FRACTURED AIR

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Fractured Air x Blogothèque – S02E10 | October mix

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This month saw the eagerly awaited return of prestigious American musician John Maus with the release of ‘Screen Memories’; a synth pop masterpiece (and follow-up to the remarkable 2011 opus ‘We Must Become The Pitiless Censors of Ourselves’). Opening this mix is one of the heavenly synthesizer-based tracks culled from Maus’ recent Bleep mix.

Colleen is an artist very close to our hearts and the release of Cécile Schott’s sixth full-length ‘A flame my love, a frequency’ (via Thrill Jockey) marks 2017’s most bewitching, absorbing and deeply affecting records to have graced the atmosphere. Armed with just electronics and voice, the album’s eight otherworldly compositions transcend space and time: drifting majestically in the ether of unknown dimensions. Colleen’s tour dates (including U.S, North America and Europe) are listed here.

On the 14th & 15th December, the second edition of The Notwist-curated Alien Disko returns to Munich. The festival’s line-up reflects the boundless and pioneering qualities of the chosen acts, from Shabazz Palaces, Konono Nº1 and Amiina to Colleen, Sam Amidon and The Notwist. Tickets are onsale now.

This month’s mix also includes new releases from: Xylouris White; SAICOBAB; Spirit Fest; Lindstrøm; Sufjan Stevens; Gunn – Truscinski Duo and Les Filles de Illighadad.

Fractured Air x Blogothèque – S02E10 | October mix

 

To listen on La Blogothèque:

http://www.blogotheque.net/2017/10/31/fractured-air-x-blogotheque-s02e10-october-mix/

 

01. Peter Davison“Shadow” (Higher Octave Music)
02. John Maus“The Combine” (Ribbon Music)
03. Shabazz Palaces“Moon Whip Quäz” (feat. Darrius) (Sub Pop)
04. John Carpenter“Assault on Precinct 13” (Death Waltz Recording Company)
05. Severed Heads“George the Animal” (Dark Entries)
06. The Velvet Underground“I Can’t Stand It” (Verve)
07. The Cat’s Miaow“Not Like I Was Doing Anything” (Library)
08. Cymbeline“Look at the Stars” (Guerssen)
09. Gunn – Truscinski Duo“Flood and Fire” (Three Lobed Recordings)
10. Les Filles de Illighadad“Abadrarass” (Sahel Sounds)
11. SAICOBAB“One” (Thrill Jockey)
12. Xylouris White“Only Love” (Bella Union)
13. Guelewar“Ya Mom Samaray” (Kindred Spirits)
14. Wallias Band“Muziqawi Silt” (Manteca)
15. Don Cherry“Brown Rice” (EMI)
16. Spiritualized“Feel So Sad (Glides And Chimes)” (Spaceman, Arista)
17. Colleen“The stars vs creatures” (Thrill Jockey)
18. Spectrum“All Night Long” (Silvertone)
19. Slowdive“No Longer Making Time” (Dead Oceans)
20. Spirit Fest“River River” (Alien Transistor)
21. NSRD“Schwenn” (STROOM)
22. Lali Puna“Wear My Heart” (Morr Music)
23. Four Tet “Daughter” (Text)
24. Sufjan Stevens“Wallowa Lake Monster” (Asthmatic Kitty)
25. William Eggleston“On the Street Where You Live” (Secretly Canadian)
26. Lindstrøm“Bungl (Like a Ghost)” [feat. Jenny Hval] (Smalltown Supersound)
27. Daphni“Carry on” (Jiaolong)
28. Blanck Mass“The Rat” (Sacred Bones)
29. Colin Stetson“All this I do for glory” (52Hz)
30. Dirty Three“Moon On The Land” (Bella Union)
31. Cat Power“Metal Heart” (Matador)
32. Marisa Anderson“Amazing Grace” (Mississippi)
33. Jackson C. Frank“Milk and Honey” (Sanctuary)
34. Nick Cave & Warren Ellis“Three Seasons in Wyoming” (Wind River OST) (Invada, Lakeshore)

