FRACTURED AIR

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Posts Tagged ‘Character

Chosen One: Julia Kent

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Interview with Julia Kent.

“At this point, I am just trying to express the emotions I’m feeling, whether positive or negative, in whatever way I can.”

—Julia Kent

Words: Craig & Mark Carry

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‘Asperities’ is the fourth full-length solo work by the Vancouver-born and New York-based cellist Julia Kent. Released earlier this year by English independent The Leaf Label (and follow-up to 2013’s glorious ‘Character’), ‘Asperities’ sees a significant shift and development in Kent’s unique sound, with an increased focus being placed on the treatment of sound. While Kent’s work practice has always consisted of a looping pedal station with her beloved cello, ‘Asperities’ displays a heightened focus on how far this processed sound can be manipulated and pushed while maintaining the emotion distilled at the moment of initial playing. It is the manner in which both worlds of analogue and digital – acoustic cello plus processed electronic sound (which can also incorporate field recordings) – that strikes such an irresistible chord throughout the spine of ‘Asperities’. Significantly, the album was also recorded, produced and mixed in its entirety by Kent (who formerly performed as cellist to Antony & The Johnsons and Rasputina) in her New York studio while mastering duties were done by American composer and sound artist Rafael Anton Irisarri (The Sight Below, Orcas).

A distillation of emotion has always been at the fore for Kent’s recordings thus far – from her 2007 debut ‘Delay’ (released via Swiss label Shayo) to its 2011 follow-up ‘Green And Grey’ (Important Records) and her most recent album ‘Character’ (her first for the UK-based Leaf Label). Tracks such as ‘Missed’ (‘Green And Grey’), ‘Tourbillon’ or ‘Nina and Oscar’ (both from ‘Character’) are testament to this: the careful looping of cello lines interweave forcefully and gracefully all at once, creating moments of raw power and pure emotion in the process. The fact that the Canadian composer can conjure moments of both earth-shattering force and a fragile lightness of being (sometimes all at once) is both testament to Kent’s immense playing prowess but also her own very specific outlook and vision as an artist. Like similarly minded souls such as Iceland’s Hildur Guðnadóttir or Germany’s Hauschka, Kent is less concerned with mere technique or surface detail as she is with where such surfaces can take her.

On talking about the album’s title Kent has previously stated: “I was thinking about the concept of difficulty. Whether in life or in nature – of conflict, of being troubled. The idea of friction. Also in geology, an asperity is some part of a faultline that doesn’t move which can create an earthquake, which is quite an evocative concept.”
Indeed, such a concept beautifully encapsulates the album’s arc as a whole as well as its nine divine tracks. From the gradual build of album opener ‘Hellebore’ – where hard-edged cello lines cut through the foreground to stunning effect halfway through – a whole world of both impossibly intricate and fluid-like abstract textures awash the sonic palette. Its clear from second track ‘Lac des Arcs’ that an increasing focus is now placed on both the distance between notes as the precise notes themselves. Like a network of branches offset a winter sky, we lose ourselves in the infinite patterns of both positive and negative shapes in our midst. The ever-expanding well of emotions is palpable throughout – reminiscent of a prolonged mood-piece motion picture or an epic piece of fictional prose where we nervously await the outcome of our ill-fated protagonist – and brings to mind the other special souls making music in the modern classical realm today such as Jóhann Jóhannsson or William Basinski.

‘The Leopard’ begins with plucked cello lines which are looped throughout the piece (the longest cut on the album at six-minutes) and recalls vivid memories of witnessing Kent live in concert. For it’s in live situations one can readily appreciate (and effectively visualize) the construction (and simultaneously the deconstruction) of Kent’s majestic oeuvre. The impact of tracks such as ‘The Leopard’ leaves one loose complete sense of the present and existing moment; we are floating to some distant shore underneath the moon and stars above. In fact, the piece embodies no less an impact than as if played by a string quartet or full-scale orchestra where a seemingly endless gamut of mood, emotion and scale emerge from the horizon. ‘Flag Of No Country’ contains an alluring melodic line (akin to a piece of musical saw performed by Amiina), and precisely how these acoustic sounds merge with its processed electronic counterpoint (recalling both electronic and dub-influenced traditions) is a pure joy to behold. There is a meticulousness felt here and yet – crucially – what emerges most obviously throughout is a palpable sense of the present, the here-and-now (it’s as if we are a silent witness hearing the songs for the first time being performed in Kent’s New York studio). Fittingly, ‘Terrain’ sits at the center point to Asperities’ vast landscape where a synthetic drum line further accentuate the electronic arc of the album. Whereas on a previous track – for example, 2013’s ‘Tourbillon’ – such an addition may have functioned more as a backdrop to the main cello line narrative; here, each and every electronic element lives, breathes and seeps into every pore of Kent’s cello playing. Indeed, such a brooding atmosphere only heightens and intensifies as we continue to navigate side b’s precarious waters, where processed and found sounds (for example, the buzzing static on ‘Empty States’) merge and fuze to startling effect, recalling Murcof or Fennesz in the process.

