FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Clark

Fractured Air x Blogothèque – S02E04 | April mix

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fracturedair_april17April’s mixtape opens with “I Can’t Find Water”, album opener for Hauschka’s latest full-length “What If”, yet another monumental and sprawling opus courtesy of the Dusseldorf-based artist Volker Bertelmann. Recorded mainly in Berlin with Francesco Donadello, “What If” gloriously mirrors Hauschka’s own transcendental live performances, where worlds of both analogue and digital (a mixture of various synthesisers, grand pianos, player pianos and percussive instruments) effortlessly interweave in scintillating long-form compositions. “What If” is the sound of a producer as much as a pianist, confirming Hauschka as one of brightest burning jewels in independent music today.

Berlin-based and Stockholm-born songwriter Molly Nilsson releases her much-anticipated new full-length “Imaginations” this May, the follow-up to 2015’s stunning “Zenith” LP. Night School Records have also been busy re-issuing Nilsson’s back catalogue in recent times, most recently with the re-issue of her breakthrough second LP “Follow The Light”.

One of the year’s most staggering releases comes (once again) courtesy of James Leyland Kirkby’s The Caretaker project. “Everywhere at the end of time” is the epic six-album odyssey (April saw the release of “stage two”) which will take three years to conclude. The series draws upon the conceptual framework of dementia, and how the disease impacts the mind and memory. In the words of Kirkby: “The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.”
April’s mixtape also features a selection of new releases from: Clark’s “Death Peak” (Warp); Forest Swords’ “Compassion” (Ninja Tune); Nan Kolè’s “Malumz” EP (Black Acre); Mary Lattimore’s “Collected Pieces” (Ghostly International); Homeboy Sandman’s “Veins” (Stones Throw) and Mount Eerie’s “A Crow Looked At Me” (P.W. Elverum & Sun).

Fractured Air x Blogothèque – S02E04 | April mix

 

To listen on La Blogothèque:

http://www.blogotheque.net/2017/04/27/fractured-air-x-blogotheque-s02e04-april-mix/

 

01. Hauschka“I Can’t Find Water” (City Slang / Temporary Residence)
02. Forest Swords“Arms Out” (Ninja Tune)
03. John Hassell“Miracle Steps” (Optimo Music)
04. Clark“Catastrophe Anthem” (Warp)
05. The xx“A Violent Noise” (Four Tet Remix) (Young Turks)
06. Talaboman“Samsa” (R&S)
07. Nan Kolè“Bayefal” (Black Acre)
08. Vex Ruffin“Front” (Stones Throw)
09. Homeboy Sandman“Bamboo” (Stones Throw)
10. Chromatics“Circled Sun” (Italians Do It Better)
11. Bibio“Feeling” (Knx Remix) (Warp)
12. Dunkelziffer“Colours and Soul” (Emotional Rescue)
13. Lewis Furey“Lewis is Crazy” (Aquarius)
14. Scott Walker“Montague Terrace (In Blue)” (Philips)
15. Angelo Badalamenti“Love Theme” (Mulholland Drive OST, Milan)
16. Mount Eerie“Toothbrush / Trash” (P.W. Elverum & Sun)
17. Dinah Washington & Max Richter“This Bitter Earth / On the Nature of Daylight” (La French OST, Gaumont, Légende Films)
18. Vashti Bunyan“If I Were” (FatCat)
19. Mary Lattimore“We Just Found Out She Died” (Ghostly International)
20. Leandro Fresco and Rafael Anton Irisarri“Cuando El Misterio Es Demasiado Impresionante, Es Imposible Desobedecer” (A Strangely Isolated Place)
21. Orcas (with Martyn Heyne)“Into the Night” (Soundcloud)
22. Molly Nilsson“A Song They Won’t Be Playing On the Radio” (Dark Skies Association / Night School)
23. Helado Negro“Runaround” (Alternate Mix) (RVNG Intl)
24. Julia Holter“Lucette Stranded On the Island” (Live at RAK) (Domino)
25. The Caretaker“The way ahead feels lonely” (History Always Favours The Winners)

