FRACTURED AIR

The universe is making music all the time

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

Tagged with ,

Chosen One: Penelope Trappes

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“… a lot of it is just piecing the puzzle together of these array of sounds that I can just create the emotion with.”

—Penelope Trappes

 Words: Mark Carry

Penelope-Trappes-credit-Agnes-Haus

London-based artist Penelope Trappes’ sophomore full-length ‘Penelope Two’ – and follow-up to her essential debut ‘Penelope One’ for Optimo Music – casts a hypnotic, luminous spell through its stunningly beautiful song cycles: drenched in reverb that somehow drift into the ether of our innermost fears. The stark intimacy of the Australian-born composer’s compositions is what strikes you immediately; evoking the timeless spirit of early 4AD artists (This Mortal Coil, Cocteau Twins) and kindred spirits of Grouper’s Liz Harris and Tropic Of Cancer.

On the album’s gripping centrepiece ‘Maeve’, the chorus refrain of “let go” is repeated beneath delicate piano chords and lucid guitar haze. I feel ‘Penelope Two’ becomes a process of letting go: to allow the waves of anguish and pain wash over you and, in  turn, to wrap your troubles up in dreams. The raw emotion distilled in Trappes’ soaring vocals casts infinite rays of solace and hope as light flickers from within the depths of darkness.

The way in which the drone infused ambient instrumentals (‘Silence’; ‘Kismet’; ‘Exodus’) are masterfully interwoven with the vocal-based song structures (‘Connector’; ‘Burn On’; ‘Maeve’) creates one cohesive whole of staggering beauty and emotional depth. The ethereal dream pop gem of ‘Connector’ possesses endurance to overcome the darkness. The immaculate production and divine soundscapes immerses the listener inside a wholly other realm. The chorus refrain “I am the connector” epitomizes the magical, far-reaching qualities of Trappes’ immense songwriting prowess.

‘Penelope Two’ is out now on Houndstooth.

https://penelopetrappes.bandcamp.com/
https://www.facebook.com/penelopetrappes/

We are delighted to welcome Penelope Trappes for a Cork show on Saturday 27th April 2019. The Australian-born artist’s sublime sophomore full-length ‘Penelope Two’ charted #3 on our best albums of 2018 list, so we are beyond thrilled to invite her to play a special live headline show in Cork, Ireland. All details are below.

Fractured Air & Plugd present:

Penelope Trappes & special guests
Saturday 27th April
Roundy (Upstairs)
1 Castle Street,
Cork

TICKETS: https://uticket.ie/event/fractured-air-present-penelope-trappes-special-guests

 

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Interview with Penelope Trappes.

 

Please take me back to the making of ‘Penelope Two’ and if you had a starting point in mind and how the album came to be?

Penelope Trappes: The initial start was not that long after ‘Penelope One’. It was triggered by a dear friend of mine – who lives in Dublin actually – his wife had just passed away, who was a good friend of mine. And it was a very tumultuous, sad state of affairs because she had just given birth to a little kid – and I’ve mentioned it in my press release – it was really tragic and I strangely started feeling incredibly empathetic to his cause and I just sat down and I started to write this song called ‘Maeve’ (which was her name). So, I basically just picked up a guitar and played some chords and sang one take and recorded it: I don’t think I even sat down and wrote lyrics – it just came out of me. I had a few other songs that I may have been working on that were around but that was the one thing that triggered the whole album.

The soundscapes and pristine instrumentation that you use is really striking and also, the intimacy of these songs and the rawness that can be felt throughout the album.

PT:  It’s wonderful that it gets received that way. I suppose you have to dive into the intimacy when you listen to it and people feel that because I was writing stuff and then there was another dear friend of mine who again the same thing: she lost family members in a tragic accident. And it was weird because you don’t ever want to feel like you’re capitalizing in any way shape or form of other people’s grief but I think the intimacy and the addressing of such feelings is something that just started to infiltrate the whole album; that it was important to discuss – whether it be in just sound or with words, to open up: discussing things that may not necessarily be always the most comfortable things to talk about and bearing witness to certain things. And by working as a solo artist on this stuff I was able to be very much ‘in the zone’ and try to put those feelings into sound.