There is so much evidence here that ‘Asperities’ is Kent’s most remarkable and life-affirming tour-de-force to date and – taking into account the exceptional output that has already been made by the hand (and mind) of Kent – this is a truly remarkable achievement all on its own.

‘Asperities’ is available now on The Leaf Label.

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

 

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Interview with Julia Kent.

Congratulations Julia on the truly breathtaking and exceptionally beautiful new record, ‘Asperities’. It’s such a pleasure to speak with you again and ask you some questions about this latest chapter in your beautifully storied career thus far. Please take me back to the making of ‘Asperities’ and the time and place these songs came to life? It really feels that this collection of music echoes the darkness of our times and the world as a whole of late. But nevertheless, in the darkness a deep sense of hope and strive for a better life prevails. The new music I feel captures this emotional depth and really feels (as all your records do) a special and emotional experience for the listener. I also love the many meanings of the album-title which in many ways filters into the album’s nine sonic creations.

Julia Kent: Thank you so much, Mark! Indeed, ‘Asperities’ was made under the influence of the stresses that I think we’re all feeling right now as humans: we seem to have lost empathy for one another as mutual inhabitants of this planet. And the title of course references the sense of harshness that echoes that sensation, as well as a sense of forces, whether tectonic or social, that are in conflict. But, as you say, there is still a sense of hope: there is still so much individual kindness that one encounters in life.

Please discuss the various stages of the album-making process: you recorded, produced and mixed the album in your own New York studio. This solitary process must really help shape the music that is eventually created. Also, I am very curious about the mindset and this concept of a musician’s mind when it comes to the creating/composing of music, and your instance, these heart-rendering cello-based compositions steeped in such unfathomable beauty. How do you feel your approach (and indeed the work of your mind) has developed across your solo works and in turn which has led to the creation of the latest masterpiece?

JK: The process of making ‘Asperities’ was actually fairly rapid, compared to my previous records. I’ve been playing some of the pieces live over the past year or so, so once I had some time in the studio, recording went quickly. And I tried to keep a sense of immediacy, and let the pieces go, rather than letting things percolate too long and getting stuck in an endless cycle of tweaking, as can sometimes happen when I’m working on my own. It’s great to have the objectivity that having someone else mix can provide, but I decided to mix myself, though I was lucky enough to be able to ask Rafael Anton Irisarri to master: I love his music and his sensibility so much, so it was really amazing to have the opportunity to have him do the mastering. I do think this record represents an evolution in my solo work: I’ve definitely become more comfortable with the idea of harshness and noise and sounds that aren’t inherently trying to be beautiful. At this point, I am just trying to express the emotions I’m feeling, whether positive or negative, in whatever way I can.

‘The Leopard’ is one of the record’s most captivating moments, and serves the centrepiece to the record’s Side A. In terms of the layering and meticulous crafting of the various sounds & textures, can you talk me through the construction of ‘The Leopard’? Also, I love how these intricate layers forever feels as if it’s one swarming ocean of sound (rather than many different isolated parts), something that has proved a great hallmark to your sonic creations. I love the reverb and heavy bass sounds that serve the pulse to this track, and creates a foreboding, menacing atmosphere whereas the counterpoint of strings forms a sea of sadness and pain. It’s such a moving, transporting piece of music.

