just before. Nothing left to say was written a day or two after he left me for Diane. I wrote a whole first album called Open Door. All 10 songs about Ian. See the lights and Nothing left to say came from this first album. I’ve done nothing else with these tracks and they still remain in a horrible badly tuned piano cassette live recording.

Ian went back to Diane, I was determined to complete the album (as he started recording on a 4 track and that all stopped before completion), I went to a proper studio to pay someone to record. Ended up in a green card marriage and 7 months later Diane and Ian broke up. He called wanted me back, mistake to have gone back to Diane, I said I got married 9 days ago. I was thinking of calling story of Valerie 9 days. Tragic. Much craziness happened in these first 4 years in SF. Ian and I remained friends but my marriage was an utter disaster, I was rendered homeless at one point and lived in fear of deportation due to failed marriage. It was a serious mess. Described as a tightrope from one cliff to another. I walked, I wobbled, I fell and caught on with one hand then one finger and eventually crawled back up and made it across.

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These songs were described beautifully as “a one off mixtape of newly recorded songs”. I’d love to gain an insight into your musical set-up (at this time- during the early 90’s) and your song-writing process? I feel the lo-fi, minimal quality to your songs creates such a striking intimacy that hits you deeply upon every listen.

CB: Giving up on the Ian songs I joined a band called Process. Industrial early digitalized drum machine programmed bass duo with 064 Freeman multimedia experimental from 1988 to 1991. He played electric guitar and organised all sounds. I sang and wrote lyrics. Later added keys. Shared a creative space with him and 5 others. We shared equipment. It was during the last year of Process 1991 to 1993 that I worked on my solo keys music represented with story of Valerie. But all of story of Valerie was recorded by me on a 4 track using my keys. I would go to the studio on weekends when no one else wanted it and set to record some thing. I’d always start with a keys part improvised on the spot. I love to just play and record whatever comes out. Sometimes magic. It may be 5 minutes or 25 minutes long. You kind of know when it’s time to stop. Then rewind cassette and record either another keys part or vocal part. All live no dubs first takes, occasional punch in. Then add a second vocal . I love mixing duel vocals parts. Then mix it all beautifully.

‘Maker of Me’ is the glorious opening track to this timeless musical document. This track is drenched in reverb and the far-reaching qualities evoke the 4AD luminaries such as Cocteau Twins and This Mortal Coil. Can you recount your memories of writing this song and witnessing the song come to glittering life? The spoken word elements are superb also. 

CB: ‘Maker of Me’ was an original jam. I may even have an early recording of this initial jam. I developed this into a song by sequencing the piano part and probably playing along. The intent of the song was directed at God or a greater spirit being as I have no idea of my faith. My faith is for the love of life, respect life and a sheer disappointment in the unnecessary cruelty that goes on or is permitted to happen. So an accusation to this higher power who are you to judge us when you don’t offer help or that you stand back and let this happen. Cold.

In terms of the recording process, were there challenges posed in order to capture the raw emotion and feeling in the songs? Were these live takes (as I get the impression they are, or at least with very minimal overdubs)?

CB: The aim of the recordings were experimental, to find out my limits, exploration, release of emotions, therapeutic.

I have always been looking for others to collaborate with as I feel I have limitations especially when it comes to self-promotion, something I am terrible at. So the tapes were made in order to share with others to find musical mates.

‘Golden Boy’ is an utterly transcendent and hypnotic tour-de-force: one feels the pain and anguish come flooding out the speakers. Across the album, there is a duality of light and dark but ultimately there is a self perseverance that reigns true. As a listener, it feels that the act of the music-making process became a cathartic and healing process for you? 

CB: Golden boys as mentioned was written 2 years after I met Ian as we were in and out of each others lives for 5 years.

The immaculate instrumentation utilized is another hallmark of this great sonic journey. For example, the middle section of ‘Doors Talk’ (with the gorgeous organ tapestries beneath your emotive vocals) and the lucid synthesizer experiments of ‘Save Me’ forms a deeply affecting and empowering experience. Was the sequencing of this compilation important for you? 

CB: Sequencing was experimented with. I like repetition, getting into a zone and feeling the movement there. It provided rhythm and could free me up from playing complex patterns while singing.

