FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Caribou

Fractured Air x Blogothèque – S02E02 | February mix

leave a comment »

fracturedair_feb17

We’re excited to present three exclusive tracks for February’s mixtape.

February’s edition features an exclusive first listen of UK-based organist and composer James McVinnie’s “Cycles_1” album, set for release this Spring via Icelandic independent Bedroom Community. The album is a collection of reworks of McVinnie’s glorious 2013 Bedroom Community album, “Cycles”, an album featuring thirteen organ pieces performed by Mcvinnie, written by Nico Muhly and also featuring contributions from Nadia Sirota, Chris Thompson and Simon Wall. Presented here is the rework of “O Emmanuel” (the final of the “Seven O Antiphon Preludes” from “Cycles”) by composer Paul Evans, who is also the producer and engineer at the legendary Greenhouse Studios; the creative home of Bedroom Community, founded by Valgeir Sigurðsson in 1997.

Also featured on February’s mixtape is an exclusive first listen of Irish songwriter Brigid Mae Power’s hauntingly beautiful cover of Planxty’s “As I Roved Out” (a regular inclusion on Power’s enthralling live shows), taken from her forthcoming “The Ones You Keep Close” EP, comprising a collection of older songs of Power’s newly recorded by Peter Broderick at his Woods, Oregon-based studio The Sparkle during 2016. The stunning six-track vinyl EP will be available this April via German independent label Oscarson.

We’re happy to also feature the exclusive track “Rook” by Seattle-based artist Benoît Pioulard (Kranky, Ghostly International, Morr Music) which will be exclusively made available on a tour-only CD during his forthcoming eagerly-awaited European tour, commencing on 4th March 2017.

Also included on February’s mixtape are new releases from: Brokeback; Colin Stetson; Hauschka; Jens Lekman; Visible Cloaks; Cindy Lee; Clap! Clap!; Talaboman; Mind Over Mirrors; Julie Byrne & much more.

Fractured Air x Blogothèque – S02E02 | February mix

 

 

01. Visible Cloaks“Circle” (RVNG Intl)
02. Julia Holter“So Lillies” (Live at RAK) (Domino)
03. Yaw“Where Will You Be” (!K7)
04. Françoise Hardy“Voilà” (Disques Vogue)
05. Cindy Lee“A Message From The Aching Sky” (Superior Viaduct)
06. The Sadies“It’s Easy (Like Walking)” [feat. Kurt Vile] (Yep Roc)
07. The Saxophones“If You’re on the Water” (Self-Released)
08. Brokeback“Spanish Venus” (Thrill Jockey)
09. Jens Lekman“What’s That Perfume That You Wear?” (Secretly Canadian)
10. William Onyeabor“Fantastic Man” (Luaka Bop)
11. Brentford Disco Set“Rebel Disco” (Soul Jazz)
12. Adrian Homer Miller “One and Only One” (Light In The Attic)
13. Colleen“Eclipse” (Thrill Jockey)
14. Those Who Walk Away“First Degraded Hymn” (Constellation)
15. Toydrum“I’ve Got a Future” (Nick Cave & Warren Ellis Rework) [feat. Gavin Clark] (Skint)
16. Julie Byrne“I Live Now As A Singer” (Ba Da Bing!)
17. Clap! Clap!“Ascension Psalm” (feat. HDADD) (Black Acre)
18. Talaboman“Safe Changes” (R&S)
19. Caribou“People Eating Fruit” (Leaf)
20. Vermont“Norderney” (Kompakt)
21. Paddy Mulcahy“On The Steps” (Self-Released)
22. Hauschka “Constant Growth Fails” (City Slang / Temporary Residence)
23. Mind Over Mirrors“To the Edges” (Paradise Of Bachelors)
24. James McVinnie “O Emmanuel” (Paul Evans Remix) (Bedroom Community)
25. Benoît Pioulard“Rook” (Self-Released)
26. Colin Stetson“Spindrift” (Constellation)
27. Mario Batkovic“Restrictus 2” (Invada)
28. Richard Osborn“Still I Will Be Merry” (Tompkins Square)
29. Brigid Mae Power“As I Roved Out” (Oscarson)

Compiled by Fractured Air, February 2017. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

http://www.blogotheque.net/
https://fracturedair.com/

 

Albums & Reissues Of The Year: 2014

with 14 comments

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

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

——

Albums of the year:

grouper_ruins_poster

Grouper ‘Ruins’ (Kranky)

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

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

————

ruins_web

‘Ruins’ is available now on Kranky.