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

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

Fractured Air x Blogothèque – S1E3 | March mix

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fracturedairmix_march16

Welcome to part three of our monthly mix series. Presented in this month’s mix is the first in our new series of exclusive tracks which will be submitted by guest musicians each month. For March, we include “In the fields”, an exclusive unreleased track by independent music stalwart Benoît Pioulard (Seattle-based musician Thomas Meluch). Since the release of his debut opus “Précis” (via world-renowned Chicago-based Kranky in 2006), Meluch has amassed an incredible body of work, comprising both solo and collaborative recordings. Most recently, Meluch released the debut self-titled album under his Perils guise – Meluch’s collaboration with Canadian composer Kyle Bobby Dunn – as well as “Sonnet”, his most recent solo full-length and the solo E.P. “Noyaux”. Meluch has released music on some of independent music’s finest and most esteemed labels including: Kranky, Morr Music, Desire Path Recordings and Type.

Opening this month’s mix is the fascinating Walt Whitman-inspired collaborative E.P. “Leaves Of Grass” – thanks to Berlin-based Morr Music – where Iggy Pop reads excerpts taken from Whitman’s legendary poetry collection of the same name, while German musicians Carsten Nicolai (Alva Noto) together with Ronald Lippok and Bernd Jestram (Tarwater) provide the intriguing musical accompaniment. Elsewhere, we have selections from: Munich-based producer Skee Mask’s “Junt” E.P.; Canadian violinist and composer Sarah Neufeld’s glorious new solo album “The Ridge”; peerless U.K. producer Chris Clark; A Pleasure’s essential debut L.P. “Minor Youth” for Other People; Kevin Morby (ex bassist to Woods)’s masterful symphonic Dead Oceans full-length “Singing Saw” and Irish/U.S. super-group The Gloaming make their triumphant return with “2” (via Real World Records). Meanwhile, even Dale Cooper, resident FBI Special Agent to Twin Peaks, makes a guest cameo somewhere before the dust settles.

Fractured Air x Blogothèque – S1E3 | March mix

To Read/listen on La Blogothèque:

http://en.blogotheque.net/2016/03/24/fractured-air-x-blogotheque-s01e03-march-mix/

 

Tracklisting:

01. Iggy Pop / Tarwater / Alva Noto“As Adam Early In The Morning / I Am He That Aches With Love” (Morr Music)
02. Anna Homler & Steve Moshier“Yesh’ Te” (RVNG Intl)
03. Julien Neto“Questionable Things” (excerpt) (Type)
04. Benoît Pioulard“In The Fields” (Unreleased)
05. Perils“The Unbecoming” (Desire Path Recordings)
06. The Gentleman Losers“Silver Mountain” (Büro)
07. Vashti Bunyan“Here Before” (FatCat)
08. Max Richter“Path 5” (Clark Remix) (Deutsche Grammophon)
09. Clark“Hide on the Treads 3” (The Last Panthers OST, Warp)
10. Mikael Seifu“The Protectors” (RVNG Intl)
11. A Pleasure“Arthur Russel” (Other People)
12. Skee Mask“Junt” (Ilian Tape)
13. Prins Thomas“E” (Smalltown Supersound)
14. Odd Nosdam“Sisters” (Boards of Canada Remix) (Leaving)
15. Arthur Russell“Habit Of You” (Audika, Rough Trade)
16. Woo“A Complex Art” (Drag City)
17. Kevin Morby“I Have Been to the Mountain” (Dead Oceans)
18. Bullion“Dip Your Foot” (DEEK Recordings)
19. Rayon“Il Collo e la Collana 02” (Alien Transistor)
20. Mary Lattimore“The Quiet at Night” (Ghostly International)
21. The Gloaming“Fáinleog (Wanderer)” (Real World)
22. Sarah Neufeld“Where the Light Comes In” (Paper Bag)

Compiled by Fractured Air, March 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

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

 

Chosen One: Rival Consoles

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Interview with Ryan Lee West.

“I guess as I get older I’m becoming more aware of what I want from sounds, what I want sounds to achieve and that helps over any plugins/ pro equipment that you could ever buy.”