 

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Please take me back to your earliest musical memories? Were there particular records or musical voices, so to speak that proved defining moments? 

CB: I loved spacing out to The Dark Side Of The Moon as a teen, and loved the 4AD label – This Mortal Coil more so than Cocteau twins, but also Dead Can Dance – that ethnic intensity. I also liked Brian Eno, Mazzy Star.

I am half Armenian so the eastern aspect of music runs though me. My grandfather was the sole survivor of his entire family after the Armenian genocide 1906. He used to cry silent tears each time us grandchildren went round. We thought funny man but as an adult I know his tears were relief that what he went though was over.

You kindly sent me on newer recordings – both solo guitar recordings and your band Quiet Wish. Can you discuss your latest projects and how you see these fit alongside the early 90’s document of ‘The Story of Valerie’?

CB: I have been playing in a band called Quiet Wish for 4 years. We play intensive powerful music mixed in with moments of sweetness and suspense. Drums, loops, dual guitars, keys, effects and voice. Potential to be brilliant but currently struggling due to internal issues. I cannot go into details. The band is at a crossroad currently and decisions on which direction need to be made.

I don’t believe I could stop making music. I can get out and perform more solo and hope to meet just the right people to bring this music, past and present, more out there so others or more can hear it.

The lyrics tell a timeless story, the story is in almost every song: be nice, care, be close.

I can stay in this band, I can form a new band, I could collaborate on something magnificent with others.

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Lastly, my favourite track is perhaps the prayer-like, ethereal pop gem ‘See the Lights Again’. Can you talk me through this particular recording? Looking back on these songs, you must feel quite surprised in a way of hearing the timeless quality of these songs? 

CB: See the Lights was either the day Diane came back or during those 4 or so weeks for Ian to decide which lady he would take, I think Nothing Left to say was the day of break up song.

The story of Valerie is a collection of songs and pieces of captured moments from those times I recorded solo. I recorded solo because I had the opportunity to do so in the shared musical space, and because at times I was lonely and wanted to get out of the house but not go out to a club or bar alone. So the music studio was a kind of refuge. Unfortunately my solo time was cut short because a very controlling person came into my life and cut me off bit by bit from everyone including my music and I lost the studio. I made many mistakes as a vulnerable immigrant but you are ripe for exploitation. I say just because you have a dog by your feet doesn’t mean you have to kick it, you can be nice.

‘The Story of Valerie’ is out now on Concentric Circles.

https://concentriccircles.bandcamp.com/album/carola-baer-the-story-of-valerie

Written by admin

May 7, 2019 at 1:42 pm

First Listen: GIGA)PUDDY by JOYFULTALK

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We are delighted to premiere GIGA)PUDDY, a special 39-minute instrumental DJ mix of original material from JOYFULTALK’s Jay Crocker. The critically acclaimed Constellation duo play Canadian shows this weekend (details below).

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The brainchild of instrument builder and sound alchemist Jay Crocker – joined by multi-disciplinary artist Shawn Dicey – JOYFULTALK is a junked-analog duo operating from a secluded outpost on Nova Scotia’s mystical South Shore. We were introduced to the critically acclaimed duo last year with the arrival of their utterly transcendent – and Constellation full-length debut – trance-like odyssey of masterfully sculpted analogue soundscapes, ‘Plurality Trip’.

Following its release they’ve been performing across North America and Europe to strong acclaim. Their touring action continues this spring with an appearance at MUTEK SF in May, and leading up to that show we’ll be sharing GIGA)PUDDY, a special 39-minute instrumental DJ mix of original material from JOYFULTALK’s Jay Crocker.

“GIGA)PUDDY is a collection of solo improvisations. It is a playful documentation of the soft transition from darkness to light when winter lets go and spring melts the ice and softens the ground. It is an interpretation of this fundamental change through the lens of immediacy, the evolution of palette in context with an exploration of process. NO MISTAKES. NO WRONG TURNS. NO TURNING BACK FROM THE LIGHT.”

