The universe is making music all the time

Posts Tagged ‘Erik K Skodvin

Chosen One: Nils Frahm

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“It is something of a knowing that I should not ask more from the universe than this, it’s a little bit of a humbleness to see when something was really good and you shouldn’t ask for more.”

—Nils Frahm 

Words: Mark Carry


The first day in July 2016 marked a significant moment in Nils Frahm’s storied career. Accurately billed as “a most ambitious concert”, the peerless German composer performed an enthralling three-hour set in London’s Barbican (as part of Frahm’s curated festival “Possibly Colliding”). Not only was this a celebration of the Berlin-based musician’s cherished songbook – and the boundless, magical force of music as a whole – but a beautiful glimpse into the slipstream of music that would soon surface. Forward eighteen months to the eagerly awaited seventh studio album “All Melody”, which undoubtedly marks Frahm’s most ambitious and captivating work to date. A further evolution of “Spaces” (its predecessor) whose twelve sublime compositions – meticulously crafted by this singular sound sculptor – unfolds a musical experience of remarkable depth and magnitude.

The immense beauty – and immensity – of the far-reaching soundscapes dotted across “All Melody”s musical landscape is a joy to savour. A myriad of sacred tones are effortlessly spliced together like that of the double helix pattern of each DNA molecule found inside our cells. It is as if a towering composition like “Sunson” unfolds, mutates, and transforms before your very eyes: the soaring juno synthesizer is melded gorgeously with the otherworldly sounds of the handmade pipe organ. The seamless array of colours and textures creates an empowering ripple flow of emotions. Choral odysseys dissolve into this vast sea of forgotten dreams. As the piece continually builds, the interlinked rhythms are forever over-lapping; magical moments within moments are captured at each and every pulse.

Modern-classical, dub and avant pop spheres are masterfully blended together on “A Place”. The inner dialogue between the components (choir, strings, percussion, synthesizer, and rhodes) creates a deeply bewitching symphony of celestial sounds. How the female voice is mixed with the luminescent juno synthesizer provides a significant milestone in “All Melody’s mind-bending oeuvre. Gripping dub beats awash with soul-stirring strings. The sonic terrain has expanded, almost exponentially. It feels as if a deep symbiosis exists between all of its vital elements; each one inter-dependent of one another, reacting, breathing and growing as the loop drifts forever into the ether of unknown dimensions.

More breathtaking synthesizer loops fills the human space of “All Melody”, not least the album’s glorious title-track. Thinking back to “Spaces” and the timeless voyage of “Says” felt a vital – almost ground-breaking – moment in Frahm’s ever searching mind. In similar fashion to “Says”, the synthesizer loop of “All Melody” feels as if it could go on forever: letting it live and breathe as long as it needs to. A windswept beauty and total radiance is somehow enclosed within the series of oscillations and hypnotic pulses. The concept of infinity becomes embedded deep within the composition’s framework as the bass marimba and piano swirls into the stratosphere.

The possibilities are endless. “#2” fades in – almost subliminally – as the embers of “All Melody” gradually dissolve. Techno bliss is masterfully etched across the sprawling canvas of synthesizer arrangements, creating, in turn, psychedelic dreams orbiting the furthest reaches of one’s inner consciousness. The seductive techno pattern serves the rhythmic pulse – or vital heart beat – supplying the flow of ambient-embedded rapture to the precious energy flow.

The album’s penultimate track “Kaleidoscope” conveys the visionary nature of Frahm’s music: the pattern of the interwoven elements (choir, organ and synthesizer) is constantly changing; forever in motion and altering in sequence (in turn, generating endless possibilities). The immaculate exploration feels at once ancient and utterly contemporary; a joyously uplifting creation with its dazzling ebb and flow akin to a river finding its sea.

Fundamental Values” shares the rich musical timbre of Frahm’s stunning “Victoria” soundtrack, mapping Victoria’s next steps, as she walks down the Berlin streets to freedom. The pristine instrumentation of cello and trumpet melts alongside Frahm’s angelic piano tones. How the introspective moments of “Human Range” continually blossoms – with ethereal jazz inflections – and continually evolves demonstrates once again the transformative power of the German musician’s divine soundscapes.

All Melody” is a defining record for the ages. This is a journey into sound.

‘All Melody’ is out now on Erased Tapes.

For Nils Frahm’s upcoming shows visit HERE.

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Interview with Nils Frahm.

Congratulations Nils on the latest album ‘All Melody’, which is an utter masterpiece. One of my first thoughts of the album was how it reflects that special “Possibly Colliding” festival in London last year and the album almost epitomizes that entire night with the endless magical moments captured during that particular live performance. And just how the live energy and performances captured in these new recordings too, so it feels like an evolution of ‘Spaces’?

Nils Frahm: Basically yeah, it is a little bit of a more controlled version of the live take and the idea was to just make the music together in a live setting and not just record everything one after the other. In my other studio at home, I was recording more like piano (and next thing, next thing) so it was like all the other records that I’ve done: they were pretty limited in the possibilities of doing it at once. And now with the Funkhaus I had the space to set everything up and just do it (like you’ve seen tonight) and basically just record that and do it every day and just try out things and that was the process: hands on, all the equipment ready basically and then just go with whatever is fun. That was important to me because I knew I would not only like get material for an album out of this but I knew I would also already know my workstation for the shows, which would come later. So, I was basically spending two years within the two U-shaped keyboard towers, practicing; that was the aim behind it.

As a listener, it’s fascinating to think of the sum of the hours and the vast sea of ideas that must have been circulating in your mind over these years. The fact that you’re continually almost going back and refining your ideas where you very much had time on your side, was it a sense that you felt you were re-discovering elements of ideas and then gradually over time it’s almost like a metamorphosis in the sense it’s still ongoing in your head, almost like an infinite process?

NF: Well, the songs I don’t play live: they are done but the songs that I play live will keep on developing and the songs I decide to not play live they are left alone; they’re like what they are. When I bring my studio on tour, I’m doing it on purpose; I have to make it happen every night again as if it was the recording session for the album. So you have the chance to re-do it, re-think it and change it every day and so it does happen: this metamorphosis, it’s mutating basically over every single gig, it’s fun. And after one or two years, the song turns into something finished yet again. This happened with the ‘Spaces’ versions of the songs I had on old albums and they turned into other versions and so on. So, I think I’m not really a composer, I’m more like a musical landscaper and it’s a little bit like a gardener: you just set up a garden and then after one year it looks completely different and then you can just do something else with it. it’s not really the point to finish a song; the point is to show that the song needs the heart and the soul and that it usually the same for the person playing and I think this is what I want to transport in a song, is exactly that essence, it needs a host – every song needs a host, otherwise it’s not a human transmission.