JK: Thank you! It’s so interesting that you would point to ‘The Leopard’, because it had a particularly interesting genesis. It began as something I developed playing live for a dance piece: a very dark and powerful piece dealing with bearing witness to war and the inevitable repetition of conflict. I called it ‘The Leopard’ because there was a visual reference to the animal in the piece, but then I started thinking about the Lampedusa book, which also references conflict and social change, and has such a strong and evocative atmosphere. We ended up not using the piece in the dance performance, but I kept developing it, and eventually it evolved into what you hear on the record. I hope it conveys a sense of foreboding: that’s definitely what I feel when I play it. And I feel as though there is a tension within it between repetition and things that are trying to break free.

I am very curious to learn more about the electronic aspect of the music, Julia? Certain pieces like ‘Terrain’ contains sublime electronic textures that coalesce so effortlessly with the strings. What signals in you to incorporate more electronic-oriented sounds to be added to the cello-based compositions. A beautiful sense of motion and journey is inherent on tracks such as ‘Terrain’ and elsewhere dotted across ‘Asperities’.

JK: On this record, some of the pieces actually began first with electronics rather than cello, which I think made for a different point of departure, and created an interesting synthesis. And, in some cases, I was trying to see if I could erase the boundaries between the electronic and the organic textures, through processing and through blending the sounds.

The cello instrument is an extension of your own self and indeed your true voice, something that rings true when thinking of you and kindred spirits such as Caoimhín Ó Raghallaigh (fiddle), Lubomyr Melnyk (piano), Arthur Russell (cello) and so on. I also love how you bend the possibilities of the instrument to your own needs, for example a plethora of treatments to the cello is at work throughout ‘Asperities’. Please discuss the cello instrument, your first discovery of this beloved instrument, and indeed the voyage you began with this instrument back with debut solo LP, ‘Delay’ and even much before? Being so fortunate to witness your live performance, it was very special to visualize your cello-based compositions unfold and emit its magical spell.

JK: Oh, that is more than kind of you to mention me with Caoimhín and Lubomyr! They are great artists and I’ve been really fortunate to encounter both of them. And Arthur Russell is of course my hero: he really expanded the boundaries of the cello in such a personal way. The cello is, and always will be, my voice: it has such expressive possibilities. I’ve had a slightly troubled relationship to the instrument: I stopped playing for a couple of years after music school, because I was really disheartened by the whole process. But then I discovered another musical world, one that was freeing and creative, and I’ve been lucky enough to be able to continue on that path. The cello at this point feels really like an extension of myself.

You have been heavily involved with score work for dance and film in the last couple of years, Julia. I wonder how does the music-making process vary depending on the particular medium? I can imagine some of this score work must have filtered into the overall makeup of ‘Asperities’?

JK: Yes, definitely the work I’ve been doing with dance and theatre and film has influenced this record a lot. I’ve found the process of making music for dance and theatre particularly interesting, because, in certain cases, I’m creating music live in reaction to movement or text or image, and that can be so inspiring and so immediate. I especially like working with dance: there is a sort of nonverbal communication that can happen with dancers on the stage that is really powerful.

The immense power of instrumental music – and your music typifies this simple truth – is the expression of emotion without words. I would love for you to share your thoughts on this whole idea and the journey you feel that has unearthed as a result of your musical path? Have there been other musicians, artists and records you feel that have truly moved and inspired you and has helped shape your own musical landscape?

JK: I do listen primarily to instrumental music – a lot of it electronic – and I find so much of it moving and inspiring. I think artists like Stars of the Lid or Kyle Bobby Dunn or William Basinski or Rafael Anton Irisarri or Markus Guettner are so conceptually and sonically powerful, and convey so much emotion in a relatively abstract way. And Oneohtrix Point Never and Tim Hecker and Haxan Cloak and Blanck Mass: it’s really an endless list of amazing music. But I think my own musical landscape is a fairly personal one: I really feel as though I’ve found my own way over the years, as one does.

Lastly, Julia, the penultimate track ‘Invitation To The Voyage’ feels like a very important piece of music on the new record, somehow akin to the approaching sun-lit horizon, reflecting hope and redemption. Please talk me through the various stages of this song’s inception and gradual development?