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

————

Print

Caribou ‘Our Love’ (City Slang/Merge)

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

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

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

————

ourlove_web

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

http://www.caribou.fm

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

————

sharonvanetten_arewethere

Sharon Van Etten ‘Are We There’ (Jagjaguwar)

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

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

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

————

arewethere_web

‘Are We There’ is available now on Jagjaguwar.

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

————

Print

Clark ‘Clark’ (Warp)

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

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

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

————

-12inch_3mm_sleeve

‘Clark’ is available now on Warp.

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

————

hauschka_abandonedcity

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

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

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

————

abandonedcity_web

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

http://hauschka-net.de/

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

————

stevegunn_wayoutweather

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

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

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

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

————

ATOZ_12in_TIPON

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

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

————

laghdu_poster

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

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

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

————

laghdu_web

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

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

————

no2_christinavantzou

Christina Vantzou ‘N°2’ (Kranky)

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

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

————

no2_kranky_web

‘N°2’ is available now on Kranky.

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

————

thiskindlyslumber_poster

Birds Of Passage ‘This Kindly Slumber’ (Denovali)

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

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

————

thiskindlyslumber_web

‘This Kindly Slumber’ is available now on Denovali.

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

————

marissanadler_july_craigcarry

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

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

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

————

july_web

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

http://www.marissanadler.com/

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

————

Reissues of the year:

themoles_final_2

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

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

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

————

flashbacksanddreamsequences_web

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

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

————

lewis_lamour

Lewis ‘L’Amour’ (Light In The Attic)

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

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

————

lamour

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

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

————

oneofyou_poster_final

One Of You ‘One Of You’ (Little Axe)

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

————

oneofyou_web

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

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

————

kleimer_aperiodofreview

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

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

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

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

————

aperiodofreview

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

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

————

fikretkizilok_anadoluyum

Fikret Kızılok ‘Anadolu’yum’ (Pharaway Sounds)

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

————

anadoluyum_web

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

http://lightintheattic.net/

————

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

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

——

Web: http://fracturedair.com

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

————

Mixtape: I Used To Dream [A Fractured Air Mix]

leave a comment »

iusedtodream_front

I Used To Dream [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-used-to-dream-a-fractured-air-mix/

————

Tracklisting:

01. Nicolas Jaar ‘Être’ [Circus Company]
02. Kiasmos ‘Looped’ [Erased Tapes]
03. Jon Hopkins ‘Abandon Window’ (Moderat Remix) [Domino]
04. Rival Consoles ‘Recovery’ [Erased Tapes]
05. Clark ‘There’s A Distance In You’ [Warp]
06. Junior Boys ‘You’ll Improve Me’ (Caribou Remix) [Domino]
07. Caribou ‘Mars’ [City Slang / Merge]
08. Sun Ra ‘Angels And Demons At Play’ [Strut]
09. Alfonso Lovo ‘Sinfonia Del Espacio De Do Menor’ [Numero Group]
10. Les Sins ‘Why’ (feat. Nate Salman) [Company]
11. Andy Stott ‘Faith In Strangers’ [Modern Love]
12. Glissandro 70 ‘Portugal Rua Rua’ [Constellation]
13. Ariel Pink ‘Dayzed Inn Daydreams’ [4AD]

————

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

————

Fractured Air. The universe is making music all the time.

Mixcloud / Facebook / Twitter

————

 

Mixtape: Some Velvet Morning [A Fractured Air Mix]

leave a comment »

somevelvetmorning_front

Some Velvet Morning [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/some-velvet-morning-a-fractured-air-mix/

————

Tracklisting:

01. Goat ‘To Travel The Path Unknown’ [Sub Pop]
02. Miles Davis ‘John McLaughlin’ [CBS, Columbia]
03. Pharoah Sanders ‘Greeting To Saud’ [Impulse!]
04. Boom Bip Feat. Nina Nastasia ‘The Matter (Of Our Discussion)’ [Lex]
05. Kate Ellis ‘Why Do You Smile?’ [Diatribe]
06. Spoon ‘Inside Out’ [Anti-]
07. St. Vincent ‘Severed Crossed Fingers’ [Loma Vista, Republic]
08. Rival Consoles ‘3 Chords’ [Erased Tapes]
09. Nils Frahm ‘Peter’ (Clark Remix) [Warp]
10. Caribou ‘Our Love’ [City Slang / Merge]
11. Daphni & Owen Pallett ‘Julia’ [Jiaolong]
12. Cora Venus Lunny ‘The Unknown (Dissolution)’ [Diatribe]
13. Tape ‘Merak’ [Häpna]
14. The Raincoats ‘The Void’ [Rough Trade]
15. Adrian Crowley ‘Trouble’ [Chemikal Underground]
16. Lee Hazlewood & Nancy Sinatra ‘Some Velvet Morning’ [Reprise]

————

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

————

Fractured Air. The universe is making music all the time.