—Jay Crocker

 

 

Tour dates:

Saturday 04 May 2019: King Eddy, Calgary, AB, Canada

Sunday 05 May 2019: The Rec Room – South Edmonton, Edmonton, AB, Canada

https://joyfultalk.bandcamp.com/

https://cstrecords.com/

Written by admin

May 3, 2019 at 6:16 pm

Mixtape: Fractured Air – April 2019

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April saw a host of essential new releases surface into the stratosphere. Fixity’s latest full-length ‘No Man Can Tell’ – and second for the ever-dependable Cork-based Penske Recordings imprint – is another stellar sonic journey showcasing deep musical telepathy at each and every turn from a cast of Irish and international musicians.

The eagerly awaited return of Leafcutter John’s new Border Community record ‘Yes! Come Parade With Us’, whose sumptuous sound worlds contains the UK composer’s trusted modular synth and a plethora of field recordings. In addition, guest drummers Tom Skinny (Sons Of Kemet) and John’s Polar Bear bandmate Seb Rochford.

Canadian cellist and composer Justin Wright’s debut album ‘Music for Staying Warm’ is an artistic creation of staggering beauty and wonder. Liquid Liquid luminary Dennis Young’s solo record ‘Primitive Substance’ is a vital document from the solo artist’s post-Liquid Liquid career.

 

 

Fractured Air – April 2019

01. Students of the Salonica Quaker Girl’s School“Dance of Jerissos (lerissos)” (Sublime Frequencies)
02. Ariwo“Ireme” (Manana Records)
03. The Comet Is Coming“Birth Of Creation” (Impulse!)
04. Kate Tempest“Tunnel Vision” (Lex Records)
05. Naive Ted“Blood & Guts” (Unscene Music)
06. Hype Williams“Hype Williams Meets Shangaan Electro” (Honest Jon’s)
07. Dean Blunt“And Ill Show U Heaven If U Let Me” (Hippos In Tanks)
08. The Rationals “Glowin’” (Night Time Stories Ltd)
09. Fixity“Woo” (Penske Recordings)
10. Crevice“In Heart” (Fort Evil Fruit)
11. Carla dal Forno“Fever Walk” (Kallista Records)
12. Josef K “It’s Kinda Funny” (LTM Recordings)
13. Leafcutter John“This Way Out” (Border Community)
14. MorMor“Outside” (Self-released)
15. This Mortal Coil“The Lacemaker” (4AD)
16. Tim Hecker“Step Away From Konoyo” (Kranky)
17. Heather Woods Broderick – “I Try” (Western Vinyl)
18. Justin Wright“Harmonic Loops – Playground Swings” (First Terrace Records)
19. Gigi Masin“The Word Love” (Music From Memory)
20. Anna Peaker“Helicidae” (Alter)
21. Maria Somerville“Dreaming” (Self-released)
22. Raymond Scott“Portofino 1” (Basta)
23. Ingus Bauskenieks“Lidojums Uz Sauli” (Stroom)
24. Prins Thomas“Feel The Love” (Smalltown Supersound)
25. Daedelus “It’s Madness” (Nosaj Thing Remix) (Magical Properties)
26. Four Tet“Teenage Birdsong” (Text Records)
27. Dennis Young“Forgiveness” (Athens Of The North)
28. Ishmael Ensemble“First Light” (Severn Songs)

Mixtape: Fractured Air – March 2019

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This month’s mix features new music from the magnificent Berlin-based, Cork-raised producer ELLLL with the arrival of her essential “Febreeze” 12” last month, carving out multi-layered, seductive techno cuts. Irish songwriter Maria Somerville’s exceptional debut full length “All My People” we continue to fall for, with the record’s divine song cycles rooted in beautiful 50’s/60’s pop songs that are encapsulated in wondrous post punk/indie spheres of today. A wholly unique labyrinth of astral song cycles.

New music also from the imitable London-based, Australian songwriter and producer Carla dal Forno (and excitingly the first release for her newly established label, Kallista Records); Immix Ensemble’s Daniel Thorne’s magnificent debut solo album on Erased Tapes; Norwegian duo Deaf Center’s highly anticipated return on Sonic Pieces; Forma’s John Also Bennett’s wondrous solo LP (under the JAB psuedonym) on Shelter Press and two formidable new releases on the ever dependable North American label Constellation. Grouper’s sublime new project Nivhek (self-released), Italian composer Caterina Barbieri’s forthcoming Editions Mego-debut and Craig Leon’s forthcoming release on Brooklyn institution RVNG Intl are other highlights.