How long was the process itself from – as you say – writing the song ‘Maeve’ to finding that you had the album done because it almost feels as if the songs are flooding out of you (and becomes almost like one long piece of music)?

PT: Well, it didn’t happen rapidly. I reckon it was probably around eight months, from beginning to end of compiling it all. But I guess that eight months became for me a very transformative time since it was inceptions about how I felt about things too.

The production element as well is another wonderful hallmark of ‘Penelope Two’, I’d love to gain an insight into your studio set-up?

PT: It started with ‘Maeve’ on the guitar and then I’ve explored and had on my first album [‘Penelope One’] using traditional upright piano. My first album I had done in like a small piano studio and I really hadn’t gone too far out of that realm (with piano and voice). I’ve always added lots of field recordings and usually just from my I-phone (things where I’ve been in places where I’ve heard things that just stand out). Three tracks were written in New York at a friend’s house using his piano that correlate to my other friend’s moments. And then obviously I doused it in reverb – I love lots of reverb – and a lot of it is just piecing the puzzle together of these array of sounds that I can just create the emotion with. I’m working in Logic software but I try to keep the actual instrumentation for the most part – apart from things like field recordings – to hardware. I have a little analog synth that I like for droning sounds and things like that.

I love the series of photographs that comes with the narrative of the album itself. I wonder was that happening in tandem with the music?

PT: Well I work as part of a collective called Agnes Haus; these photos had been co-directed and shot over a period of time – not necessarily in correlation to when I was writing the songs. But again on ‘Penelope One’ I did a photobook for that as well so the visuals have always been part of the mood and general aesthetic of what I have been working on. I always knew I was going to do a photobook for this album because I had done it before. So they didn’t exactly line up in the calendar of the months  being written and produced.

I was introduced to your other projects – like the duo Golden Filter and your more electronic projects – after first discovering your solo album ‘Penelope One’. I suppose each one is independent of the other but would you find that it has its own set of challenges?

PT: Yeah I mean it’s interesting, The Golden Filter is vastly different to what I’m doing as solo. I tend to likening it to – like on an energy level – the Golden Filter stuff is very yang (it’s got very high energy and live it’s very intense) but this is the yin; both going solo and having my own time and being able to be introspective and more emotionally in touch with the yin side (which in Darwinism is more feminine and less energetic). It’s a tricky balance but I feel like that’s like life as you have low energy times and the high energy times and it’s all about for me to find the balance – I mean The Golden Filter still exists but not as busy; it’s out there and it’s doing its thing – between the two projects and it’s quite a nice way to be able to express all sides of yourself.

For the live setting, how do you find your solo songs translated into the live setting because as you say it’s deeply personal music? It must be an experience in itself to be able to perform these songs live?

PT: On the how to translate these deeply personal moments into the live thing, for example, I’ve been known to tear up a little when I do ‘Maeve’ but as far as the instrumentation of it all goes because there are these amorphous levels in the record (with all these sounds), I have to strip it back because it’s just me on stage. I mean in a perfect case – maybe in a year or so – I could have a few musicians onstage with me but I keep it pretty simple live. I have a keyboard, a sample – again it’s all hardware, I don’t bring a laptop up on stage with me – and then a loop pedal for vocals. I have done a couple of shows not with guitar but I’m thinking I’ll start bringing that along as well. So it’s more minimal but I feel like in that space I’m able to access the more emotional element because a lot of the whole project for me – being solo – is the minimal element so I suppose in the end my voice is the main instrument that is able to convey that. And then I have these spatial times in the set which is almost like meditation time [laughs] between these raw emotional moments.

As a listener I was immediately likening the music to Grouper whose like a kindred spirit in many ways.

PT: Grouper is wonderful, I suppose there are a lot of similarities there. In the beginning when I started the whole thing I was thinking a lot about early 4AD artists like This Mortal Coil and that sort of feel and acts like Grouper definitely feel like a kindred spirit. And then perhaps that’s just tying into what I was saying about the balance of energies in society – the very aggressive fast, full-on energy and the quiet, contemplative and more emotional stuff. And maybe it is just wonderful to know that there are other women – and men too, let’s not be sexist here [laughs] – there are people making this music you can have a very quiet contemplative and perhaps emotional reaction to. I saw her recently play in London and it was like being in church or something [laughs]: you could hear a pin drop; she didn’t say one word to anybody. She was even so humble when the people started arriving at the venue she was actually doing her own sound check still with people who were arriving and she was just sitting there and I mean she’s telling her story I guess – I think that’s what it’s about isn’t it; about finding a quiet place to be able to tell people a story.