I love the idea that you suddenly have all these new colours you’re working with, it’s immediately apparent – even on the first listen of the album – it’s almost like you have found your voice in one way. For example, the addition of the voices and choral element in particular but in general, it’s more the extremes of the album: the intensity and noise and electronics and like a deafening pitch in contrast to the really quiet, sparse and beautiful piano; you’ve got this spectrum fully there on this record.

NF: Everything I was trying in the last ten years I could do in a much easier and better way in that new building and that new environment and obviously I was basically waiting for that moment to do it just right. I knew that before I didn’t have the possibilities to do that record so I never tried it but I was not able to hide from it any longer because I was at the position where I could afford a studio, where I could afford all these things and so basically it felt like I had no excuse to sit in my bedroom anymore – I’m not playing in front of thirty people, I’m having a thing going here – and now when I don’t go into the studio and make it like really, really good (as good as you can) then I’m hiding from the challenge so I felt like I have to do it, I have to go into the perfect studio and do the perfect sounding album somehow; that’s what I felt like, I have to do it now. That’s the only way I thought about it was just to get all the dynamics in there, get all the ideas recorded in the right way so the sounds and timbres really come out and all of the things I really feel like it’s important for the music also to appear in the music and so that was the idea behind it.

A piece that epitomizes just that is ‘Sunson’. It is these elements of the female voice, electronics, pipe organ and the woodwind and just how such a hypnotic spell is created but it’s more a feeling that the piece could go on forever; it might be eight or nine minutes long but you want it to go on and on as there is so much detail embedded deep within the piece itself.

NF: Thank you, I like that piece a lot because there is so many rhythms inter-linking and depending on each other that all sound weird and funny if they don’t come together and that makes it so interesting. The interplay between the funny sounding little objects flying around just in its combination; they form a whole, they find ground and the chaos forms into a steady flow. I think that it’s not boring to listen to because there’s always something that’s changing because the pieces are like my live shows, I use the filters so there is no loops and there is no chopped parts of anything: everything is a performance. The repetitions don’t feel like staggering repetitions but it feels like an ongoing flow. The first thing that I look out for is like: Is it boring after thirty minutes? Is it boring after one hour? Or can I just go on and on and on? And I’m looking for the things which never go out of juice, like ‘All Melody’ and ‘Says’, these are all basically loops which feel like they could just be there forever and then so not every loop can do that, certain loops don’t have that potential. So, I’m a little bit like a detective for these repetitions which don’t really feel like it’s repeating in a bad way.


That’s exactly as a listener you feel listening to ‘All Melody’ it’s like everything rests on your deft hands and everything is happening in real-time or in the moment. So, you’re waiting for all these moments to come in but I love just how all these many elements dissolve or melt together. And in your head, I can imagine it’s like a symphony and that you’re almost like the conductor in the sense that you have all these different sounds and elements but you have to know when to add, when to leave out, and so on. For instance, the electronics and when some of those low bass registers come in – during a piece – it’s that feeling when it suddenly comes in. In a way, it’s more like the work of an electronic producer that it’s the art of sound is like the bottom line of everything really?

NF: Basically for me I feel like that’s what drives my boat, it’s just to make my speakers in the studio dense with whatever I’m trying there to just get a beautiful sound. I mean I don’t like too pretty and too sweet things, it just needs to have the right balance so I just feel like it’s something that makes you feel addicted. I think music for me has a very animalistic and almost like a tribal spell on me. When I’m deeply in the concert and in the music, I am turning into something that is not exactly civilized; I’m not that polite, well-risen gent who is just like behaving or anything, I’m just going for my tribal instincts basically. I think this is where my ideas come from: it’s from a very non-intellectual route, something which is very ancient which I like to get in touch with. And then afterwards, I think intellectually about what I’m doing and out of the process of reflecting upon it, I also get ideas but what is really important for me is to get into the trance of making music and it happens when I play piano, it happens when I play synthesizers. It’s all the same thing for me because it creates the same family of emotions but obviously it’s a different essential experience for me to play a quiet piano piece and then banging with toilet brushes on the piano, it’s exactly the spectrum between the two which makes it tactile.

I just want to experience physics in all its ways, like from the very tiny wave to the very big wave and everything in between. I think exposing yourself to that for me is where all my next ideas for the next note is coming from. I have to resonate with my instruments, I must have a certain quality of sound, I need a certain tone to get inspired; otherwise I cannot fall into the music. When I’m making music I’m just finding the jump of point from the sound to start my real ideas. It’s a little bit like I cannot work when there is not a certain set of tools is there and then I’m just like no, this is not for me. When a certain thing works (like an instrument is nicely tuned or prepared or sounds really nice) then I get all these ideas but I cannot start with a digital piano and somebody tells me “now compose” then nothing inspires me. So everything that inspires me is purely tone and they almost numb my intellect and activate the animal in me almost.

A beautiful story within this narrative of ‘All Melody’ is how you discovered this little Danish piano. Like you say, I’m sure it must have spoken to you so strongly that you suddenly found inspiration from this instrument, almost like a gateway or a doorway that it suddenly launches all of these ideas and sounds?

NF: It is very important for me to have it with me, to play the sounds exactly on the same instrument I played it for the record. I tried it on other pianos which were a little bit easier to travel with and more stable (and this is a little complicated to tune or they are really hard to tune). But in the end we went for the Danish one because the sounds didn’t sound right on any other instrument, it didn’t feel like I should play these songs on another instrument – on another instrument I should play other songs; songs I write for that instrument. So I think this is the complicated side of my work is that I really dedicate my ideas to a physical set of things (which can be an instrument), I try to understand it, I try to build a relationship and I try to have so much empathy with it (which not always works) but when it works I just get under the skin of the instrument and get inside it and tickle it in a way, which is the only way and I strongly think like that and then I just make that piece and then I decide this is it. Of course there’s many other things I could have done but for me, then playing the piece on another instrument is not always working because I fine-tuned my interaction with it almost to a fair balance that the instrument does a lot of things by itself – I just activate it and I try to open the instrument basically.