Fractured Air – March 2019

01. William Basinski – “On Time Out Of Time 1.1” (Temporary Residence)
02. Nivhek“Cloudmouth” (Self-released)
03. ELLLL“Sunrise edit” (First Second Label)
04. Patricia“No One Needs Nothing” (Opal Tapes)
05. JAB“Jacob’s House” (Shelter Press)
06. Maria Somerville“This Way” (Self-released)
07. Houston & Dorsey“Ebb Tide” (Numero Group)
08. The Cryin’ Shames“Please Stay” (Decca)
09. Rupie Edwards“Buckshot Dub” (Spectrum Music)
10. Vivien Goldman“Launderette” (Window)
11. Carla dal Forno“So Much Better” (Kallista Records)
12. Oqbqbo “All This Waiting” (Posh Isolation)
13. Antena“Camino Del Sol” (Les Disques Du Crepuscule / Numero Group)
14. Khotin“Water Soaked In Forever” (Ghostly)
15. Daniel Thorne“From the Other Side of the World” (Erased Tapes)
16. June11“White Bird” (Stroom)
17. Craig Leon“Standing Crosswise In The Square” (RVNG Intl)
18. Don Cherry“Utopia and Visions” (Caprice Records)
19. Talk Talk“New Grass” (Verve Records)
20. Deaf Center“Far Between” (Sonic Pieces)
21. Poppy Ackroyd“The Dream” (Penelope Trappes Remix) (One Little Indian)
22. Efrim Manuel Menuck & Kevin Doria“We Will” (Constellation)
23. Light Conductor“Chapel Of The Snows” (excerpt) (Constellation)
24. Carola Baer“Golden Boy” (Concentric Circles)
25. Aponogeton“Prologue” (Stroom)
26. Caterina Barbieri“Fantas” (excerpt) (Editions Mego)
27. Laraaji“I Can Only Bliss Out (F’Days)” (Numero Group)

Chosen One: Andrew Wasylyk

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Performing, writing and listening to music’s a deep, rewarding privilege. An ongoing revelation, really.

—Andrew Mitchell

 Words: Mark Carry

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My introduction to Scottish composer and multi-instrumentalist Andrew Mitchell (under the guise of Andrew Wasylyk) was the captivating instrumental ‘Journey to Inchcape’, played on Oliver Coates’s essential monthly NTS show.The piece begins with a gradual drum machine beat before immaculate instrumentation of harpsichord and a divine blend of strings and woodwind gently coalesce together, akin to the ebb and flow of the ocean waves. The arrangements are stunning: the carefully sculpted sonic elements feel somehow out of time as the hypnotic swirls of tape delays overlap with the pastoral splendor of flute passages. Music to truly savor.

This formidable composition serves a poignant moment to the Scottish musician’s enchanting third solo studio album ‘The Paralian’ – placed between the harp-based celestial pop lament ‘Greendrive #2’ and the gorgeously introspective neo-classical gem ‘Welter in the Haar’. ‘The Paralian’ is a collection of immersive soundscapes that feel at once steeped in tradition and buried in the past: a timelessness abounds at every pulse and endearing moment.

The broad palette of instrumentation dotted across Mitchell’s meticulously crafted song cycles is another hallmark of this great record. Jazz inflections of double bass slowly fade into the reflective ‘Dreamt The Breakers Spill’, combined with shimmering bliss of brass and percussion. Cosmic energy permeates throughout the utterly seductive groove of ‘Flight of the Cormorant’, emitting a catharsis of infinite depth.

The record opens with the soft rumblings of footsteps and birdsong – an array of field recordings that perfectly embodies ‘The Paralian’s empowering journey. The listener is taken on a voyage, and in the process becomes one of self-exploration in the deepest sense. The echo and reverb of euphonium resonates as the opening piece swells into the ether. The addition of vocals on ‘Adrift Below a Constellation’ creates a soul-stirring moment of the record’s heartfelt penultimate track. Images of a mariner lost at sea. Adrift and yearning to be found.

‘The Paralian’ is out now on Athens Of The North.

https://andrewwasylyk.bandcamp.com/

https://aotns.bandcamp.com/

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Interview with Andrew Mitchell.