Thinking back on growing up in Australia, would you have early musical memories, how soon did you realize how important music would be for you?

PT: I feel like music was always one of those things that was around my house growing up. I grew up in a rural town called Lismore, Australia – funnily enough it’s not far from you in County Waterford there’s a Lismore up there – which is near Byron Bay, it’s a very beautiful part of the world; I generally tell people Byron Bay because people when they travel to the Northern Rivers of Australia, they go there – they don’t go to the town where I grew up in [laughs] because it’s a boring town. And so I was quite isolated from the rest of the world, pre-Internet and Australia is always a bit behind the times due to location and definitely pre-Internet for sure. So I just used whatever I could get my hands on like whatever my parents had on around the house, so a bit of jazz and classical but not as much as I would have liked to have had (but I had to make do with what was around for listening). I studied piano between when I was seven and fourteen and then after that, by high school I was just trying to get my hands on as much music that I could. And then it continued after high school, I was actually studying folk and classical vocals and then I moved into opera for a bit – just to push my voice but I didn’t really resonate personally with the opera singing [laughs]; it wasn’t really my cup of tea, although I do like it now, more. So it started with piano and I taught myself how to play guitar and the vocals was always the thing but I guess as a child I always loved the concept of performing, in some way shape or form.

Would you have plans or future projects for the new year?

PT: I have already started formulating ideas for ‘Penelope Three’ like lyrical ideas, singing and things that I feel like are happening around me – I’ve already started documenting it and this time of the year is a great time with the close of the year and that time of the year where you get contemplative. I’m hoping that this winter – once I get through the madness of christmas – that January, February, March I’ll hole myself up and really start coming up with actually releasing these ideas into music. So that’s definitely going to be for the first half of the year and I’m not entirely sure where it will exist but hopefully I’ve got a few things up my sleeve where it will come out into the world.

‘Penelope Two’ is out now on Houndstooth.

https://penelopetrappes.bandcamp.com/
https://www.facebook.com/penelopetrappes/

Fractured Air & Plugd present:

Penelope Trappes & special guests
Saturday 27th April
Roundy (Upstairs)
1 Castle Street,
Cork

TICKETS: https://uticket.ie/event/fractured-air-present-penelope-trappes-special-guests

Written by admin

March 12, 2019 at 4:49 pm

ANNOUNCEMENT: Penelope Trappes (AUS, Houndstooth/Optimo Music) / Roundy (Upstairs), Cork / Sat. 27th April 2019

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We are honoured to welcome London-based songwriter and musician Penelope Trappes for a Cork show on Saturday 27th April 2019. The Australian-born artist’s sublime sophomore full-length ‘Penelope Two’ charted #3 on our best albums of 2018 list, so we are beyond thrilled to invite her to play a special live headline show in Cork, Ireland. All details are below.

Fractured Air & Plugd present:

Penelope Trappes & special guests
Saturday 27th April
Roundy (Upstairs)
1 Castle Street,
Cork

TICKETS: https://uticket.ie/event/fractured-air-present-penelope-trappes-special-guests

Penelope-Trappes-credit-Agnes-Haus

Following her debut album ‘Penelope One’ for Optimo Music, antipodean vocalist, musician and soundscaper Penelope Trappes presents sophomore longplayer ‘Penelope Two’, for Houndstooth.

Elements from multiple sources are subsumed by Trappes’ sonic presence; one hears Badalamenti and Julee Cruise’s work for ‘Blue Velvet’ and ‘Twin Peaks’, Slowdive’s dreampop, the scorched comedowns of early Primal Scream, Colin Newman’s dark melancholia, plus contemporaries like Tropic Of Cancer and Sky H1.

These distilled, rarefied creations take echoes as their starting point, with Trappes summoning swathes of tones, textures and emotions into something ethereal but also powerful, like an evocation of spirits. It’s also deeply melodic, with her intimate, maternally-tender voice floating in the middle of each three dimensional, womb-like sonic space.