And that usually is a different approach to other composers; they basically think of a melody, they write the melody down and somebody has to play the melody. It would be really difficult for me to write a melody and then somebody just plays it in their way because how you play the melody and exactly how is the only thing I care about. It needs to fit the melody, otherwise I don’t care about the melody itself; it just needs to harmonize with how the melody is played and it’s all about how it is played. And so composing for other musicians is a little bit of a bad process for me because I will always try to explain to other musicians how they should play it and I will always feel like, if I could only do it myself. And so you are right, I am a little bit like a conductor and I try to work with sounds I get into and once I feel like I activated the sounds, I am inside the instrument basically; this is the moment where I hit record. And with the other musicians in the session it was interesting because a lot of the things they played was not what I felt I wanted to hear but they played much, much more than I used. So I let them play, I let them play, I let them play and then out of sixty minutes these thirty seconds are just pure magic. I feel like it was still my process to decide for that thing and use it and then to put it there and then so I still had the feeling to get into the skin even of what the other people play. For me it is very important to have control over the sounds otherwise I’m lost basically.

All these elements that are contributed by your friends and this idea that it’s this thirty seconds of magic, I just love this minimal aspect to the music and how it’s almost spliced together. But the subtle detail  inside it all; it’s never like A, B, C but it’s more after repeated listening, there are gorgeous shades of all these different colours (like the bass marimba for example) it feels like a ripple.

NF: The sequencing was very important and I feel only if that is flawless. I’ll give you an image: only if all the ripples on top of the lake disappear you can see the surface of the lake and even if the tiniest ripples are there you can see only the surface of the water. And so for me it needed to come to a point of perfection, otherwise these compositions would not work, they would fall apart: they are only tied together by the marriage of vision of tone, timbre, how it’s played and everything in a wishful way which I cannot explain. But I can only intuitively get there and then I can say, oh this is it, this is what I wanted to do; I had no idea before – I never know what I want to do next – but I get naturally attracted just by accident, by the framework of my tools I set around me basically. Everything which is annoying me like synthesizers which make sounds that are horrible for me, I never use them. I only use instruments which always sound charming no matter what you do with them, anything which can sound like a pain in the ass flies out. And so I have some very funny rules to set up the framework for myself so I know what to do next because I never think of it.


Ancient is a word that epitomizes the song ‘Kaleidoscope’. Again, the sequencing and how it’s there as the penultimate track. It’s the multitude of feelings and this sense of a journey that the listener goes on. The harmony aspect of ‘Kaleidoscope’ creates that hypnotic spell again, there’s almost a symbiosis between all your instruments and the rest of the instrumentation. You feel like there is an energy reacting off all these different layers of sounds and elements.

NF: I know what you mean, I just feel like it is all of these lucky moments and I’m just pretty relaxed when it comes to choosing the right moments. I’m messy basically because I record everything: I record every single show, I have terabytes of music flying around and listening through all of that again and just keeping your head clear and deciding out of forty takes, which take is the right one is the real challenge to be honest. So I basically keep recording and the most of the stuff that I am doing is not right and then all of a sudden – maybe by chance – something really works out well and then just being awake and seeing it happening and like ‘oh this is what I want’. I was trying eight hours and then in twelve minutes; I can use all these twelve minutes, that’s the core of my composition. I could have never planned it but I feel like this is the nice thing you can rely on having the feeling for the right moment in that sense and so I can delete everything else and you will never hear it again, this is it. And this was for ‘Spaces’ already, with Nonkeen and all these projects I had to go through hours and hours of music and deciding to delete all the rest takes a little bit of courage so to say. And I know a lot of musicians who really have a hard time deciding and they just rather keep three, four, five versions and until the end they go back and forth. And for me it’s very easy to know OK, this was a moment, it will be impossible for me to make a better version now that I have this version.

It is something of a knowing that I should not ask more from the universe than this, it’s a little bit of a humbleness to see when something was really good and you shouldn’t ask for more. This is where I have to say that I am not a perfectionist because a perfectionism is only about creating the framework. But when I see like by accident that something just magically worked out and then I try to be humble and be like OK don’t fight with the gods up there and try to do it better because when too perfect lieber Gott böse or the god is angry. So, this is my philosophy. ‘Kaleidoscope’ is a jam – completely a jam – and I felt like ‘Ahh what if I do it again?’ but I knew I could never create that energy or that sound again so I mixed just that improvisation basically. I never tried to recreate the patch because it was a complete, complicated, one-in-a-lifetime situation where all the things were doing something crazy. And then you should not waste your time by trying to do it again, it would just be an unpleasant experience. I feel like I know how to keep my workflow joyful that way, I just don’t go down these roads where there’s like sweat and fight and fight and fight. I try to keep myself in a happy place because this is only where I can worship the gods when I am happy with myself or when I am at peace with myself or I make an acceptance at least, I make the better work as if I’m trying to be better, you know that is not a good emotion.

It is that intuitive quality to the music that’s so apparent. I just love how there is this flow of energy within the songs, like the first notes of choir and the silence and sound of people almost coming together. And how ‘All Melody’ and ‘#2’ is like the beginning of the second half, it’s almost like the ultimate DJ mix in some ways.

NF: It’s like this legendary mixtape that somebody put together and found all these moments somewhere and blended them in this magical way and it’s like this tape that somebody has made and you’re just wondering ‘how cool is that?’ And I feel like I have a lot of these tapes at home, made by friends which became legendary mixtapes which I distributed and got an mp3 and all of my friends know them. It’s like these random cassettes, some of them were in my father’s car; just weird mixes, blend of jazz tunes and I just like that idea of hearing many different things interconnecting basically. Or seeing that everything is context when you just put a track after that track, the tracks change basically their identity only because they are next to each other. And when you think that further and think about the playlists on spotify and all the algorithms that are creating music, I mean exactly what is happening there is changing the identity and the core of each track which is inside that playlist. And I think all these things are so important to me and I want to have more control over music. This is why I am just saying this is the album and everyone talks about the album now and I love this because no one talks about one track; it is the album experience and we can look into a pretty deep landscape of music and just get all these ideas from.

This is exactly my point to do something which is in a broader sense inspiring and this is ‘All Melody’ for me, trying to encourage whatever is out there to be original or make the impossible blend. And to showcase that only because it’s different it doesn’t need to hurt your ears; that is also important, it can sound tactile and interesting and delightful even if the music is pretty abstract somehow. And I feel like this is also a challenge for me to make that work, just to make it so attractive even if what I’m making musically there is thinking around the corner a little bit rather than just make it attractive enough so you always want to know it more or something. This is what I associate with my favourite albums of all time: Radiohead, Portishead, Massive Attack; when these albums came out they didn’t only sound like weird, abstract hard to get stuff, it was different, completely new and in some way what they did there was – and also Air – it was different and like ‘I know it somehow but I don’t know it’, it was familiar in a weird way but totally new and it sounds great. These are the records that I will never forget and there are loads of other great and interesting music and charming music – and I’m like a geek like you of course – not only because a record is recorded bad I dismiss it, that’s totally bullshit, when a performance is great you just deal with whatever recording and so on. When you choose whatever you want to do I felt like let’s try to just get everything a little better on this record, let everything be a tiny bit better, that was my dream.