Mixcloud / Facebook / Twitter

————

Mixtape: I Think I Knew [A Fractured Air Mix]

leave a comment »

ithinkiknew_front

I Think I Knew [A Fractured Air Mix]

A selection of some of our favourite music released in the first six months of 2014.

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-think-i-knew-a-fractured-air-mix/

————

Tracklisting:

01. William Tyler ‘Whole New Dude’ (Excerpt) [Merge]
02. John Murry ‘Glass Slipper’ [Ruby Works]
03. The War On Drugs ‘In Reverse’ [Secretly Canadian]
04. Marissa Nadler ‘Firecrackers’ [Bella Union / Sacred Bones]
05. The Delines ‘The Oil Rigs At Night’ [El Decor / Cortez]
06. Cate Le Bon feat. Perfume Genius ‘I Think I Knew’ [Wichita / Turnstile]
07. The Moles ‘This Is A Happy Garden’ [Fire]
08. Greg Gives Peter Space ‘Electric Eel River’ [Erased Tapes]
09. Hauschka ‘Thames Town’ [City Slang / Temporary Residence]
10. Roll The Dice ‘In Deference’ [Leaf]
11. Trans Am ‘I’ll Never’ [Thrill Jockey]
12. Jamie xx ‘Girl’ [Young Turks]
13. Caribou ‘Can’t Do Without You’ [City Slang / Merge]
14. Hydras Dream ‘The End’ [Denovali]
15. Yann Tiersen ‘Meteorites’ [Mute]

————

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

————

Fractured Air. The universe is making music all the time.

Mixcloud / Soundcloud

————

Fractured Air 12: Pick A Wonder (A Mixtape by Pick A Piper & knoWonder)

leave a comment »

bradweber_front

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/fractured-air-12-pick-a-wonder-a-mixtape-by-pick-a-piper-amp-knowonder/

Tracklisting:

01. Kollektiv Turmstrasse – Tristesse
02. Ame – Den Ratta
03. Shawn Snell – Fast Mover
04. Kaan Duzarat – Piece For Bass (Trus’me Remix)
05. Kaiserdisco – Amalfino
06. Soundstream – Makin’ Love
07. Soundstream – Good Soul
08. Curtis Mayfield – Little Bit Of Love (FOC Edits)
09. Shelby Grey – Stateless
10. Nico Stojan – Damm It
11. Acid Pauli – iBang
12. Petter – Some Polyphony
13. Nebraska – This Is The Way
14. Letherette – No Point
15. Tale of Us – Discochord
16. Head High – It’s A Love Thing (Piano Invasion)
17. Jacques Greene – Ready
18. Gary Beck – Before The Crash
19. Mount Kimbie – You Took Your Time (Kyle Hall Remix)
20. Grown Folk – Halfway House
21. Dam Mantle – Brothers Fowl
22. Dauwd – What’s There
23. Pick a Piper – Hour Hands (Carrot Green Remix)

————

“Pick a Wonder” is a special mix made by Toronto-based Pick A Piper’s Brad Weber with KnoWonder (Robin Johnston) as part of a live performance for the Archi-Textures weekly series. Each week has a different curator (who each put on one show a month for the weekly series). The curator that did our night was ‘Knotibel’ and “Bonding Agents” was the name of his night in January.

Personnel:
Brad Weber: selector, decks, effects, roland SPDS
Robin Johnston: kaos pads, effects, loops

Brad Weber — as well as being the leader of collaborative project Pick A Piper — is also the drummer for Caribou. April 2013 saw the release of Pick A Piper’s self-titled debut album on Mint Records, while City Slang issued ‘Pick A Piper’ for European audiences. As Weber told us, “Pick a Piper was originally formed to channel my impression of dance music using organic instrumentation…I’m really interested blurring the lines and leaving the sound source up to the interpretation of the listener.”