Originally from the Northern Rivers of NSW, Australia before moving to New York and developing experimental electronic projects Locke and Priscilla Sharp, plus her best-known incarnation with partner Stephen –The Golden Filter.

Referencing Scott Walker and This Mortal Coil, Trappes uses a minimal palette to frame her spellbinding, spectral songs in a starkly beautiful sound, suggesting a collaboration between Mazzy Star and Leyland Kirby, or Felicia Atkinson writing for Lynch. Truly remarkable” BOOMKAT

A shiver inducing introspective work, drawing influence from Nick Cave and Grouper” The FADER

Sounds like Scott Walker collaborating with Julee Cruise” FACT Magazine

penel

 

 

 

 

Fractured Air & Plugd present:

Penelope Trappes & special guests
Saturday 27th April
Roundy (Upstairs)
1 Castle Street,
Cork

TICKETS: https://uticket.ie/event/fractured-air-present-penelope-trappes-special-guests

https://penelopetrappes.bandcamp.com/

https://www.facebook.com/penelopetrappes/

Written by admin

March 5, 2019 at 6:19 pm

Mixtape: Fractured Air – February 2019

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fracturedair_feb19

Our February mix features two tracks from Dublin-based singer-songwriter Maria Somerville’s eagerly awaited debut album “All My People” (released on 1st March). The album’s title-track is an enthralling post-punk exploration immersed in ethereal pop dimensions, while “Eyes Don’t Say It” unfolds a sublime, brooding and highly immersive sound world.

The cherished U.S. songwriter and multi-instrumentalist Heather Woods Broderick delivers her most captivating and innovative work to date with her highly anticipated third full-length solo studio album “Invitation” (pre-order available via Western Vinyl). The album’s lead single “Where I Lay” emits a fragile beauty amidst anguish and doubt but ultimately becomes a deeply cathartic experience from the depths of the human heart.

February’s mix also features new releases from Scottish composer Andrew Wasylyk’s exceptional third studio album “The Paralian” (via the ever dependable Athens Of The North imprint); New York-based cellist and composer Julia Kent’s newest sonic marvel “Temporal”; new Ghostly signing Khotin and Portand Oregon’s Dolphin Midwives.

 

Fractured Air – February 2019

01. Dolphin Midwives“Grass Grow” (Beacon Sound)
02. Mary Lattimore“Baltic Birch” (Paul Corley Remix) (Ghostly)
03. Margie Jean Lewis“Malamuut” (Soundcloud)
04. Maria Somerville“Eyes Don’t Say It” (Self-released)
05. Narwal“Track 01” (Ongehoord)
06. Stano“A Dead Rose” (AllChival)
07. Michael O’ Shea“Kerry” (AllChival)
08. Andrew Wasylyk“Journey to Inchcape” (Athens Of The North)
09. Rustin Man“Vanishing Heart” (Domino)
10. Oliver Coates“Norrin Radd Dreaming” (RVNG Intl)
11. Julia Kent“Conditional Futures” (Leaf Label)
12. Khotin“Dwellberry” (Ghostly)
13. Panda Bear“Master” (Domino)
14. Augustus Pablo“King Tubby Meets Rockers Uptown” (Yard Music)
15. Lee ‘Scratch’ Perry“The Upsetter” (Motion)
16. Helado Negro“Running” (RVNG Intl)
17. Deerhunter“What Happens To People?” (4AD)
18. Chasms“Shadow” (Felte)
19. 101 Beats Per Minute“I Cried And Cried And Cried” (Countersunk)
20. Maria Somerville“All My People” (Self-released)
21. Ela Orleans“Something Higher” (Night School)
22. Kali Malone“Bondage to Formula” (Hallow Ground)
23. Heather Woods Broderick“Where I Lay” (Western Vinyl)
24. Penelope Trappes“Burn On” (Houndstooth)
25. Nils Frahm“Sweet Little Lie” (Erased Tapes)
26. Landless“Lassie Lie Near Me” (Humble Serpent)

 

 

ANNOUNCEMENT: Xylouris White (AUS/GRE, Bella Union) / DALI, Cork / Fri. 5th April 2019

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We are delighted to welcome back the legendary duo Xylouris White for a Cork show on Friday 5th April 2019. All details are below.