Another special moment on the album is ‘Human Range’. Again as a listener, it’s full of that surprise element in the best possible way, this idea that you never know exactly what is coming at you (and that’s what defines all these great records). Suddenly there is a jazz and ethereal dimension like an ECM catalogue, but it all makes complete sense. How this track rises and is always building throughout.

NF: That was not a complicated composition because that was a track where I started basically with a piano and I had these chords [mimicking the piano line] and I liked the two chords. And on the piano I didn’t feel like I could make that piece, it felt like it was not necessarily a piano piece. So I thought I would programme a bass – and I programmed it very low and short  [mimicing bassline] – and I liked that, I was sitting in my room and I could hear the reverb of these short bass notes and I felt like, oh this is much more interesting. So basically I sequenced a little bit with the organ and the bass and I only recorded the little percussive sounds of the bass and kept it like that. And then whenever another musician came, I said ‘Let’s improvise something on that’ and so when the choir came, I just composed these chords (like start really quiet and then go loud and so I kept that) and the percussion player and the cello came and the trumpet player came and so on. We talked about the progression each time again and then the last forty seconds I just let them play improvised basically and it all creates this funny little ending.

And every musician played at least twenty/thirty takes before I felt like ‘now I feel it’ because they all played too much, I left these little drops and then somebody leaves a drop here and there but no one should really be in the forefront. So in the end it is all evenly dropping and so everybody felt they should finish the song with their part and they were trying to finish it off. And the last overdub that I have done was trumpet player and I told the trumpet player, ‘Look, you have to finish it off’ it was like we left this carpet, this fluffy nice little sound carpet for you and now tie this red thread in there. And he went into the recording room and played the first take of the day – I may have cut out twenty/thirty percent and moved one or two bits but that was it – and I was so impressed because I had no idea how I should have made that melody with my instruments, I didn’t hear it but he, with his trumpet, could find that spot where he was really leading the whole ensemble and all of a sudden it was like yeah, this is what I was waiting for. So it was one of those happy-go-lucky things that you can’t plan.

The challenge of inter-connecting each piece on the album and piecing together the many sections within a piece, was it a case that a lot was unlocked by improvisation?

NF: I think that’s the more composing part is to leave out what you don’t want to use and what comes before is just some way of improvising or meditating over an idea. It’s a little bit like fishing for the right moment, my philosophy is that a lot of things could come together in a positive way and that is they’re interlinked and then I see it as like these clay with four leaves and you see a lot with three leaves and there’s one with four. And basically I try to realize that in my music is that I just feel like it was the right sound, it was the right moment, the right touch, the right whatever and then maybe there was even a creak in the right moment. Sometimes you have these moments where you feel like ‘Aah! This is it’ and then I can feel like it’s a little bit like a false belief obviously but I feel like these birds are with me, I got a message, I like this and then I feel like I am having a relationship with that idea and with that moment. And then I treasure it and it’s like what I said before, I’m pretty stubborn believing like this is the moment, this is my big fortune just to have that decisiveness. It means that I have to numb myself and to blind myself over other possibilities but on the other hand the essence of why I am so progressive – like always doing, doing, doing – because if I would be hesitant and indecisive about if I should use this or not then I think nothing would get ready and nothing would ever come out. It is fortunately not leaving me and it didn’t leave me on this record like the intuition that I have that material and I’ve worked a long time on it and now it’s time to just go with the best you’ve done. And not thinking like ‘No, I wanted something else, throw everything away’ I think that would have done the material injustice.

Of course, I can say now that the record is completely something else than I expected and on the other hand what did I expect? I expected to hear some tracks that I couldn’t have planned, I expected to hear some tracks that I wanted to record (‘All Melody’ and ‘#2’) and I expected to hear some choir on there because I planned to record choir and so on. So basically it is the record I wanted to make and now in many ways when I play the tracks live, I play them all the time, they become a little bit of a closed body, all of a sudden you really make memories with that song and then the song develops an even broader identity because you feel like you are on the road with it and it’s always there and it’s always a little different (like everybody) and the song becomes a person and even the listeners – after a couple of years when you play the song a lot of times – you play a song and then they clap; it became something, the song has character and so what I really like is just to see how ‘All Melody’ out of this, I really enjoy like knowing when it’s released, it’s there now and then seeing OK it’s two hours ago, by now people have heard it once, let’s see what they say. And already people after thirty minutes are like posting things saying it’s great and I feel like I have listened to it for one and a half years basically and I’m pretty tired of it to be honest and now people hear it for the first time and it’s interesting to see people’s opinions after hearing it one time and how the opinion in maybe five, six, seven, fifteen or twenty years might be completely different. It’s basically like modelling a wine and putting it somewhere and seeing what happens to it. On that level I have a very good feeling with the record because I feel it is absolutely my identity; I can find myself in there. It’s almost like no other record that I have put out, I’m pretty strongly behind this one because I also think that it has humour and it is in a way also sad and melancholic. And in other ways it is exactly these little moments where people walk in and somebody is late and then the choir starts, like all these things I love.

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‘A Place’ has a playful and inventive quality to it where there’s a real bright pop element shining throughout and especially how the female voice is blended so masterfully with the electronic elements. Even if you isolated just that…

NF: I love this. This is what I was hoping for, I wanted to mix natural vocalists with juno sounds basically for that record and this was my moment where I felt like I can only hear synthesizer and them and it was just a beautiful and joyful experience. It feels like the synthesizer changes the voice and the voices changes the synthesizer to a strange degree where it becomes this phenomenon almost. And that was the core of the song and the rest was woven around numberless overdubs and compositional ideas. I had the kick drum in there, I had this going on, I had that going on. That was the song that always got re-shaped and in the end it magically fell into place in its most complex form as it is in the record now because as a composition and as a second song, it has a weird ending and this and that happening and exotic moments with exotic instruments playing exotic things. But I felt like this is something that has to be exactly like that and then it works.

And I tried to play it for the live show but it doesn’t work, it just easily falls apart. It’s not a stable song. Certain musical experiences can be pretty stable and they even sound good from a little radio in a distance and other musical experiences are more unstable and just need to be experienced in a certain way and it plays with something which has to be experienced in the right way then it only reveals something, which I like a lot. If it’s not exactly experienced like it is on the record then it falls easily apart. It’s an unstable, exotic piece which I feel like would stay exactly like that because any other version wouldn’t work. And then there’s other pieces of mine where I feel like yeah this is a good version but I think I could even play a better one someday but I don’t know why and then I keep on playing it. So I basically have two sets of ideas: certain things are basically more constructed and then they are just conserved in this one documented version and that is the piece and other ideas are transformative ideas which I basically meditate over and I feel like I grow on them when I keep playing them.