————

‘Pick A Piper’ is available now from Mint Records (North America), AbandonBuilding (USA/Japan) and City Slang (Europe).

http://archi-textures.info
https://www.facebook.com/pickapiper

http://www.mintrecs.com
http://www.cityslang.com

————

Written by admin

March 3, 2014 at 3:03 pm

Chosen One: Fresh Snow

with 2 comments

Interview with Fresh Snow.

“Psych/noise/kraut group with one of my best pals Andy Lloyd on bass. Their live shows are insane. Sometimes they play inside of a pod with projections on all sides, sometimes they have a four-piece horn/string section. I actually have no idea what to expect, ever, so I love them.”

—Brad Weber, Pick A Piper/Caribou

Words: Mark Carry, Illustration: Craig Carry

freshsnow_1_craigcarry

‘Space Is The Place’ – a Sun Ra album title from many moons ago – is a fitting description of Fresh Snow’s forthcoming debut album, ‘I’. The improvisations comprise of compelling soundscapes that have space, rhythm and dynamics for the pieces of music to escalate into fully expansive walls of sound. The results are staggering. Across five instrumental voyages, a plethora of ideas – encompassing an array of genres – are fully realized by the Toronto-based group. The large sonic canvas draws from noise, psych, krautrock and indie pop, seamlessly crossing boundaries and in turn, pushing the sonic envelope.

Fresh Snow consists of Bradley Davis on guitars, Andy Lloyd (Caribou, Born Ruffians) on bass, Jon Maki (Tropicalia) on drums, and Tim Condon (Mirrored Silver Sea) on laptop/keys. The Toronto-based band started with jams of largely improvised music, before work begun on arrangements of the songs. Stellar guest musicians joined the core four-piece, in the form of Laura C. Bates (Trent Severn, Boxcar Boys) on violin, Aurora Cowie (Triple Gangers) on trumpet and Karl Silveira (trombone) and John David Williams (clarinet). The mixing of the album consisted of a combination of predominately Pro Tools and analog gear. The result is ‘I’, a kaleidoscope of innovative sounds. The album was mastered by James Plotkin, notable for his work with Tim Hecker, OLD and Khanate.

Album Opener ‘Saturation Complete’ was also the band’s debut single, which was released last year. What is so impressive is that this twelve minute journey into the heart of krautrock is in fact a debut single. I feel the diverse musical backgrounds where each member comes from, is responsible for the eclectic nature of their sound. ‘Your Thirst For Magic Has Been Quenched By Death’ is a sprawling instrumental opus of strings, synths, guitars, keys and drums. The use of strings adds a gorgeous dynamic and feel to the guitar-led melody. A state of motion is forever inherent in the sonic creations, especially once the bassline comes to the foreground of the mix.

‘To A Sea’ is in a word, lush. The track is a departure from the noise explorations, and remains rooted in gorgeous 60’s pop. A lush pop gem is created, complete with Condon’s vocoder. The use of vocals adds new dimensions to ‘I”s expansive sound, where brighter textures and mood is arrived upon. At the heart of ‘I’is the joyous sound of blissed out jams – ‘Kick Out The Jams’ anyone? – where the creative energies of talented musicians unleash their artistic visions into the world outside.

For fans of Neu! and Can, you have just discovered your favourite new band in Fresh Snow. But to use reference points would do injustice to ‘I”s masterful achievements. Upon endless revisits to this remarkable debut, I feel Chicago’s Tortoise are a great parallel, in terms of dynamics and musicianship. Fresh Snow’s experimentation with sound similarly offers endless possibilities. The band who are renowned for their incendiary live performance – having recently performed Led Zeppelin’s ‘IV’ in its entirety – have distilled their myriad of influences to tape. ‘I’ is just the beginning.

————

Fresh Snow’s “I” LP will be available on August 13th on Reel Cod Records.

————

freshsnow_2_craigcarry

Interview with Tim Condon, Fresh Snow.

I just love Fresh Snow’s compelling sound. It is large and expansive, yet always, organic and personal. I would love to gain an insight into the formation of the band and the inception of Fresh Snow?