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

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

Fractured Air x Blogothèque – S02E09 | September mix

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fracturedair_sep17

Australian-born composer and songwriter Carla dal Forno’s eagerly-anticipated new material comes in the form of “The Garden”, a 12” for UK’s Blackest Ever Black, due for release on October 6th and folow-up to her sublime debut full-length “You Know What It’s Like”. Dal Forno is also a member of the trio F ingers (alongside Samuel Karmel and Tarquin Manek) who release their second LP, “Awkwardly Blissing Out”, this month. Recorded in Melbourne and Berlin between 2015–17, the album is the follow-up to the trio’s 2015 debut album “Hide Before Dinner”. Dal Forno’s own mixes (originally made for Berlin Community Radio while residing in the German capital; she now compiles monthly hour-long shows for NTS Radio) are always an indispensable source for music (Circuit 7’s “Eastern Dreams” from our September mixtape is one such example).

The forever-inspiring Chicago-based artist Circuit des Yeux (Haley Fohr) releases her magnificent fifth studio album “Reaching For Indigo” on U.S. independent Drag City on 20th October. Unveiled so far is the mesmerising new single “Black Fly” which confirms Fohr as one of independent music’s most singular voices and fascinating contemporary music-makers.

Anthology Recordings – Mexican Summer’s reissue imprint – release the majestic compilation “Feel The Music Vol. 1” next month. Compiled by Paul Major – pioneering record dealer and frontman of the band Endless Boogie – this truly special record effortlessly spans sounds and styles (folk, psychedelia, blues, rock n roll) while unearthing a plethora of truly unique (and largely unknown to wider audiences) songwriters from a golden age of music.

September’s mix also features new releases from possibly the year’s most anticipated pair of albums which come courtesy of both Four Tet (“New Energy”, Text) and Godspeed You! Black Emperor (Constellation). Electronic maestro Four Tet and his monumental “New Energy” album (available via his Text imprint from 29th September); Montréal’s mythical Godspeed You! Black Emperor unleash their sublime seventh album “Luciferian Towers” via Constellation which confirm the band (as if confirmation was ever necessary) as one of the world’s most ceaselessly innovative and breathtaking bands.

Fractured Air x Blogothèque – S02E09 | September mix

 

To listen on La Blogothèque:

http://www.blogotheque.net/2017/09/29/fractured-air-x-blogotheque-s02e09-september-mix/

 

01. Godspeed You! Black Emperor“Fam/Famine” (Constellation)
02. Dungen“Achmed Flyger” (Version 1) (Versions by Prins Thomas) (Smalltown Supersound)
03. James Holden & The Animal Spirits“Each Moment Like The First” (Border Community)
04. Circuit des Yeux“Black Fly” (Drag City)
05. Forest Swords“Raw Language” (Ninja Tune)
06. Yasuaki Shimizu“Seiko 1” (Crammed Discs)
07. Ariel Pink“Feels Like Heaven” (Mexican Summer)
08. The Smiths“The Hand That Rocks The Cradle” (Rough Trade)
09. Arthur Russell“Get Around To It” (Rough Trade, Audika)
10. Nausea“No Conversation” (Ecstatic)
11. Circuit 7“Eastern Dreams” (Minimal Wave)
12. Carla dal Forno“The Garden” (Blackest Ever Black)
13. Kaitlyn Aurelia Smith“To Feel Your Best” (Western Vinyl)
14. Richard Horowitz“Eros Never Stops Dreaming” (RVNG Intl)
15. F Ingers“Your Confused” (Blackest Ever Black)
16. Geinoh Yamashirogumi“Kaneda” (Akira OST, Milan)
17. Sanza“Sounout” (Original Mix) (Music For Dreams)
18. Burial“Rodent” (Hyperdub)
19. Four Tet“Scientists” (Text)
20. Actress & London Contemporary Orchestra“Audio Track 5” (Ninja Tune)
21. Carmen Villain“Red Desert” (Smalltown Supersound)
22. Blue Iverson“Who Shot Lucious Lyon?” (Self-Released)
23. Darius“I Feel The Need To Carry On” (Anthology Recordings)
24. Bill Mackay & Ryley Walker“Dragonfly” (Drag City)
25. Ry Cooder“I Knew These People” (excerpt) (Paris Texas OST, Warner Bros.)
26. Sun Kil Moon“Si, Paloma” (Caldo Verde)