That must be the joy of playing the live shows when you suddenly have these new songs but also how you incorporate the older songs with the new ones. It must give you a new perspective even on the older songs you play?

NF: You heard ‘Familiar’ tonight, I changed ‘Familiar’ a bit; it was a different sound, I can’t even play it like on ‘Spaces’. I also don’t try, I always feel like I should play it in that moment and don’t try to play it as I remember as I played it.

‘Fundamental Values’ feels like it blossoms gradually as you listen to it. The piano melody feels like it’s a continuation from the ‘Victoria’ soundtrack, almost mapping her next footsteps as she walks outside the hotel and starting her new life. It definitely feels like this piece is related in some way?

NF: It was funny because it was basically this one solo piano recording I had from the ‘Victoria’ soundtrack and I kept it as an idea because we didn’t use it for the film and I kept it as an idea for the album process. And so I tried to replay it and I felt like no I can’t get that thing in there so I’d rather play a different piano on top and I played all the other instruments on top. The core of it is exactly the recording session of the ‘Victoria’ soundtrack and so very well heard.

Something that struck me from the liner notes of ‘All Melody’ was regarding the mixing of the album and how you described the need to preserve the essence of the music. I can imagine when you have spent all this time and with the knowledge you have all these magical moments captured, is there almost like a fear that you’re almost going to lose it in the sense that you grasped it one moment and will it be there again?

NF: Exactly. Certain pieces fall apart over time. Certain pieces feel great that night and the next day they already don’t feel that great anymore and you wonder like what did I do yesterday that it sounded different and so on. Other pieces stay only stable over a couple of weeks and then they start to annoy you in a certain way. So, giving me like a long time process was giving me enough time to listen to my own ideas and when I make an album I only listen to that (for that time) and not get confused. I don’t want to enjoy good music (which is other music) because I feel like I only deserve to enjoy when I do great music myself, just to fast basically. And when you lose the sketch or whatever you are working on there is also time to make it better, to mix it or to finish it or to change it and then sometimes you rescue it, you drag it back into a better direction and you make a better take and then you basically wrestle it or you just make it worse with whatever you try to change and you realize when you try it again and when you make it worse again then you know the song wins basically, it destroys you. And sometimes you just get the song in the right direction again and at some point it stabilizes again in a very good situation. When I listen to the album now I feel like I’m happy with everything. It changes for me you know, I’m still having more ideas and that I would like to change things but I know that everything is OK. And this is not always the case when I release an album. Sometimes, only two, three, four weeks later I regret certain things but now I’m really happy.

‘Harm Hymn’ is the perfect closing line for the album. Again, I love how there are these very sparse, introspective moments dotted across ‘All Melody’. Did you envision this harmonium piece to always close the album?

NF: I feel that it is a typical “Nils Frahm song” and I would have missed it if it wasn’t on the album. And if you can put it anywhere then it’s after ‘Kaleidoscope’ because it washes that high tension away and it connects with the last notes of ‘Kaleidoscope’, it has the same pace and breath and then it falls into that in a very good way. This is why I kept the piece, I have other good harmonium pieces I have recorded but it didn’t connect like that and so often when I have so many different songs I’ve done for an album, I still choose the ones that strengthen the neighbouring song, in a way which ends up then being more symphonic or a planned album listening experience. For me it’s very important to see an album as a continuous thing and it is OK to listen to certain songs just by themselves but if you listen to the whole thing it needs to make sense.

‘All Melody’ is out now on Erased Tapes.

For Nils Frahm’s upcoming shows visit HERE.






Written by admin

March 7, 2018 at 12:03 pm

Mixtape: This Uneven Thing [A Fractured Air Mix]

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This Uneven Thing [A Fractured Air Mix]

To listen on Mixcloud:



01. Antonio Sanchez ‘Get Ready’ [‘Birdman’ OST/Warner Jazz]
02. A Winged Victory For The Sullen ‘ATOMOS I’ [Erased Tapes/Kranky]
03. Ariel Kalma ‘Almora Sunrise’ [RVNG Intl]
04. Alasdair Roberts ‘This Uneven Thing’ [Drag City]
05. Teho Teardo ‘The Outside Force’ [‘Ballyturk’ OST/Specula]
06. Erik K Skodvin ‘Shining, Burning’ [Sonic Pieces]
07. Black to Comm ‘Hands’ [Type]
08. A New Line (Related) ‘The Slow Sound of Your Life’ [Home Assembly Music]
09. Kiasmos ‘Bent’ [Erased Tapes]
10. Thom Yorke ‘Guess Again!’ [Self-Released]
11. Antonio Sanchez ‘Doors and Distance’ [‘Birdman’ OST/Warner Jazz]
12. Charles Mingus ‘Slop’ [Columbia]
13. Mogwai ‘The Lord Is Out of Control’ (Nils Frahm Remix) [Rock Action]
14. Peter Broderick ‘Colours of the Night (Satellite)’ (Greg Haines Dub Mix) [Bella Union]
15. Noel Ellis ‘Memories’ [Summer/Light In The Attic]

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

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

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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.



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. 


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




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




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).


– 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





Colleen by Iker Spozio - CE  769 CILE 4 copy_crop

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.


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






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.


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

happy holidays nyc_2014

“Happy Holidays NYC, 2014”




‘Character’ is available now on The Leaf Label.




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. 


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



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 HERE.




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.


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




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.


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




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




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).


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.




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.


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:

‘Under the Skin’
‘Only lovers left alive’
‘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




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




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. 


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):

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 (
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 – (you can catch me and Naomi Yang and my mom on this news show, haha).


—Mary Lattimore




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





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.


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.


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.


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
Do Make Say Think
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




‘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).




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. 


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



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.





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’.


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






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.


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.


—Brigid Power-Ryce




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



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.