Congratulations on the utterly sublime latest full length album, ‘The Paralian’, a divine sonic journey across modern-classical and folk realms. Firstly, please take me back to the artist residency you were invited to in a historic house in Hospitalfield, Scotland. Can you trace the starting point or origins of what would become the inception of ‘The Paralian’? 

Andrew Mitchell: When I arrived for the extended residency in Arbroath it quickly became apparent that there would be no shortage of inspiration. The history of Hospitalfield House, its Scots Baronial architecture and Arts & Crafts interior all fed in to the approach. Encouraged by the surroundings, I slowly began to recognize my relationship with the east coast and the north sea, and the bones of the album were laid.

The inspiration you sought from your surroundings must have really tapped into the music. For instance, the looming North Sea horizon from your vantage point and the specific project to create new music for the restored 19th Century Erard Grecian harp. Would I be right to say these compositions all began with composing music for this harp instrument and for the remaining instrumentation to be added and interwoven later? Looking back on the residency, how do you feel the creative process developed (or evolved if want for a better word)? 

AM: Partially, some of the harp pieces I wrote with minimal intentions that could weave in and out of piano progressions. The aim was delicate and ornate, to echo the building’s interior. The coastal environment infiltrated that process; at times fueling temptation to let areas evolve using drums, bass, brass, strings and synthesizers. “Greendrive #2” is an example of that initial intimacy that broadens on the journey. Other routes would start with a field recording or perhaps a title. For me, it’s important to have different doors in to a song. “Adrift Below A Constellation” arrived before a note had been played.

The immaculate instrumentation – such a gorgeous range of sounds – is what one of the hallmarks of this great record. Please introduce to me your trusted ensemble and recount your memories of having these musicians together in a room (which I presume was the case?) and witnessing these pieces fully bloom into life?

AM: As a keen procrastinator, I’ll often chisel away at an idea until it gives way and trundles into life. The majority of the tracking was actually just myself in the studio on drums, percussion, bass, keyboards, piano, synthesizer, guitars and glockenspiel. However, I was lucky to work with a lot of talented, patient folk. The brilliant Sharron Griffiths played Concert and Grecian harp, Seth Bennett provided double bass, Rachel Simpson, Iain Robertson and Tony Sellars were the brass section, Paul Wright droned his tanpura, Carol O’Rourke was on oboe and Brighton’s Thomas White drummed on “Mariner’s Hymn”.

As I pulled the recordings together a few areas still felt a little light to me, in terms of depth and character. The wonderful arranger and cellist Pete Harvey kindly excepted an invite to write string arrangements for “Westway Nocturne”, “Mariner’s Hymn”, “Adrift Below A Constellation” and “Welter In The Haar”. I’m grateful he did, they may be my favourite tracks of the album. Violin, viola and cello were in the able hands of Simon Graham, Emma Connell-Smith and Harriet Davidson.

‘Journey to Inchcape’ is a stunning cinematic voyage; and how the intricate layers meld together so effortlessly is quite something to behold. Can you talk me through the various layers and the moments-within-moments that seem to just happen throughout this piece?

AM: That was developed after a boat trip out to Bellrock Lighthouse, eleven miles east of the Firth Of Tay. We arrived during a serene low tide to cormorants basking, and seals singing in crisp morning sunlight. There was some sort of brooding elegance I was reaching for, hence the brass and the pastoral-tinged Mellotron flute on the choruses. How well I achieved that is another matter. I was initially wary of the number counter melodies, to be honest. There’s a temptation to impose on an idea when there’s no vocal to curtail that fourth cascading harpsichord line, or that whim of triple-tracking the feedback delay. I’m often adding and subtracting in the effort to find the path.

‘Adrift Below a Constellation’ is the only vocal track, which fades in towards the album’s final section – the looming horizon, in a way. The addition of the vocal/lyrics further heightens the experience, evoking the timeless spirit of Robert Wyatt or Talk Talk….can you discuss the reasoning for having the one vocal track (I wonder did you have more to choose from?) and the song-writing process itself?