JK: ‘Invitation to the Voyage’ of course shares a title with the Baudelaire poem, but I also was thinking about the Watteau painting ‘Embarkation for Cythera’. I’m not particularly a huge fan of Watteau, but I’ve always been slightly haunted by that painting: it’s almost like a vanitas, with a sense of the ephemerality of life and of pleasure. You wonder if all those beautiful, frivolous people in fact made it back from Cythera? Or knew where they were heading in the first place? An invitation to a voyage conveys a sense of adventure and possibility, but there are some voyages from which one does not return. So I feel as though the piece is balanced between a sense of hope and a sense of elegiacness, and that it’s bittersweet in the way life is.

As a p.s.: I wrote all of the above before the most recent awful events in Beirut and in Paris and in Syria and elsewhere and who knows what else will have happened before you read this?… I don’t have any words other than: be kind and take care…

 

 


 

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‘Asperities’ is available now on The Leaf Label.

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

Written by admin

November 26, 2015 at 12:19 pm

Don’t Look Back: 2014 (Part 1)

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

Part 1 of a 2-part series.

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Susan Schneider, The Space Lady (Colorado, USA)

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

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

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

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

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

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

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

 

—Susan Schneider

 

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

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

 


 

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Iker Spozio (San Sebastián, Spain)

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

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

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

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

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

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

 

—Iker Spozio

 

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

 


 

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Cécile Schott, Colleen (San Sebastián, Spain)

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

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

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

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

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

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

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

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

 

—Cécile Schott

 

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

 


 

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Julia Kent (New York, USA)

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

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

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

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

 

—Julia Kent

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“Happy Holidays NYC, 2014”

 

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‘Character’ is available now on The Leaf Label.

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

 


 

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Caoimhín Ó Raghallaigh (Dublin, Ireland)

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

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

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

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

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

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

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

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

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

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

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

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

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

 

—Caoimhín Ó Raghallaigh

 

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

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

 


 

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Cillian Murphy (Cork, Ireland/London, UK)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

—Cillian Murphy

 


 

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Dean Wareham (Los Angeles, USA)

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

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Favorite gigs:

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

Favorite books read:

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

Records enjoyed:

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

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

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

 

—Dean Wareham, Los Angeles

 

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

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

 


 

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

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

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

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

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

 

—Terry Magson

 

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‘Theatrics’ is available now on Bedroom Community.

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

 


 

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Erik K Skodvin (Berlin, Germany)

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

——

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Erik K Skodvin 2014 TOP 12 albums:

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

 

Top 5 films 2014:

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

 

Top 5 concerts 2014:

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

 

—Erik K Skodvin

 

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

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

 


 

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Mary Lattimore (Philadelphia, USA)

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

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

Favorite Things of 2014 List

Favorite Records, in no order:

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

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

Favorite New Place:

Marfa, TX

Favorite Shows of 2014:

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

Other Favorites:

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

 

—Mary Lattimore

 

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

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

 


 

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Ed Askew (New York, USA)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Another birthday,

some more paintings,

another song….

 

—Ed 12/13/14

 

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

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

 


 

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

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

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

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

 

—Carl Corcoran

 

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

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

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

 


 

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

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

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

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

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

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

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

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

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

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

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

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

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

 

—Eithne Hand

 

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http://www.giaf.ie/

 


 

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Brigid Power-Ryce (Galway, Ireland)

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

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

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

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

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

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

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

 

—Brigid Power-Ryce

 

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

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

 


 

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

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Web: http://fracturedair.com

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

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Julia Kent w/ Caoimhín Ó Raghallaigh / March 2014 / Photo Essay by Izabela Szczutkowska

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We were delighted to present (alongside Plugd Records) a special double-bill concert with the world-renowned composers: Brooklyn-based cellist Julia Kent and Irish fiddle player Caoimhín Ó Raghallaigh, in Cork’s Triskel Arts Centre on Saturday 1st March. The show was Julia Kent’s debut Irish solo show and the highly awaited return of Ó Raghallaigh, who performed with The Gloaming at Triskel Christchurch a year previously. 

All photographs: Izabela Szczutkowska

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Since then, Kent has continued to tour Europe (in support of her latest Leaf Label album ‘Character’), having opened for Valgeir Sigurðsson and Liam Byrne. Kent has also embarked on a new project with Melora Creager, Dawn McCarthy and others, and premiered all-new material for a special electronic performance in Torino, Italy on April 11th. Ó Raghallaigh has traversed Europe, playing several Italian shows and Amsterdam, before a special residency with Cleek Schrey at the Irish Arts Centre in New York. This May marks the Irish tour of This Is How We Fly, a contemporary folk ensemble featuring the immense talents of Ó Raghallaigh, Seán Mac Erlaine, Nic Gareiss, and Petter Berndalen.