Mixtape: ‘Do Not Wait For Better Times’ [A Fractured Air Mix]

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‘Do Not Wait For Better Times’ [A Fractured Air Mix]

To listen on Mixcloud:



01. The Peep Show ‘Do Not Wait For Better Times’ [Tenth Planet]
02. The Moles ‘Lonely Hearts Get What They Deserve’ [Fire]
03. Craig Leon ‘Nommo’ [RVNG Intl]
04. K. Leimer ‘Lonely Boy’ [RVNG Intl]
05. Sharon Van Etten ‘Break Me’ [Jagjaguwar]
06. Emerald Web ‘Dreamspun’ [Stargate]
07. Mary Lattimore & Jeff Zeigler ‘The White Balloon’ [Thrill Jockey]
08. Amen Dunes ‘Lilac In Hand’ [Sacred Bones]
09. The Necks ‘The Boys III’ [‘The Boys’ OST / Fish Of Milk]
10. Erik K Skodvin ‘Shining, Burning’ [Sonic Pieces]
11. Hildur Guðnadóttir ‘Heyr Himnasmiður’ [Touch]
12. Ela Stiles ‘Anything’ [Fire / Bedroom Suck]
13. Caoimhín Ó Raghallaigh ‘what what what’ [Diatribe]
14. Margaret Barry ‘She Moved Through the Fair’ (Long Version) [Rounder]
15. Robbie Basho ‘Leaf in the Wind’ [Gnome Life]


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


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

Mixcloud / Facebook / Twitter


Chosen One: Erik K. Skodvin

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Interview with Erik K. Skodvin.

One thing I always want to achieve is that we end up with something timeless, that you can pick up in 20 or 50 years from now and hopefully enjoy equally as much.

—Erik K. Skodvin

Words: Mark Carry


August 2014 marks the eagerly awaited return of modern-classical/ambient duo, Deaf Center (which comprises the gifted talents of Erik Skodvin (Svarte Greiner) and Otto Totland (Nest)) with two extended, beautifully solemn pieces, new on Sonic Pieces, entitled ‘Recount’. After a string of indispensable releases on the Type imprint – including 2004’s ‘Neon City’ EP 2005’s ‘Pale Ravine’, and 2011’s ‘Owl Splinters’ – the Norwegian collaborators have forged their own unique and visionary blend of beguiling sonic soundscapes, containing a ceaseless array of pristine instrumentation and sonic detail.

‘Recount’s opening track, ‘Follow Still’ was recorded in Berlin in 2012. The thirteen minute tour-de-force features intricate layers of organ and piano – motifs that return throughout like a distant fog that gradually seeps into the circulating atmosphere – and brooding guitar effects are masterfully interwoven that feels like artifacts from a distant past. The mood captured and cinematic atmosphere thus formed has proved a constant for the pair’s scintillating works thus far. The following track, ‘Oblivion’ was recorded in Oslo in 2008. If ‘Follow Still’ could be seen as post ‘Owl Splinters’, ‘Oblivion’ was created during the post ‘Pale Ravine’ era, where thudding bass, soaring strings and orchestral haze envelops the head-space. The limited vinyl edition is presented in a gorgeous die-cut jacket.

The end of June saw the highly anticipated release of Erik K. Skodvin’s solo work, entitled ‘Flame’ which was the follow-up to 2010’s ‘Flare’, both released on Sonic Pieces. The nocturnal, Americana-inspired duo of albums conveys the Norwegian artist’s timeless and evocative composition and ability to evoke a striking atmosphere through sound. ‘Flame’ was made at Vox Ton, NK and Miasmah studios in Berlin. Guest collaborators include Anne Müller and Mika Posen (on strings) and Gareth Davis (clarinet).


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



Interview with Erik K Skodvin.

Congratulations Erik on the incredible album ‘Flame’, the follow-up to the equally evocative ‘Flare’. You have said previously this marks the second and final chapter of your Americana inspired duo of albums. I would love for you to discuss this project as a whole and indeed your love of Americana and the reason(s) behind this beautifully designed concept? 

Erik Skodvin: Thank you! ‘Flare’ came to be because of the right things coming together for it. Moving to Berlin, meeting Monique, whom asked me to do an album for Sonic Pieces, which I ended up doing under my own name instead of as Svarte Greiner. The whole Americana and blues sound from the records is very vaguely a way of incorporating my idea of this sound into my own world, to say it like that. I know very little about Americana as a musical style. I just love the cinematic quality of it. This is rather based on me seeing movies and series than listening to any Americana or Blues. ‘Flame’ is me trying to take this sound further, as well as it’s a homage to my dad’s love for old Western films. Probably anyone who has any knowledge of these styles would think my albums has nothing in common with it. I think this is similar to how previous albums like ‘Knive’ or ‘Pale Ravine’ came to be also. They’re based on an idea of a sound rather than having direct influences from a certain style.

I thought that two albums inspired by this was enough for now and I leave the chapter half-closed until I see what the future will bring. Also of course it helps that they are packaged in a beautiful Sonic Pieces style 2LP sleeve, which makes for a nice final statement.


In terms of the narrative, how do you visualize ‘Flame’ in respect to its predecessor? I feel there is a resolution sought on ‘Flare’ whereas on the follow-up, this resolution is resolved. There is a certain feeling of closure to this record.

ES: That might be. I don’t want to delve too much on the narrative aspect, as the best way to listen to anything is to immerse yourself into it and give your own purpose. I work mostly in an instinctive way and feel myself through the way. Probably I had about 50 different tracklistings for ‘Flame’ before I ended up on how it was now. One thing I can mention though, is that f.ex the track ‘Flames’ was made entirely to glue together the tracks before and after and to make the flow work better. Also I think ‘Drowning, Whistling’ has a good closure feel to it, making the ending to the duo albums fitting.


Please discuss the instrumentation used on the record, Erik and what techniques or processes were used differently this time out? The recording took place at Vox Ton, NK and Miasmah studios in Berlin. In terms of sound design, what are these studios like for making music? 

ES: This was actually quite different in a way that I had even more access to instrumentation than during making of ‘Flare’. While ‘Flare’ initially came to be after spending a week in Durton Studio without Nils (just using the instruments he had). The sources of ‘Flame’ comes from 3 different locations over several years. My old studio at NK in Berlin I was sharing had a drum set set-up there, meaning I had to explore this, which led to me trying this more even after I left the studio. Then since getting to know Fransesco Donadello and their newly set up studio VOX-Ton after we recorded our first B/B/S/ album there, I decided to book a day to just improvise with the instruments they have there, which is a lot! I ended up using everything from an old 1920s tube synth (heard on ‘Drowning, Whistling’), a type of Japanese Koto (heard on ‘Red Box Curves’) to plain pianos, percussion and more. I also had Mika Posen and Anne Müller in for that day to improvise over some sketches, which ended up being great.

I took the recordings for this and built parts of ‘Flame’, though there is a lot of cutting and pasting going on. All the actual mixing is done in my home studio (Miasmah). I’m still at heart a lo-fi home studio musician who don’t know much about big productions but having such great studios to record things, for sure helps the sound quality.