— Ryan Lee West

Words: Mark Carry

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The London-based producer Ryan Lee West, better known under his Rival Consoles moniker has carved out a string of indispensable electronica-infused ambient creations across several EP’s and most recently, this year’s stunning full-length release, ‘Howl’. Released on the ever-inspiring Erased Tapes imprint (in fact, West was the label’s first signing), ‘Howl’ sees the master producer further develop his otherworldly synthesizer-based compositions, fusing organic and electronic sound worlds as live instrumentation of drums, guitar, voice and cello can be found dotted across the record’s divine odyssey of illuminating sounds, warm textures and rhythmic structures. In many ways, ‘Howl’ showcases West’s Rival Consoles project to be that of a sound sculptor more than as a mere producer as a myriad of utterly transcendent moments are magically captured on each of the album’s towering nine creations.

The title-track and album opener, ‘Howl’ is a glorious electronic gem that shares a parallel with Clark’s similarly captivating blend of electronic soundscapes for the Warp label. The track builds on a synthesizer line that continually mutates and transforms through various manipulations and treatments of guitar pedals, creating in turn a wholly meditative and hypnotic experience. The following ‘Ghosting’ contains a gorgeous ebb and flow of spectral beats and electronic wizardry that traces the moonlight across the skies of illuminating tones.

The sublime ‘Afterglow’ evokes the timeless sound of Kaitlyn Aurelia Smith’s enchanting debut ‘Euclid’ (released at the beginning of the year on the Western Vinyl imprint) as a myriad of details is effortlessly distilled into the sprawling sonic canvas. The dark, menacing beats of ‘Walls’ comes crashing in with waves of exhilarating pulses before the live aesthetic of ‘Low’ brings forth a beautifully rendered humanised sound. The slowly drifting synths and live drums fuse together to create a deeply affecting ballad steeped in a fragile beauty reminiscent of British band Seefeel. The closing cut of ‘Looming’ contains remnants of West’s previous ‘Sonne’ EP as a wave of illuminating synthesizers gradually emerge onto the sun-lit horizon.

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‘Howl’ is out now on Erased Tapes.

https://www.facebook.com/rivalconsoles/

https://www.facebook.com/erasedtapes

Interview with Ryan Lee West.

Congratulations Ryan on the stunning new record, ‘Howl’. It’s easily your strongest and most formidable work to date, having obsessed over your previous recording output to date. This whole idea of a ‘less is more’ approach is obviously still very much apparent on ‘Howl’ but I love the new dimensions, added organic textures, and largely the sound of an album of recordings (effortlessly capturing those magical moments of beauty and transcendence). Please talk me through the new record and dissect for me the elements and sonic tapestry you found yourself drawn to this time around?

Ryan Lee West: I was recording in things constantly, lots of feedback performances, with delay pedals, chord progressions that explored atmosphere, clicky rhythms, live drums, fans on guitar strings brushes scraping wood etc.

It was really about improvising around ideas, which I felt were strong. I start by experimenting usually, until I have a body of work that has some strong points to it, then I improvise around the stronger points and all the time carefully listening to what is happening. Listening makes up most of my work actually. Listening in different spaces and contexts, is a smart way to negotiate through problems.

In terms of the equipment at your disposal, namely Moog/Prophet/tape delay and guitar, have the approaches or techniques to utilizing these instruments changed or altered in any way on ‘Howl’? For example, one aspect I absolutely love is the huge focus towards percussion, rhythm and from live sounds such as drums/percussion etc. A track such as ‘Low’ epitomises this and its organic warmth is a joy to savour. Again, how you are able to incorporate elements such as the synthesizer into the piece and everything falls so naturally into place.

RLW: I think synths and live instruments are very difficult to put together. It’s taken me many years to do the things I want to with the two worlds.

It’s partly just knowing when to do it at all, and also the notes and the timbre of the synth. I tend to obsess over synth sounds that are subdued, slightly mournful etc, So I think the emotive qualities give space for acoustic instruments, to play around.

Low’ actually started with just a ride – 1 & 2 & 3 & 4 & …. at a speed that made me instantly think of a long descending melody. This repeats over and over again, because I wanted it to express the feeling of being low without much hope, but a little hope is in there! As for the treatment of sounds, it’s just the prophet through the pedals, all captured performances, the chords, the feedbacks, the drones etc. I guess as I get older I’m becoming more aware of what I want from sounds, what I want sounds to achieve and that helps over any plugins/ pro equipment that you could ever buy.