AM: Being very fond of Robert Wyatt and Mark Hollis, that’s humbling to hear. Thank you. This was initially meant to be a brass arrangement for just euphonium, trombone, trumpet and flugel. I had this recurring image of a mariner dreaming of dry land, alone at sea with no one to share the sunset with. It seemed only fair to try and give him or her a voice.

I absolutely love the psych/cosmic groove unleashed in the hypnotic ‘Flight of the Cormorant’, again revealing the endless and boundless nature of these sound worlds. This piece feels almost like a jam in the studio – was this the case? In this regard, I wonder were there many happy accidents, so to speak that happened during the making of ‘The Paralian’?

AM: There wasn’t the luxury, or time, for working a group up in the studio. While there were certainly things that fell in to place last-minute, this song was fairly established beforehand. I was striving for something hypnotic with its linear drone nature. If that alludes to spontaneity, then I suppose you might call that a ‘happy accident’.

‘Through The Field Beyond The Trees Lies The Ocean’ opens the album, but was one of the last things committed to tape. I was playing back some of the field recordings made during a study trip out to Seaton Cliffs and stumbled upon the motif while improvising on piano. It stuck, and struck me as an invite to ‘The Paralian’.

The meaning of ‘The Paralian’ is a dweller by the sea, and this resonates powerfully throughout the record: there is a solitude or quiet bliss deep within the space of these recordings. At what point did you come up with the album title itself and the particular narrative that unfolded? Please discuss the inspiration of your homeplace – and the Scottish countryside and nature – that clearly seeps into your consciousness?

AM: It came to me about a quarter of the way in to the project. At that stage, I held it as more of a working title, a temporary focal point to see me through. There were others in contention, however, when my friend Matthew Marra heard the album he told me “The Paralian” was the one. Rarely is Matthew wrong about that kind of thing.

Scotland has many magical landscapes and shorelines. I’m very fortunate to live on the east coast by such gateway to the North Sea. It’s offered me a number of things; a great deal to consider and plenty to write about. It can soothe and provoke you in equal measures. It’s a curious thing, and I’m not sure where I’d be without its presence.

Take me back to your earliest musical memories? Were there certain moments in time that were these eureka moments that you just knew that the musical path is destined to be the chosen one?

AM: When I was sixteen my uncle gave me an eighties Stratocaster. A kind gesture that would prove fairly pivotal in opening doors to the exotic world of music, books, film and art. I still use the guitar today. I don’t know if I’d subscribe to the idea of a single eureka moment. Performing, writing and listening to music’s a deep, rewarding privilege. An ongoing revelation, really. Naturally, there’s frustrations and disheartenment, but the decent days can be sublime. Providing it’ll have me, I’d like to traipse this path for longer and continue learning.

Lastly, what books, music, films have you enjoyed recently? What’s next for you?

AM: I was just gifted “Devotions”, the selected poems of Mary Oliver and have been listening to the eagerly awaited vinyl reissue of Paddy McAloon’s “I Trawl The Megahertz” a lot, along with Josephine Foster’s “Faithfull Fairy Harmony”. The last film I saw was Aleksei German’s deliriously brilliant “Khrustalyov, My Car!” a couple of weeks ago at Dundee Contemporary Arts Centre.

There’s various plans afoot. I’ve some writing to finish and other ideas that need started upon. I’m hoping to play some more shows this year, experimenting with the live set up and, if I can, go further afield than the UK. A duo I’m involved with, called Art Of The Memory Palace, are releasing a new record, “Dusk At Trellick Tower”, later this month too.

‘The Paralian’ is out now on Athens Of The North.

https://andrewwasylyk.bandcamp.com/

https://aotns.bandcamp.com/

Written by admin

March 20, 2019 at 2:58 pm

First Listen: “Reliever” by Kuba Kapsa (Denovali Records)

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We are delighted to premiere new music from Polish pianist and composer Kuba Kapsa, taken from his forthcoming album ‘Supersonic Moth’ released at the end of the month via Germany’s Denovali Records.

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The world-renowned German independent label Denovali return with the first releases in 2019 coming at the end of March. “Supersonic Moth”, the wonderful new album by Kuba Kapsa, who is a Polish pianist and composer – also known as the leader of the avant-jazz combo Contemporary Noise Sextet. Beyond that he’s a renowned composer for film and theater plays.