Thanks! Fresh Snow came about after Brad was offered a solo show. He drafted in Andy (Caribou, Born Ruffians) on bass, Jon (Tropicalia) on drums and myself (Mirrored Silver Sea) on laptop/ keys. We played an improvised show one night in July 2010. It was a really hot humid Toronto night, so our decision to call ourselves “Fresh Snow” (after a Neu! song) was wishful thinking, if nothing else. It was the first time I met Jon and Andy, just as we went onto stage. It was all improvised and people seemed to like it. The next stage was reconvening in February 2011 at a friend’s basement and we recorded improvised music, slowly working out what the hell we were doing. We walked away with a 7 hour Pro Tools session for Brad and I to work on. By November 2012, after almost two years of work, the album is finished. It is sent off for mastering by James Plotkin (Tim Hecker, Khanate,). By this point we had played many shows and had cohesive intentions to what we do. In hindsight, if we’d written, rehearsed, and then recorded the songs the inception of the band and the record would have been a much easier/ faster route. But I don’t believe the album could have turned out the same way if this had been the case – the benefit of spending almost two years on arrangements took us in a direction that would have been difficult to have come across in a rehearsal space, and allowed us the opportunity of trial and error with “I”.

————

Congratulations on the debut full-length album, ‘I’. A sonic marvel is created, where krautrock, ambient, psychedelic and pop are effortlessly fused together. Please tell me about ‘I’ and the recording/mixing of this set of songs? Upon listening to ‘I’, it is clear how the magical spark of creativity and flowing energy is captured wonderfully from start to finish.

The initial recording came about during the aforementioned basement recording session – 7 hours of sound to then be chipped away into just under an hour’s worth of music. Brad and I spent the next 9 months or so editing this into arrangements that we could work with. Some of the initial structure for the pieces was similar to what the four of us had played on the day. Much of it wasn’t though – we took snippets of performance (often as short as 3 seconds) and then edited/ treated/ manipulated and arranged them into new pieces. Once we had basic arrangements of pieces we re-recorded the majority of the album with the band, using these edited arrangements as templates. With the re-recording, we were able to re-introduce aspects of improvisation and non-linear performance, now that we had arrangements and pieces as a structure to work within.

Brad and I spent a further six months overdubbing guitars, keyboards and processing sound ourselves. We then brought in some exceptional guest musicians – Laura C. Bates (Trent Severn, Boxcar Boys) on violin, Aurora Cowie (Triple Gangers) on trumpet and Karl Silveira and John David Williams – trombone and clarinet respectively (from the Boxcar Boys as well). Laura played a huge role in the arrangement of the string sections, as did Aurora with the coda of “BMX Based Tactics”. This coda features 55 tracks of trumpet (primarily for the purpose of producing the drones that are heard throughout this section) and we were concerned that upon each request for another take from Aurora that we may have been looking at a manslaughter charge – with her face becoming redder and redder as the piece went on, losing all remaining breath…Through the writing process and mixing process we were keen to have a balance between arrangement/ structure and ambient sound as texture, which hopefully comes across throughout.I then mixed the album with a combination of digital gear (Pro Tools primarily) and outboard analog gear.

————

My personal favourite is ‘Your Thirst For Magic Has Been Quenched By Death’. A great title and an awesome interstellar journey. A sacred dimension is tapped into here, where guitars, violin, synthesizer and drums build slowly into a magical realm of achingly beautiful sound. Please discuss the construction of this song? Was the violin melody the pre-cursor to the song?

Thanks again! The pre-cursor to “Thirst…” initially came about by a loop of Jon’s drumming – a beat that was fragmented, heavy and pretty propulsive. I looped this, then Brad sequenced some analog synthesizers to form the arpeggio that runs throughout. He then accompanied this with the guitar line. I edited this into sections to create the intro (and added the introductory guitar), verse (where I added the strings and synths), “chorus” and outro. We then brought Laura in to further strengthen my string/ synth parts with her violin. Jon then overdubbed drums, and finally Andy added his bass. As bass is so central to our sound it was unusual to leave it to be introduced so late in the piece, but for this we were very much favouring space, rhythm and increasing dynamics to lead to the introduction of the bass. Hopefully when Andy’s bass finally enters it is significantly propulsive.

————

‘To A Sea’ is the gorgeous opening track to Part B of the record. A guitar rock rhythm has timeless shades of Velvet Underground and Neu! I love how the instrumentation of voice, glockenspiel and shaker adds new textures to the record’s sonic canvas. The brass section is utterly compelling amidst the soaring synths. Please tell me about the instrumentation used here, and the different sections inherent in ‘To A Sea’?