More so than perhaps on previous EP’s, it feels as if ‘Howl’ is a live performance with a significant emotional depth radiating throughout. In terms of the recording, what studios would become your bases?

RLW: I have recorded odd moments whilst travelling on tour, but in general I make everything in my home studio, I just prefer things this way, I don’t need a big pro studio to express myself, and I think it would get in the way.

My favourite part of the record comes towards the final close, particularly the duo of ‘3 Laments’ and ‘Morning Vox’. The myriad of ideas and sonic wizardry captured on ‘Morning Vox’ crafts a stunning penultimate track and gateway to the record’s shimmering horizon. Please talk me through this particular track and indeed if there were any challenges in the sequencing of the record?

RLW: ‘Morning Vox’ was actually very difficult to finish. I had the first half done with an effortless joy, but the second half was constantly being reworked, trying energetic transformations, lo-fi ambient endings and all manner of structures. But I always want things to feel genuine. In the end I opted for a very simple Organ like chord progression, which ends the piece with an understated resolve.

I also did about 50 versions to the end of ‘Recovery’ and ‘Voyager’! (from previous releases)

The glorious title-track is the perfect opener and captures the intensity and enveloping darkness that looms throughout. Can you please tell me the significance of the album-title? I wonder was ‘Howl’ one of the first recordings you made that would in turn, shape the rest of the record? The various manipulations and use of distortion etc creates a super-charged atmosphere that really signals formidable new horizons. I can imagine having an idea and then morphing and altering this into various forms is something you really cherish and obsess over?

RLW: ‘Howl’ wasn’t the first piece I made for the album, but it was a turning point, because I was amazed how bold it sounded, I like things that have their own momentum, so it was great to work with something that sounded like it had its own story. At the heart of ‘Howl’ is a driving rhythm, which is made up of disruptive rhythms, as a result there is constant tension throughout the piece. On top of this there is lots of dissonance and resolve in the harmony. It took a few months to understand how to structure it, without it overloading itself. And yes I definitely enjoyed recording in feedbacks, haunting tones and clicky textures.

With your forthcoming tour Ryan, what will your set-up consist of? To be touring a record like ‘Howl’ and translating these tracks to a live setting with an audience must be very exciting. Do you envision re-workings or new variations of some of these recordings as you set out on the road?  

RLW: I have several pieces which I rework live, ‘Recovery’ from the last EP is massively extended live, in an almost shoegaze/post rock way. ‘Walls’ is extended with live layering of alternative ideas. I like to experiment with what a piece can do, but also have to be careful not to do things for the sake of it.

What records have you been enjoying the most during 2015?

RLW: Battles ‘La Di Da Di’/Joanna Newsom – ‘Divers’/Colin Stetson & Sarah Neufeld – ‘Never Were The Way She Was’

 


 

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‘Howl’ is out now on Erased Tapes.

https://www.facebook.com/rivalconsoles/

https://www.facebook.com/erasedtapes

 

 

Written by markcarry

November 4, 2015 at 2:19 pm

Albums & Reissues Of The Year: 2014

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

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

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Albums of the year:

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Grouper ‘Ruins’ (Kranky)

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

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

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‘Ruins’ is available now on Kranky.

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

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Caribou ‘Our Love’ (City Slang/Merge)

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

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

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

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

http://www.caribou.fm

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

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Sharon Van Etten ‘Are We There’ (Jagjaguwar)

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

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

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

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‘Are We There’ is available now on Jagjaguwar.

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

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Clark ‘Clark’ (Warp)

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

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

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

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‘Clark’ is available now on Warp.

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

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

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

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

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

http://hauschka-net.de/

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

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

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

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

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

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

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

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

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

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

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

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

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Christina Vantzou ‘N°2’ (Kranky)

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

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

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‘N°2’ is available now on Kranky.

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

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Birds Of Passage ‘This Kindly Slumber’ (Denovali)

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

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

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‘This Kindly Slumber’ is available now on Denovali.