Fractured Air & Dali Live present:
Xylouris White & special guests
Friday 5th April
Doors 8PM (EARLY SHOW)
Dali
Careys Lane,
Cork

TICKETS: https://www.eventbrite.ie/e/fractured-air-dali-present-xylouris-white-and-special-guests-tickets-57166586800

photobymanolismathioudakisstanding

Xylouris White (Jim White and George Xylouris)

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

A passion for exploration comes naturally to Xylouris White, the ruggedly visionary duo formed of Cretan lute player George Xylouris and Australian drummer Jim White. For their debut album, 2014’s Goats, Xylouris White compared themselves to the titular animals, wandering fearlessly through rough-hewn terrain. Two years later, they showed how far their horizons could reach on 2016’s majestically expansive Black Peak, named after a mountain top in Crete.

Just 15 well-toured months after the band’s universally acclaimed sophomore full length ‘Black Peak’, the duo’s exploratory instincts drive them further onwards still on their third album, Mother, released last year on Bella Union, and named to denote “new life”. As Xylouris puts it, “Mother is the extension of Goats and Black Peak. Three things, all part of a whole. Goats are mothers, Zeus was raised on Amaltheia’s milk, Black Peak is Mother Earth… Mother Earth is the mother of everything.”

Across Mother’s nine tracks, Xylouris White nurture fecund growths from the spaces between their instruments. Sometimes the songs drive with an invigorating urgency; sometimes they brood, plead, yearn and lull. The duo seems to discover each other anew at every turn, teasing the songs out from their fluid chemistry with the kind of virtuosity that knows when to listen, accommodate and learn afresh. “A theme of the album is the significance of simplicity and a child-like approach,” Xylouris explains. “So, we connect mother and child and play instruments as toys. Xylouris White is still gestating.”

That ongoing gestation is a remarkable extension of already remarkable back-stories. Xylouris is a scion of one of Greece’s most revered musical families. His father is legendary singer and lyra player Psarantonis. Jim White, meanwhile, has commanded international attention for more than two decades as part of Australia’s Dirty Three. Now New York-based, White has often been called on to collaborate with numerous alt-A-listers (including: Bonnie ‘Prince’ Billy, PJ Harvey, Cat Power and Smog), where he redeploys the rolling momentum of free-jazz to variously supple, sensitive and seismic ends. Most recently he performed with Kurt Vile and Courtney Barnett on their acclaimed album “Lotta Sea Lice”.

https://www.xylouriswhite.com/

https://www.facebook.com/XylourisWhiteBand/

Credit+Manolis+Mathioudakis+DSC_4301.jpg+

 

 

 

 

Fractured Air & Dali Live present:
Xylouris White & special guests
Friday 5th April
Doors 8PM (EARLY SHOW)
Dali
Careys Lane,
Cork

TICKETS: https://www.eventbrite.ie/e/fractured-air-dali-present-xylouris-white-and-special-guests-tickets-57166586800

https://www.xylouriswhite.com/

https://www.facebook.com/XylourisWhiteBand/

Written by admin

February 22, 2019 at 12:01 pm

Guest Mixtape: Julia Kent (Canada/The Leaf Label)

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To coincide with the release of “Temporal”, the world-renowned Canadian cellist and composer Julia Kent’s majestic fifth studio album, we are excited to present a very special guest mix compiled by one of independent music’s true treasures. The New York-based composer – originally best known as cellist for Antony and the Johnsons and member of the cello-driven group Rasputina – has quietly amassed a monumental body of solo work since “Delay”, her 2007 debut full-length. Each subsequent recording never ceases to amaze in it’s immense artistic vision and graceful execution, all the while revealing Kent as one of the most consistently fascinating artists making music today. 