You are also part of the mesmerizing modern-classical duo of Deaf Center. I would love to gain an insight into the creative process between you and Otto Totland? The forthcoming EP is entitled ‘Recount’ which like any of Deaf Center’s output, is highly anticipated. Can you shed some light please on the new direction you both venture on this new project? A constant for any of your musical ventures is the innate ability to capture atmosphere through sound. Please talk me through this whole area and how you set out to capture mood through your meticulous song-craft?

ES: Me and Otto live in different countries, though even when I lived in Norway we didn’t meet and work together in person much. ‘Recount’ was made based on two shorter meetings. Once back in 2008 after Otto visited me in Oslo and we just played around based on upcoming live shows. ‘Oblivion’ which was recorded then was just a piece left in the vault that I recently found again last year. This was made with me playing stringed, heavily delayed guitar over loops, while Otto was shredding out sounds over it on the a keyboard run through Reason, which was the program we used back then. This piece I think sounds very much Deaf Center, especially in post ‘Pale Ravine’ period.

‘Follow Still’ the second track on ‘Recount’ is pretty much a whole other story, as this was made more in style with our more recent live style, where we improvise together on guitar (this time, with mostly organ effects) and plain unaffected piano to see where it leads us. Otto actually hates improvising, but I’m forcing him to, as I can’t really recreate any pieces live. He’s getting better and better at it though. Again we were in my studio (this time in Berlin at NK) and “rehearsing” for a live gig. I set up two mics in the middle of the room so we could listen back to our playing and see if we found a direction for live use. It ended up being a really strong improvisation that we both really liked, but I again put it in the vault as the quality was not that great, being just two room mics. Listening back to this some years later with Monique present, she every time asked me what this is when I put it on. Then when we decided to start the PATTERN series for Sonic Pieces, these two tracks was a perfect way to get out, as they wouldn’t really fit on a new proper album. And now we’re actually trying to recreate some of this for our live shows.

Capturing Mood is something Deaf Center is all about (though I guess in general all my projects is about this somehow). Also I think Otto is the best possible piano player out there when he’s in the right mood. (The piano in ‘Follow Still’ from ‘Recount’ being a good example!). And for myself, I just try to find my way through the guitar (or other instruments) through trying and failing. When recording/producing Deaf Center material I tend to try think a bit more melodic and less abstract than as Svarte Greiner, though this can sometimes go both ways. One thing I always want to achieve is that we end up with something timeless, that you can pick up in 20 or 50 years from now and hopefully enjoy equally as much.


You also run the wonderful Miasmah record label. Can you please talk through some of your most cherished records and personal favourites from the Miasmah home and what forthcoming releases you have instore for us?

ES: I guess like most record label owners (of a certain size at least) it’s hard to pick out certain records. Having only about 3 releases a year, it’s very important to me that each release is unique and special to me and that this is something I believe the world could need. There’s so much music out there, it can drive you crazy if you want to listen to it all. If I really have to point out some favorites, one which is very special to me is Gultskra Artikler’s massive ‘Kasha iz Topora’ which I find to be one of the most unique records I’ve ever heard and I’m very proud over having released. I was stalking Gultskra’s releases since I heard his first recordings released on the net label Autoplate back in the mid-2000s. I hope to once do this on double vinyl also, though right now, Alexey (Gultskra) is focusing 100% on his more available Pixelord alias, so I think it can wait.

More recently I have to point out the Kreng box, as this is a kind of madness project me and Kreng were joking about, as he had all this scores for Abattoir Férme laying around, which he always said was unreleasable. Then little under a year from we first talked about it, we had the finished copies ready and pretty much sold out instantly. It was quite insane, and it makes me glad to think that these crazy things are possible.

For forthcoming Miasmah, I can mention that I have a new record from one of my favorite musicians out there, Andrea Belfi, coming in late fall. I’m also in a band with Andrea (B/B/S/) and find his percussion experimentations really fantastic. He’s one of these people whom can do any kind of music – which when listening back to his back catalogue you really understand.

Otherwise, I can say that next year is extremely exciting and I have a new crazy project already under way. Can’t talk more about it just yet though.


Growing up in Norway, can you recount for me your earliest musical memories? What were the first instruments you learned to play? Can you recall what was the first defining record for you? 

ES: As very young I guess I listened to more or less pop music and didn’t know much else. I was a Michael Jackson fan and remember seeing him live during the ‘Dangerous’ tour, which was great. I doubt that had much influence on my musical career though. Rather forward to my early teens and I came into contact with the more underground demoscene through too much computer use, and discovered ambient, jungle and drum&bass. Something I think was essential for the shaping of my musical path up to know. An early defining record for me is without doubt Future Sound of London’s ‘Dead Cities’, though there might have been some defining ones before (such as Leftfield ‘Leftism’ or Prodigy’s ‘Fat of the Land’). ‘Dead Cities’ had lasting effect on me. This record has so much different influences and merges rave culture, ambient, idm, soundtracks, classical (Max Richter is actually participating on the record). It really made me experiment more with music and made me understand that I need to bend the rules more to get closer to something personal and unique. This is probably one of the most played records in my collection.

As for instruments, I had piano lessons for some years when I was young, but didn’t really like it much. Other than that, the first time I pretty much touched an instrument was when making of ‘Knive’, where I used guitar and cello amongst others. I had no idea how to play them though, and still don’t. But with a looper, effects and an editing software to cut and paste, anything is possible!


Photographs (top: “Oslo Studio”, bottom: “Berlin Studio”) by Erik K. Skodvin.



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


Written by admin

August 26, 2014 at 11:08 am

Mixtape: Infinite Stillness [A Fractured Air Mix]

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Infinite Stillness [A Fractured Air Mix]

To listen on Soundcloud:


01. FaltyDL ‘The Love I Need’ (Vinyl Bonus) [Ninja Tune]
02. Charizma & Peanut Butter Wolf ‘Devotion (’92)’ [Stones Throw]
03. Madlib ‘Cue 06’ [Stones Throw]
04. Lee Fields & The Expressions ‘Just Can’t Win’ [Truth & Soul]
05. Edna Gallmon Cooke ‘At The Gate’ [Tompkins Square]
06. Ela Stiles ‘Kumbh Mela’ [Bedroom Suck/Fire]
07. Steve Gunn & Mike Cooper ‘Saudade Do Santos-o-Vehlo’ [RVNG Intl]
08. Cass McCombs ‘There Can Be Only One’ [Domino]
09. The Skygreen Leopards ‘Leave The Family’ [Woodsit]
10. Orcas ‘Infinite Stillness’ [Morr Music]
11. Fennesz ‘Static Kings’ [Editions Mego]
12. Heldon ‘In Wake Of King Fripp (Excerpt)’ [Superior Viaduct]
13. Charcoal Owls ft. Rose Keeler ‘Grace Period’ [NightSchool]
14. Boardwalk ‘I’m To Blame’ (Julia Holter Remix) [Stones Throw/Soundcloud]
15. Julia Holter ‘Hello Stranger’ (Live Recording) [NNA Tapes]
16. K. Leimer ‘Gisella’ [RVNG Intl]
17. Erik K Skodvin ‘Shining, Burning’ [Sonic Pieces]
18. Klara Lewis ‘Shine’ [Editions Mego]
19. Roll The Dice ‘Wherever I Go, Darkness Follows’ [Leaf Label]