“Supersonic Moth” is basically written for upright piano played through felt, programmed electronic sounds and processed piano recordings in order to create in-depth atmospheres and sonic landscapes with a wide range of stimulating moods.

Supersonic Moth” is the musical realization of a specific trait in human existence, dealing with the disruptive contradiction of desiring something that might break one down or even kill. Everything that might be tempting. Everything that can push you down. And you know it. But you can’t resist it.” —Kuba Kapsa

We are delighted to premiere the album’s utterly spellbinding penultimate track ‘Reliever’, built upon hypnotic electronic soundscapes interwoven with sublime piano patterns. The towering crescendo serves one of the highlights of Kapsa’s latest master-work, creating a highly emotive modern classical exploration.

 

 

 

‘Supersonic Moth’ is out on Denovali Records on 29th March 2019.

https://www.denovali.com/kubakapsa/

https://www.facebook.com/kubakapsamusic

Written by admin

March 19, 2019 at 3:01 pm

Guest Mixtape: Machinefabriek (Western Vinyl)

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We’re thrilled to present a very special mix compiled by the Rotterdam-based independent music treasure Rutger Zuydervelt, who has been amassing a considerable body of work for many years via his Machinefabriek guise. This year saw the release of the Dutch composer’s latest full-length “With Voices” (released by Western Vinyl), an album made with the voices of such artists as fellow luminaries: Peter Broderick, Marissa Nadler, Richard Youngs and Chantal Acda. The initial spark of With Voices was kindled while Zuydervelt was in Taipei creating music for a dance company. In the final days of his trip, a dancer named Wei-Yun Chen caught Zuydervelt’s ear with an instagram video featuring a voice that turned out to be Wei-Yun’s own (she would end up on the album’s seventh movement). “With Voices” is available now on Western Vinyl. 

Machinefabriek_mixsleeve

 

Tracklist:

01. Gloria Coates“String Quartet No. 6: Evanescence” (Naxos)
[Taken from Gloria Coates: String Quartets Nos. 1, 5 & 6]
02. Matthew Revert/Vanessa Rossetto“Everyone Needs a Plan” (Erstwhile)
[Taken from Everyone Needs a Plan]
03. Eloïse Decazes & Eric Chenaux“Quand Je Menais Mes Chevaux Boire” (three:four records)
[Taken from La Bride]
04. Puce Mary“The Size of Our Desires” (PAN)
[Taken from The Drought]
05. Janek Schaefer“Corah II” (Temporary Residence)
[Taken from What Light There Is Tells Us Nothing]
06. Michael Pisaro, Håkon Stene & Kristine Tjøgersen“VI + VII” (Hubro)
[Taken from Asleep, Street, Pipes, Tones]
07. Tashi Wada With Yoshi Wada And Friends“Litany” (RVNGIntl.)
[Taken from Nue]
08. Casey Anderson – “Possible Dust (Norrie)” (A Wave Press)
[Taken from Radios]
09. Tashi Wada With Yoshi Wada And Friends“Niagara” (RVNGIntl.)
[Taken from Nue]
10. Mariam Wallentin and Ben Frost“Tainted Love (Soft Cell)” (Mute)
[Taken from Music From Fortitude]
11. The Sealed Knot“And We Disappear” (Another Timbre)
[Taken from And We Disappear]
12. Burial“UK” (Hyperdub)
[Taken from Untrue]
13. Giant Claw“Soft Channel 003” (Orange Milk)
[Taken from Soft Channel]
14. Thom Yorke “A Choir of One” (XL)
[Taken from Suspiria]
15. Nico Muhly“Wonders Pt. 3: A Complaint Against Thomas Weelkes” (Bedroom Community)
[Taken from Mothertongue]
16. Peter Broderick – original voice recording used in ‘III’ by Machinefabriek (Western Vinyl)
[Taken from With Voices]
17. Sylvain Chauveau“Find What You Love and Let It Kill You” (feat. Chantal Acda) (Broccoli)
[Taken from Post-Everything]

‘With Voices’ is out now on Western Vinyl.

http://www.machinefabriek.nu/
http://westernvinyl.com/

Written by admin

March 14, 2019 at 2:46 pm

Posted in MIXTAPE

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