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“Everything that heard him play,
Even the billows of the sea
Hung their heads and then lay by.”

—(‘Orpheus with his lute made trees’, L. A. J. Burgersdijk)

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“Sometimes, being from the world of traditional music, I wonder how to give people a window into that world, to share what I love about it. The same with other things in life I love, like being in the mountains. I want to start from scratch and make a really compelling, rich, wonderful thing of it, and a very Irish thing, but somehow hopeful and exciting and beautiful.”

—Caoimhín Ó Raghallaigh

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“For me, music is really about communicating, and the kind of instrumental music I make is a way of expressing emotion without words. I feel really fortunate to be able to travel and play, as I do; I’ve had some wonderful encounters all over the world. Of course it’s a bit of a cliché to say that music is a universal language, but it truly is. Through music you can communicate with anyone.”

—Julia Kent

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“When I started learning the cello, I fell in love with the instrument because it seemed like a voice – my voice.”

—Mstislav Rostropovich

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All photographs by Izabela Szczutkowska. (http://www.izyandthesunshines.blogspot.ie)

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http://www.juliakent.com
http://www.caoimhinoraghallaigh.com

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Julia Kent plus Caoimhín Ó Raghallaigh

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We are delighted to present (alongside Plugd Records):
Julia Kent plus very special guest Caoimhín Ó Raghallaigh, who will perform at the T.D.C. Triskel Arts Centre, Cork, on Saturday 1st March 2014.

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Julia Kent

“For me, music is really about communicating, and the kind of instrumental music I make is a way of expressing emotion without words. I feel really fortunate to be able to travel and play, as I do; I’ve had some wonderful encounters all over the world. Of course it’s a bit of a cliché to say that music is a universal language, but it truly is. Through music you can communicate with anyone.”

—Julia Kent

After years spent performing and recording with other artists and groups (including Antony & The Johnsons), Canadian-born, New York City-based Julia Kent found her own voice with her solo debut, ‘Delay’, an exploration of the private emotional worlds that exist within the disjunctions and disorientations of travel, hailed for its “lovely, melancholy” compositions, full of “aching romanticism…rich melodicism, and detailed arrangements.” She toured to support it throughout Europe and North America, and subsequently released an EP, ‘Last Day in July’.
In ‘Green and Grey’, her following solo record, she continued to use looped and layered cello, electronics, and field recordings to explore the intersections between the human world and the natural world, the melding of the technological and the organic, the patterns and repetitions that exist in nature and are mirrored in human creations, and the complexity and fragility of our relationships with one another and with the world that surrounds us.
‘Character’, released by The Leaf Label in March 2013, confirms Julia Kent as one of the most intriguing solo composers making music today. Reflecting on ‘Character’, Kent has said:

“I was inspired by the idea that we are all, in a way, characters in the narrative that is our life, but that we aren’t able to control that narrative as an author might. So the record is meant to reflect the paths we take through life, and how that journey can end up.”

Julia Kent has composed a number of original film scores, and her music has been used as accompaniment to theatre and dance performances. She has toured throughout Europe and North America, including appearances at Primavera Sound in Barcelona, the Donau festival in Austria, Meltdown in London, and the Unsound festival in New York City. Julia Kent’s spellbinding third album ‘Character’ is available now on the Leaf label.