Spanning a breathtaking spectrum of some of the world’s most innovative contemporary composers, Julia Kent’s guest mix beautifully blends modern classical, electronic, ambient and experimental spheres to wondrous effect. “Temporal” is available now on The Leaf Label.

juliakent_mixsleeve

 



Tracklist:

01. Jessica Moss“Fractals (Truth 4)” (Constellation)
02. Sarah Davachi“Third Hour” (Ba Da Bing!)
03. Resina“Procession” (130701)
04. Kelly Moran“Halogen” (Warp)
05. Galya Bisengalieva“Tulpar” (NOMAD Music Productions)
06. Helena Hauff“Entropy Created You And Me” (Ninja Tune)
07. Barbara Morgenstern “Brainfuck” (Staatsakt)
08. Fatima Al Qadiri“Breach” (Hyperdub)
09. Jlin “The Abyss of Doubt” (Planet Mu)
10. Zora Jones“Too Many Tears” (Fractal Fantasy)
11. Holly Herndon & Jlin“Godmother” (feat. Spawn) (4AD)
12. Gudrun Gut“Boys Keep Swinging” (Monika Enterprise)
13. Kali Malone“Arched in Hysteria” (Hallow Ground)
14. Félicia Atkinson & Jefre Cantu-Ledesma“Indefatigable Purple” (Shelter Press)
15. Christina Vantzou“Sound House” (Kranky)

‘Temporal’ is out now on The Leaf Label.

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

Chosen One: Julia Kent

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Creative work–whether it’s making music or writing or performing physically–can sometimes produce its own chronology and in that way seem to escape time.”

—Julia Kent

 Words: Mark Carry

julia-kent-i

Last month saw the eagerly awaited return of world-renowned Canadian cellist and composer Julia Kent’s fifth studio album, ‘Temporal’: a deeply transformative journey into our very being that chronicles the fragility of human existence. The emotional world that Kent’s cello-based compositions innately unfolds – akin to the shifting of the earth’s tectonic plates in a natural, hypnotic and gradual rhythmic pulse – unleashes a haven of raw emotion and vivid textures. It is this highly emotive quality of the cellist’s captivating soundscapes – which somehow encapsulates all of life’s fleeting moments in one enthralling, soaring ocean wave – that has been a cherished constant in her storied career to date.

Temporal’ begins with the epic tour-de-force ‘Last Hour Story’; a striking piece centered on a metronomic pulse. But it is the way in which the continually morphing and mutating strings somehow navigate into the hidden depths of one’s heart and mind – constantly changing direction, and forever exploring deeper into the unknown – which conveys a celestial beauty of unknown magnitude. A timelessness is created, for the listener, is taken into the here and now, with the heart pulse as our trusted compass.

The combination of hypnotic electronic pulses and contemplative strings is masterfully employed on the luminescent ‘Imbalance’. Momentous sound worlds of neo-classical, electronic and drone soundscapes are interwoven, overlapped and joined in synergy. The journey is undeniably taking its course: to here knows when.

Experimentation with vocals (bringing to mind kindred spirits of Kelly Moran’s latest Warp full-length or Kara-Lis Coverdale) on the dazzling ‘Conditional Futures‘ creates an utterly transcendent drone-infused-ambient creation. The hidden details are sculpted together into a labyrinth of time, wherein the strings serve the vital link.

The modern-classical splendour of ‘Floating City’ shares the timeless spirit of Hauschka and Olafur Arnalds such is its sublime spell. Heartwarming and enlightening, in equal measure.

An inner dialogue forever occurs deep within the very heart and soul of Kent’s glorious sound worlds. The album’s gripping penultimate track, ‘Through The Window’ encapsulates the empowering nature of the Canadian composer’s immense talents: it is as if our very inner reflection – both the darkness of fears, tension, doubts and the light of love, hope and joy – becomes reflected through the looking-glass. Music that becomes part of you.

‘Temporal’ is out now on The Leaf Label.

https://www.juliakent.com/

http://www.theleaflabel.com/

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Interview with Julia Kent.

 

Congratulations on the stunningly beautiful and transformative latest full length ‘Temporal’. An album title that epitomizes the intense spirit and emotive energy that permeates throughout: reflecting at once the transient nature of life and human existence but also a celebration of life’s ripple flow of fleeting moments. Please discuss the narrative of this latest solo work, Julia and recount your memories of witnessing these hypnotic pieces come to fruition?

Julia Kent: Thanks so much! The album came together over a few years and rather than there being a narrative thread running through the pieces, there is more the idea that they were reflecting on, as you say, the passage of time and the way in which we can sometimes seem to arrest it by creating something that intersects with it. Creative work–whether it’s making music or writing or performing physically–can sometimes produce its own chronology and in that way seem to escape time.