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

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

Fractured Air x Blogothèque – S02E08 | August mix

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August’s mixtape features a pair of tracks from This Is How We Fly’s eagerly-anticipated second album “Foreign Fields”, due for release on 15th September 2017. The four-piece comprise the renowned musicians: Petter Berndalen (drums), Nic Gareiss (percussive dance), Seán Mac Erlaine (clarinets, electronics) and Caoimhín Ó Raghallaigh (hardanger d’amore fiddles). Hailing from Ireland, Sweden and USA, the quartet draw upon a rich tapestry of sounds and traditions, drawing upon the raw energy and rich dynamism of jazz and its true spirit of improvisation, together with traditional music’s eternal affinity and appreciation for honing and perfecting one’s craft. “Foreign Fields” is a joy to behold, its soul-stirring music navigates new sonic terrain while continually pushing its four composers to reach for new heights, forever onwards and upwards for this most inventive and mythical of bands.

UK producer James Holden’s “The Inheritors” (Border Community, 2013) was one of this century’s finest records, an album for modern times created by one of the most consistently innovative and singular artists making music today. With the announcement that it’s long-awaited follow-up, “The Animal Spirits” (due for release on 3rd November once again via Holden’s own Border Community label), it is bound to rise to the surface on many an end-of-year lists come December. The album (described as “synth-led folk-trance standards”) features Holden’s newly assembled group of “fellow travellers”, James Holden & The Animal Spirits. The personnel comprises long-time collaborators Tom Page and Etienne Jaumet, as well as Marcus Hamblett, Liza Bec and Lascelle Gordon. The album’s lead single, “Pass Through The Fire” has so far been unveiled, the track having been inspired by his 2014 trip to Morocco to work with late Gnawa music legend Maalem Mahmoud Guinia. James Holden was also recently added to the special guest curatorial program at this November’s Le Guess Who? Festival at Utrecht, where he has invited such stellar musicians as Serbia’s Mario Batkovic and Canada’s Jerusalem In My Heart to his lineup.

August’s mix also features new releases from: Julie Byrne’s “Not Even Happiness” (Basin Rock); Four Tet’s latest essential single for his Text imprint, “Planet”; Grouper’s new track “Children” (taken from her “Ruins” album sessions); Rafael Anton Irisarri’s mesmerising “The Shameless Years” (Umor Rex) and Hype Williams“Rainbow Edition” (Big Dada Recordings).

Fractured Air x Blogothèque – S02E08 | August mix

 

To listen on La Blogothèque:

http://www.blogotheque.net/2017/09/01/fractured-air-x-blogotheque-s02e08-august-mix

 