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Press:

“It is here that she speaks most poignantly of loneliness, fear, desire, life’s richness, and more – by creating a listening experience of nearly cavernous depth and poetic beauty.” AllMusic

“By the end, listeners have gained a sense of Kent’s character: ambitious, resolute, not content to rest on laurels. These traits serve her well, inspiring the possibility that every subsequent album will be her greatest.” A Closer Listen

“this is a gorgeous, gloomy half-portrait of enjoyable, gritty complexity.” BBC Music

“intriguingly intimate exploration of inner space” Dummy Magazine

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Links:

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

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Caoimhín Ó Raghallaigh

Caoimhín Ó Raghallaigh plays traditional and contemporary folk music on Hardanger d’Amore and other fiddles. In addition to being an established solo artist, Ó Raghallaigh is a member of two groups: The Gloaming (Caoimhín Ó Raghallaigh, Iarla Ó Lionaird, Thomas Bartlett, Martin Hayes & Dennis Cahill) and This Is How We Fly (Caoimhín Ó Raghallaigh, Petter Berndalen, Seán MacErlaine, Nic Gareiss); he performs duos with dynamic Kerry accordion player Brendan Begley and Dublin uilleann piper Mick O’Brien and plays in a trio with Martin Hayes and Peadar Ó Riada.

This will be Caoimhín Ó Raghallaigh’s first return to the Triskel since last year’s special live performance with The Gloaming and will provide audiences with the chance to witness the immaculate musicianship and immense talents of Ó Raghallaigh in a special solo performance.

Ó Raghallaigh has released eight albums to date: Kitty Lie Over and Deadly Buzz with Mick O’Brien; A Moment of Madness with Brendan Begley; Triúr Arís and Triúr sa Draighean with Martin Hayes and Peadar Ó Riada; Comb Your Hair and Curl It with Mícheál Ó Raghallaigh and Catherine McEvoy; the eponymous debut from the band This is How We Fly; and his solo Where the One-Eyed Man is King.

As well his work in traditional Irish music, Caoimhín writes new contemporary material that explores the region where traditional music begins to disintegrate. Last December, RTE premiered The Gloaming, a documentary featuring the 5-piece as they “perform creative and innovative interpretations of traditional music.” 2013 also saw the release of This Is How We Fly’s stunning eponymous debut album, available now on Playing With Music.

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Press:

“the most imaginative and fascinating musician in all of trad” —Earle Hitchner, Irish Echo, USA

“the most singular traditional Irish musician of [his] generation.”  —State Magazine, Ireland

“the missing link between Martin Hayes and Purple Haze”  —Nick Kelly, Irish Independent

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Links:

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

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Fractured Air & Plugd Records present:
Julia Kent (plus very special guest Caoimhín Ó Raghallaigh) at the T.D.C. Triskel Arts Centre, Cork, on Saturday 1st March 2014. Tickets are €12/€10 and are available at Plugd Records and Triskel Box Office, Triskel Arts Centre, Tobin Street, Cork (Telephone: 021 427 2022).

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Facebook Event Page:

https://www.facebook.com/events/578256128917667/

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Chosen One: Julia Kent

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Interview with Julia Kent.

“I was inspired by the idea that we are all, in a way, characters in the narrative that is our life, but that we aren’t able to control that narrative as an author might. So the record is meant to reflect the paths we take through life, and how that journey can end up.”

—Julia Kent

Words: Mark Carry, Illustration: Craig Carry

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The Leaf label have recently released the brand new album by New York City-based composer Julia Kent. The record is entitled ‘Character’ and is undoubtedly one of 2013’s finest releases that will be on many end-of-year polls come the end of the year. The amazing new record consists of Kent’s shape-shifting cello-based compositions, where the composer uses looped and layered cello, electronics and field recordings to explore the human space. On ‘Character’, Kent’s cello-based compositions take on this life of their own and soon, without any realization, the music becomes part of you, and seeps beautifully into your consciousness. The result is a moving body of work that breathes an ocean of emotion. ‘Character’ is utterly transcendent; where the heavenly layers of cello truly awaken all of your senses-the effect of Kent’s music is deeply profound. An unspoken connection is formed between the listener and the composer. The result is nothing short of magical. After years spent performing and recording with other artists and groups (most notably Antony and the Johnsons) the Canadian-born (New York City-based) Julia Kent found her own voice with her solo debut, ‘Delay’. Her follow-up ‘Green and Grey’ continued to use looped and layered cello, electronics, field recordings to explore the intersections between the human world and the natural world. Kent has also composed a number of original film scores and her music has been used as accompaniment to dance and theater performances. The latest ‘Character’ is Kent’s most accomplished work to date, whose intricate arrangements and divine melodies inhabits a magical realm of enchanting sound.