This song started with Brad’s guitar throughout. Brad has a background of guitar-based pop (amongst others) and at around the 6th hour of the initial recording session this song came about – I think we were all worn down by a lot of noise so we opted for something quieter! The body of the piece is pretty much as is from the initial session, however has been further augmented with pretty much whatever Brad and I could throw at/ make work with it. We wanted it to be as lush as possible, so we went with glockenspiel, analog string machine (Roland RS202), drum machines, trumpets and trombones (played again by Aurora and Karl), synths (Roland Jupiter) and finally my vocodered voice. The lyrics are naive and sentimental and only my wife knows the lyrics – I’d be too embarrassed for them to be intelligible, thus the vocoder!

The second section/ outro is totally Brad’s love of classic guitar pop coming through again! We liked the idea of something sparse, with lead guitar lines sounding like they were from a Easybeats/ Yardbirds album. The rest of the accompaniment is all rooted in 1960’s sounds, so doesn’t sound too innovative, but it is a nice change in the context of the album! It’s also nice to have at least one song on the album that we can play to our family members that does not come across as awful noise.

————

What are the defining records for you?

Personally those that influence my decisions with music making and mixing are in particular: The Black Heart Procession – 1, Mercury Rev – Deserter’s Songs, Labradford – Mi Media Naranja, Portishead – Third, The Necks – Drive By, Low – Songs For A Dead Pilot, Wilco – Yankee Hotel Foxtrot, LCD Soundsystem – Sound Of Silver, Rosy Parlane – Iris.

————

‘Helix Pass’ is sublime. The gorgeous use of instrumentation is breathtaking – the brass and strings meld together so perfectly with the transcendent guitars and synths. How was this song put together?

Helix Pass came about by a 3 second loop of Jon’s drumming that we liked from the initial recording session. I then arranged this into 7 minutes of drums. Brad then wrote the main keyboard line throughout and I wrote the acoustic guitar chorus hook, Andy wrote his bass part which gave it the definition that it needed and then Jon overdubbed drums onto it. I then augmented this with layers of keyboards and granular synthesis. By this point it was shaping up pretty well so we brought Laura and Aurora (Laurora?) in to further define the sections with their respective violin and trumpet. Karl also played trombone on it. We had around 15 different endings to this piece at various points, but after playing it more and more live we moved towards the heavy “doom” piano, violin, guitar sustain ending, as performed live this normally feeds into “Thirst” and works really well. This ending worked well for the album version, so we re-recorded this and finally committed to it. This track, alongside cassette only track “French Horse Hall Of Fame”, was by far the most intensively worked piece on the album.

————

Do you plan to tour Europe? I hope so.

We hope to, and are certainly open to offers! I lived in London for almost three years and was fortunate to visit much of Europe, and would really love the opportunity for Fresh Snow to play in Europe. Berlin, Copenhagen, Warsaw, Paris and Stockholm in particular are cities I really love. I feel a great affinity for many European labels (Kompakt, Editions Mego, Bedroom Community, Touch & Mille Plateaux in particular) so would love to play on the same soil that has produced so many important records and artists.
I’d/ we’d love to play the UK as well. The music scene in London and Dublin was very inspirational, and I very much enjoyed being home from shows by 11.30pm! That’s much more manageable than finishing shows here in Toronto at 2am, as the -15C weather settles in.

————

What are you listening to most lately?

Since finishing the album and not being employed I’ve had a lot more time to listen to music! El-P & Killer Mike’s most recent albums, Radian – Juxtaposition, Ben Frost – By The Teeth (his music is probably what makes me most patriotic to be an Australian!), Hildur Guðnadóttir – Without Sinking, Motobeacon – Alt’s Garage (fantastic Toronto duo), Dusted – Total Dust (the new duo by Brian Borcherdt, my favourite artist from Toronto), Iderdown – A Semb (wow….), Fire! (with Jim O’Rourke) – Unreleased?, Unseen Machine – The Devil’s Hard Drive (wow x2…..) & Koen Holtkamp – Gravity/Bees. There has been so much exceptional work put out in the last few years – this is a really great time for music lovers.

————

freshsnow_3_craigcarry

Fresh Snow’s “I” LP will be available on August 13th. The tape version is available now which contains an extra track. A special Reel Cod Records release show for Fresh Snow-I will take place on August 8th at the Boat in Kensington Market, Toronto.

http://freshsnowmusic.com
http://freshsnow.bandcamp.com
http://www.reelcod.com

————