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

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

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

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

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

http://www.marissanadler.com/

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

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Reissues of the year:

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

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

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

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

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

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Lewis ‘L’Amour’ (Light In The Attic)

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

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

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

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

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One Of You ‘One Of You’ (Little Axe)

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

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

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

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

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

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

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

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

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

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Fikret Kızılok ‘Anadolu’yum’ (Pharaway Sounds)

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

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

http://lightintheattic.net/

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

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

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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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Mixtape: Flashlight Seasons [A Fractured Air Mix]

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flashlightseasons_web

Flashlight Seasons [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/mixtape-flashlight-seasons-a-fractured-air-mix/

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01. Washington Phillips ‘What Are They Doing In Heaven Today?’ [JSP]
02. The Dead Texan ‘A Chronicle of Early Failures, Pt. 1’ [Kranky]
03. Sparklehorse ‘Box Of Stars (Part Two)’ [Parlophone]
04. Sun Kil Moon ‘Jim Wise’ [Caldo Verde]
05. Young Marble Giants ‘The Taxi’ [Rough Trade]
06. The Space Lady ‘Major Tom’ [NightSchool]
07. Rodion G.A. ‘Zephyr’ [Strut]
08. Panda Bear ‘Mr Noah’ [Paw Tracks]
09. Clark ‘Herzog’ [Warp]
10. clipping ‘Work Work’ (Featuring Cocc Pistol Cree) [Sub Pop]
11. Clap! Clap! ‘Sailing in the Seas of Wood’ [Black Acre]
12. Francis Bebey ‘Akwaaba’ [Original Music]
13. The Boats ‘And There Are Stars That Fell From The Sky’ [Moteer]
14. Gravenhurst ‘The Diver’ [Warp]
15. The Gentleman Losers ‘Pebble Beach’ [City Centre Offices]
16. Bernard Herrmann ‘Thank God for the Rain’ [‘Taxi Driver’ OST/Arista]
17. Etta James ‘My Heart Cries’ [Chess]
18. Bob Dylan ‘I Threw It All Away’ [Columbia]

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

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

Mixcloud / Facebook / Twitter

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

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iusedtodream_front

I Used To Dream [A Fractured Air Mix]

To listen on Mixcloud:

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

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Tracklisting:

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

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

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

Mixcloud / Facebook / Twitter

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Mixtape: I Had Too Much To Dream (Last Night) [A Fractured Air Mix]

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ihadtoomuchtodream_front

I Had Too Much To Dream (Last Night) [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-had-too-much-to-dream-last-night-a-fractured-air-mix/

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Tracklisting:

01. Tape – ‘Dust and Light’ (Häpna)
02. Peter Broderick – ‘Walking/Thinking’ (Type)
03. The Notwist – ‘Lineri’ (City Slang)
04. Barker & Baumecker – ‘Spur (Clark Remix)’ (Warp)
05. patten – ‘Here Always’ (Warp)
06. Bibio – ‘Dye the Water Green’ (Warp)
07. The Gentleman Losers – ‘Mansion on the Dunes’ (Büro)
08. Vincent Gallo – ‘I Wrote This Song For The Girl Paris Hilton’ (Warp)
09. Julia Holter – ‘Try To Make Yourself a Work of Art’ (Leaving Records / Domino)
10. Hydras Dream – ‘Grandma’s Appearance’ (Denovali)
11. Illum Sphere – ‘Liquesce’ (Ninjatune)
12. The Space Lady – ‘I Had Too Much To Dream (Last Night)’ (Nightschool)
13. The Blue Rondos – ‘Little Baby’ (Pye)
14. Cate Le Bon feat. Perfume Genius – ‘I Think I Knew’ (Turnstile / Wichita)
15. Angelo Badalamenti – ‘Twin Peaks Theme (Instrumental)’ (Warner Bros.)
16. Lucrecia Dalt – ‘Batholith’ (Human Ear Music)
17. Jonny Greenwood – ‘Open Spaces: Suite from “There Will Be Blood” Performed by the Copenhagen Phil, conducted by Andre de Ridder (Deutsche Grammophon)
18. Birds of Passage – ‘Lonesome Tame’ (Denovali)
19. Christina Vantzou – ‘Sister’ (Kranky)

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

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

http://www.mixcloud.com/Fractured_Air

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