Kent recorded ‘Character’ alone in her home studio. The intimacy is clear to witness, as hope and solace exudes from each cello note and found sound. The flow of intertwining cello motifs and Kent’s specialized layering techniques makes ‘Character’ an innovative and compelling sonic journey. The found sounds etched across the canvas of sound offers contrast to the cello, and serves to complement the music. I love how you can feel Kent’s love and attention to detail for recording and looping her beloved cello instrument throughout ‘Character’. The music forever travels in unexpected directions-new horizons are endlessly reached.

Album opener ‘Ebb’ consists of slow-stirring strings that gorgeously build into an intense swirling of emotion. A beautifully delicate pizzicato accompaniment returns throughout-forming the rhythmic pulse to this short piece. Upon first listening to Kent’s music, you are immediately immersed into the ebb and flow of Kent’s layered cello and drawn to a new world. ‘Transportation’ sees the many intricate parts evolve before your very ears-where the sum of the parts form one organic whole. Allow your conscience and senses be awakened by the otherworldly bliss of this piece of music. Next is ‘Flicker’ which is reminiscent of Michael Nyman. The uplifting melodies transport me to Philippe Petit’s high-wire walk across the Twin Towers in the 70’s. A stunning composition. The spirit of Bach’s cello concertos are present-drifting somewhere close by, where a flicker of ancient light shines forth. ‘Tourbillon’ blends the synthetic and the organic. Strings and electronics are in constant motion, resulting in a wonderful climax of soaring strings. The momentum of this piece stops you in your tracks. The tempo slows on ‘Fall’, which contains mournful strings set to found sounds of ocean waves. The piece gradually intensifies with bowed strings forming rippling patterns on the sonic canvas.

‘Kingdom’ begins the second half of ‘Character’. This dark and menacing instrumental wonderfully combines an array of sound effects, field recordings and cello instrumentation. The experimental nature of ‘Kingdom’ and the cinematic atmosphere thus formed is similar to that of Leaf Label’s Murcof and The Haxan Cloak. An eerie landscape pierces the very air’s atmosphere. ‘Only Child’ is stunningly beautiful. The piece feels as if it’s a dream upon waking that effortlessly permeates your every thought. The element of electronics shifts to the foreground on ‘Intent’. A compelling piece of music where the synthetic and organic magnificently blend together. My current favourite is the album closer ‘Nina And Oscar’. An unerring emotional depth forms the foundation to this heart-warming composition. The cello strings are a pure joy to savor and absorb its magnificent beauty-a fitting close to this remarkable record. ‘Character’ is a work of rare beauty from a gifted composer.

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‘Character’ by Julia Kent is out now on the Leaf label. 

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Interview with Julia Kent.

Congratulations on the amazing new record ‘Character’. You must be deeply proud of this one. The cello-based compositions take on this life of their own and soon without any realization, the music becomes part of you, and seeps beautifully into your consciousness.

Thank you so much, Mark! And thanks for the beautiful and perceptive questions….

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Please tell me about this new third solo album? What is the central theme that connects these wonderful pieces of music together?

I was inspired by the idea that we are all, in a way, characters in the narrative that is our life, but that we aren’t able to control that narrative as an author might. So the record is meant to reflect the paths we take through life, and how that journey can end up.

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I was interested to read how you recorded ‘Character’ alone in your home studio. This is not surprising to me, as the sound you conjure up feels as if it’s performed from a distant shore- far removed and in turn, possesses a profound sense of hope and solace. Please discuss your recording process and describe please the home studio where the sound is born?

I feel very free when I record at home–it’s an intimate and creative environment for me, where I can control the process, and spend as much time as seems needed to make the music. My studio is just a cluttered spare room–I’m hoping all the bits and pieces that are stored there, almost floor-to-ceiling, are creating a sort of pseudo-acoustical treatment that lends a particular character to the sound!

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My current favourite on ‘Character’ is the fourth piece of music, entitled ‘Tourbillon’. I love how the cello motif returns throughout, and the looping of the strings combined with the electronics is stunningly beautiful. It’s a symphony that breathes an ocean of emotion. Please discuss the process by which you loop your cello parts and the technique involved in layering sounds together?