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


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

Mixcloud / Soundcloud



Ten Mile Stereo

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Fennesz ‘Bécs’ (Editions Mego)
Released at the end of last month, ‘Bécs’ is the masterful new album by legendary Austrian composer Christian Fennesz. Fittingly, the last time Austrian label Mego issued a Fennesz LP was in 2001 for the seminal classic ‘Endless Summer’, ‘Bécs’ (Hungarian for “Vienna”) has been conceived as the “conceptual follow-up” to that modern-day classic, and the first full-length Fennesz solo release since 2008’s Touch LP ‘Black Sea’. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, ‘Bécs’ features contributions from Werner Dafeldecker, Martin Brandlmayer, and Tony Buck.

‘Bécs’ is available now on Editions Mego.



Erik K Skodvin ‘Flame’ (Sonic Pieces)
This June sees the much-anticipated release of Erik K Skodvin (Deaf Center, Svarte Greiner)’s latest LP, ‘Flame’, and follow-up to 2010’s ‘Flare’. The two albums complete Skodvin’s gorgeous “nocturnal Americana-inspired pair of albums”, creating gorgeously refined cinematic vistas and breathtakingly expansive soundscapes in the process.

‘Flame’ will be released on June 13 (Worldwide) and June 24 (USA).



K. Leimer ‘A Period of Review’ (RVNG Intl)
One of the true musical gems this year comes courtesy of the Winnipeg, Canada-born visionary composer Kerry Leimer, whose extensive archives were explored to create ‘A Period of Review’. As part of RVNG Intl’s magnificent archival series (‘A Period of Review’ is part three), the spotlight shines on Leimer’s intensive experimentations with tape manipulations and his extensive recordings made between 1975-1983 in Seattle (where Leimer continues to make music to this day). As RVNG state: “A Period of Review is a rewarding step into the canopied, unheard world of K. Leimer and necessarily grand in scope. With its hypnotic, arcadian terraces and nearly narcotic glacial beauty, A Period of Review has a rightful place in the canon of pioneering ambient music.”

‘A Period of Review’ is available now on RVNG Intl.




Woo ‘When The Past Arrives’ (Drag City/Yoga)
Some of the most truly rewarding re-issues from recent times have been the re-release of London-born brothers Mark and Clive Ives and their timeless, effortless and charming folktronica output under their Woo guise. Last year saw the re-issue of Woo’s 1982 debut ‘Whichever Way You Are Going, You Are Going Wrong’ via Emotional Rescue, while in 2012 Drag City re-issued 1989’s ‘It’s Cosy Inside’. ‘When The Past Arrives’ comprises a collection of previously unreleased 70s/80s material, selected carefully from an extensive catalogue featuring hundreds of previously unheard Woo songs.

‘When The Past Arrives’ is available now on Drag City/Yoga.



Donovan Blanc ‘S/T’ (Captured Tracks)
June 24th is the date for Captured Tracks (DIIV, Mac Demarco)’s latest signing, Donovan Blanc, to release their self-titled debut album. Comprising the duo of New Jersey-based musicians Joseph Fekete and Raymond Schwab, the pair had previously worked together fronting the more pop-orientated Honeydrum, prolifically releasing nine EPs during this timeframe. Donovan Blanc’s lush self-titled debut is a true sonic delight; weaving crystalline guitar tones, irresistible lyrics, and timeless melodies from start to finish.

‘Donovan Blanc’ is out on June 24 via Captured Tracks.


leefeilds emmajean

Lee Fields & The Expressions ‘Emma Jean’ (Truth & Soul)
Legendary New Jersey (by way of Wilson, North Carolina) soul singer Lee Fields releases the hugely anticipated ‘Emma Jean’ this June via Brooklyn’s Truth & Soul label. Fields has re-teamed with The Expressions for his latest LP, featuring the album’s first single ‘Magnolia’, written by J.J. Cale.

‘Emma Jean’ will be out on Truth & Soul on June 3, 2014.



Wye Oak ‘Shriek’ (City Slang/Merge)
Available from the end of April, ‘Shriek’ is Wye Oak (Jenn Wasner and Andy Stack)’s fourth full-length and follow-up to the critically acclaimed ‘Civilian’ LP from 2011. Having toured ‘Civilian’ extensively for two years, the pair sought new directions in their next album. Significantly, the album’s genesis was born from solitude; the bandmates lived in opposite parts of the country and would send new ideas to each other, “allowing new work to evolve in their respective solitudes, the culmination of their intent to express the emotional and intuitive self by acting out animalistic exclamations through cathartic release.”

‘Shriek’ is available now on City Slang (EU) and Merge (US).



Dusted Lux ‘Neverended’ (Preservation)
Dusted Lux is the alias for the Connecticut-based artist Lee Camfield. Previously, Camfield has appeared as Dusted Lux on the artist-run Kim Dawn and No Kings labels, while ‘Neverended’ is the latest release by the ever-inspiring Australian label, Preservation, and the latest in the label’s remarkable ‘Circa’ limited-run series (the list of contributors thus far includes Sophie Hutchings, Panabrite, Padna and Talk West, since its inception in 2011; the art direction and design is courtesy of the incredible Mark Gowing). Camfield’s signature guitar-playing reveals a fragile beauty and ever-shifting sound collages on Dusted Lux’s ‘Neverended’, described perfectly by Preservation as “disarming, bare and tender”.

‘Neverended’ is limited to 300 CD copies and available now on Preservation.



Severed Heads ‘Dead Eyes Opened’ 12″ (Dark Entries)
Since their beginnings in 2009, Dark Entries has become one of the most important and rewarding labels issuing out of print and unreleased underground music, shining a light on forgotten bands from all corners of the globe. One of the label’s more recent re-issues have been in the form of Severed Heads, an Australian electronic music group founded in 1979 in Sydney, Australia. Originally released as a single in 1984, ‘Dead Eyes Opened’ first appeared on a C-60 cassette called ‘Since The Accident’ and features lyrics from a radio program narrated by Edgar Lustgarten, a crime journalist from England.

‘Dead Eyes Opened’ is available now on Dark Entries.