You have collaborated quite often in the field of dance and I was very interested to discover many of these pieces were born from your work in the world of dance/theatre. Please discuss the relationship between sound and movement and how your subconscious responds to these cues, so to speak? 

JK: I love working with dance because there’s a really specific and amazing energy that happens with dancers on a stage. What they do is so physical, obviously, but also transcends physicality. Dance turns our existence, as bodies negotiating our way through the constraints of gravity and the construct of chronology, into art.

‘Last Hour Story’ forms a significant foundation to ‘Temporal’s captivating sound world. The gorgeous textures of strings and subtle electronics creates this otherworldly, far-reaching stratosphere. I’m curious as to the song title and how this epic piece develops gradually over time. I can imagine the space – be it your headspace or indeed this ‘other’ space the music brings you deep inside – is very much apparent during the making and construction of ‘Last Hour Story’?

JK: “Last Hour Story” was originally developed to accompany a theatre piece called “Il Tempo Scolpito,” which of course references Tarkovsky’s autobiography, and that was my original working title for it, until I realized I just couldn’t presume to use that title. The whole piece unfolds over an unchanging metronomic beat, and I used it as an opportunity to explore how musical ideas can develop over something that remains unchanged and, in a way, inexorable. “Last Hour Story,” as a title, came from the idea of how time can compress or dilate, depending on how we’re experiencing it: the concept of how it changes depending on our perspective, like the way, allegedly, at the end of our life we could potentially have a bird’s-eye view of it.

Can you discuss the processes and techniques utilized on ‘Temporal’ and indeed if any new avenues were navigated on this latest exploration? As a composer, do you find you approach – in essence – has remained a constant throughout your storied career? 

JK: I think I do make music in the same way always: for me it really is about communicating emotion. For “Temporal,” because much of the music was created in response to external concepts, either from choreography or from text, I think perhaps it might have ended up being less interior than some of my other records. The compositional process definitely had one more step than some of my other music in terms of the pieces developing in a really immediate way in rehearsal or in response to concepts and then being refined over time as it became clear that this music could come together to be an album.

‘Conditional Futures’ conveys your masterful use of vocal textures and how these textures are interwoven with the cello instrumentation unleashes a fragile beauty amidst a dark undercurrent. Can you outline any challenges posed by adding these vocal treatments to your music? I wonder how much time goes into the production of ‘Temporal’, after which the tracks are put to tape?

JK: I’m always interested in processing organic textures and combining them with electronic textures in a way that blurs the boundaries between both, so that it’s hard to tell where one leaves off and the other begins. I think in “Temporal” I’ve done that more than in my other records. I did a lot of processing of the cello sound and the “found” voices that I used to turn them into textures. It makes them almost into ghosts of what they are. That’s something also, that seems inherent to looping. Someone in a recent interview referenced the concept of “hauntology” with reference to looping, which I thought was so interesting. It seems relevant in terms of the way repetition can create a phantom existence.

I’m in awe of the inner dialogue that forever occurs deep within the heart and soul of your sonic explorations. I feel ‘Through The Window’ encapsulates the deeply empowering nature of your cello based compositions. Can you discuss the act of layering pieces of strings and indeed how you – in effect – respond to musical ideas and build a piece from a starting idea to its finished, gleaming whole?

JK: That is a lovely way to describe the end result–thank you!–but, of course, my process is very much a process, and all the errors and imperfections contribute to the whole, the way our faces and bodies reflect the lives we live. There are always lots of side roads taken on the way to the destination, but those are the most interesting journeys!

Lastly, what music, film, theatre, books (or one or any of these) has inspired you in a big way?

JK: It’s not necessarily a direct inspiration on anything but, in New York, I just recently saw Elevator Repair Service’s production of “Gatz,” which is “The Great Gatsby,” turned into theatre, every word read onstage, and every character inhabited. It’s something like eight hours long and was so demonstrative of how art can intersect with time. It takes what is already an incredible work into another dimension. And so resonant to the American experience, historically and, especially, now.

‘Temporal’ is out now on The Leaf Label.

https://www.juliakent.com/

http://www.theleaflabel.com/

Written by admin

February 11, 2019 at 9:39 pm

Posted in CHOSEN ONE

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