I develop the pieces using looping, as that is how I recreate them live, but, when I record, I have to recreate the looping process using multitracking. So it’s very much a process, and the music definitely evolves through it. I do really enjoy the process of layering, and sometimes I end up with unexpected harmonic conjunctions that take things in an interesting direction. But I am also always trying to create space within a process that is inherently additive. “Tourbillon” of course refers to the watch mechanism that counters the effect of gravity and also to the idea of turbulence, like that of a whirlwind. I had this image of rotation and swirling, both mechanical and natural.

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I adore the piece ‘Transportation’. As ever, your music taps into a hidden dimension where a divine ambient flow is present. I love how the piece builds and builds, with familiar motifs returning to and fro. Can you talk me through the construction (or de-construction) of this piece please?

Oh, thank you! “Transportation” began with a pizzicato accompaniment part and a layered melody, and the other parts evolved as the piece grew. I wanted to create a sense of constant movement, with elements appearing and disappearing the way they might, visually, on a busy street. And I also wanted to evoke idea of transportation in a more metaphorical way, in the sense of being carried away.

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You have been an integral part of the amazing Antony and the Johnsons. ‘I Am A Bird Now’ was one of those rare albums that breathes such power and raw emotion. Your cello playing serves the perfect counterpoint to Antony’s voice. I would love to gain an insight into this special collaboration and what hold this venture must have on you for your solo work?

It has been a great privilege and a joy to play with Antony. He is an amazing artist and a very special and beautiful human being. I’ve learned so much from playing with him and the wonderful musicians he draws to him.

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As a cellist, please discuss the endless possibilities of music as you see (and hear) it?

For me, music is really about communicating, and the kind of instrumental music I make is a way of expressing emotion without words. I feel really fortunate to be able to travel and play, as I do; I’ve had some wonderful encounters all over the world. Of course it’s a bit of a cliché to say that music is a universal language–but it truly is. Through music you can communicate with anyone.

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What are the albums that have inspired you the most? The past few years marks a golden age I think, for modern classical music with labels such as Erased Tapes, Bedroom Community, Leaf, Preservation etc introducing hugely remarkable artists such as yourself, and many other amazing people. It must be a beautiful situation to be part of this era?

I am really so happy to be working with Leaf; they are an amazing label and I’m really lucky they released “Character,” which is a particularly special record for me. As you say, it’s a great time for instrumental music; there are so many beautiful records that have been released over the last few years. In terms of personal inspiration, I constantly return to people like Arthur Russell, Tom Cora, and Ernest Reijseger: cellists and composers who radically advanced the cello as an expressive instrument.

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‘Only Child’ is such a compelling piece of music. I love how the bass notes are looped throughout that marks the familiar, whilst heart wrenching strings drift magnificently beneath. What sound, feeling or otherwise triggered the birth of this piece?

“Only Child” is definitely a bittersweet piece of music, inspired by mixed emotions. But, at the same time, I love to play it, because it just seems to flow in a natural way, which is the way it developed as a piece. Often, because of the technological constraints of the way I loop, I feel constrained to work with symmetrical phrases. But “Only Child” seems to have escaped that, somehow. It just wanders on!

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You use found sounds in your music. I think you used sounds from airports on your debut. What are the sources of these sounds found on ‘Character’?

For “Delay” and “Green and Grey,” my previous full-lengths, I used field recordings from particular environments: airports and the natural world, respectively. For “Character,” the found sounds are much more internal: I used a lot of different sound sources and then processed them to make them not immediately recognizable. I was trying to create an electronic/organic mixture that would complement the music, which is definitely more inward-looking, rather than bringing in the idea of an outside environment.

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‘Intent’ is more electronica-based. I love the instrumentation, so delicately used and particularly the electronic tweakings beneath. Please discuss the electronic/ambient artists that inspire you?

I have been listening to a lot of electronic music: there is so much incredible stuff out there! I really love Amon Tobin, for the unexpectedness and power of his sounds, Four Tet, Nicolas Jaar, Blanck Mass, Laurel Halo, Actress–I could make an endless list! And on the more ambient front, I find Stars of the Lid and William Basinski endlessly beautiful and inspiring.

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Do you plan to tour Europe on the ‘Character’ tour, Julia?

Yes, I’m heading off right now (March/April) for some Italian shows and planning a more extensive European tour in May.

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‘Character’ by Julia Kent is out now on the Leaf Label.

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

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April 2, 2013 at 10:36 am