01. Psychic TV“Just Drifting” (WEA, Some Bizzare)
02. Moor Mother“Valley of Dry Bones” (Don Giovanni)
03. Mica Levi & Oliver Coates“I’ll Keep Going” (Slip)
04. Hype Williams“#Blackcardsmatter” (Big Dada Recordings)
05. Lee Gamble“Istian” (Hyperdub)
06. Rhythm & Sound with Cornel Campbell“King In My Empire” (Soul Jazz)
07. Ken Parker“My Whole World Is Falling Down” (Heartbeat)
08. This Is How We Fly“Tí Mór” (Self-Released)
09. Laurel Halo“Who Won?” (Hyperdub)
10. James Holden & The Animal Spirits“Pass Through The Fire” (Border Community)
11. Kaitlyn Aurelia Smith“To Follow And Lead” (Western Vinyl)
12. SAICOBAB“Bx Ax Bx” (Thrill Jockey)
13. Snapped Ankles“Hanging With The Moon” (The Leaf Label)
14. Ex Eye“Xenolith; the Anvil” (Relapse)
15. Suicide“Cheree” (Red Star)
16. Four Tet“Planet” (Text)
17. Washed Out“Down and Out” (Stones Throw)
18. Mariah“Shinzo No Tobira” (Palto Flats, Columbia)
19. LCD Soundsystem“tonite” (DFA, Columbia)
20. Severed Heads“Dead Eyes Opened” (Dark Entries)
21. Jefre Cantu-Ledesma“Echoing Green” (Mexican Summer)
22. Rafael Anton Irisarri“Sky Burial” (Umor Rex)
23. This Will Destroy You“The Puritan” (Julianna Barwick Remix) (Suicide Squeeze)
24. Grouper “Children” (Bandcamp)
25. Benoît Pioulard“Rook” (Beacon Sound)
26. Julie Byrne“Natural Blue” (Basin Rock, Ba Da Bing!)
27. This Is How We Fly“Fjellvant” (Self-Released)
28. Do Make Say Think“Shlomo’s Son” (Constellation)

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

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

Fractured Air x Blogothèque – S02E07 | July mix

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fracturedair_july17

July saw the highly-anticipated return of world-renowned French composer Colleen (aka Cécile Schott) with her achingly beautiful new single “Separating”, taken from the forthcoming “A flame my love, a frequency” out October 20th via Thrill Jockey. On her new album, Schott’s viola da gamba – used on her last two records “Captain of None” and “The Weighing Of The Heart” – is replaced by solely electronic instrumentation: Moog pedals and Critter and Guitari synthesizers. The result is yet another otherworldly, far-reaching sonic odyssey from this visionary solo artist.

Following on from last year’s exceptional debut mini-album “Shady & Light”, Hamburg-born and Berlin-based multi-instrumentalist and producer Martyn Heyne has unveiled his stunning new single “Carry”, taken from the forthcoming solo debut album (coming out later this year on the neo-classical imprint 7K!). The divine guitar-based compositions crafted by Heyne carves out a ceaselessly rich listening experience for the here-and-now.

Elsewhere on July’s mix we have new releases from Montreal composer Kara-Lis Coverdale (Boomkat Editions), Four Tet’s new single “Two Thousand And Seventeen” (Text), Daphni’s new fabric live set, Los Angeles composer Kaitlyn Aurelia Smith’s lead single “An Intention” (taken from the forthcoming Western Vinyl release “The Kid”), Jane Weaver’s krautrock-flavoured latest opus (Fire Records), Snake Eyes (the current house band in the new Twin Peaks) and UK psychedelia courtesy of Ulrika Spacek.

Fractured Air x Blogothèque – S02E07 | July mix

 

To listen on Mixcloud:

https://www.mixcloud.com/Fractured_Air/fractured-air-x-blogothèque-s02e07-july-mix/

 

01. Gil Scott-Heron“The Revolution Will Not Be Televised” (BGP)
02. Shabazz Palaces“Welcome to Quazarz” (Sub Pop)
03. Danger Doom“Mad Nice” (feat. Black Thought & Vinny Price) (Lex)
04. Robert Wyatt“Shipbuilding” (Rough Trade)
05. Dean Blunt & Inga Copeland “2” (Hyperdub)
06. Patricia“I Know The Face, But Not The Name” (Spectral Sound)
07. Barbara Morgenstern + Werkstatt“Grow” (Monika Enterprise)
08. Four Tet“Two Thousand and Seventeen” (Text)
09. Daphni “Poly” (Fabric)
10. Om Alec Khaoli“Enjoy It” (Awesome Tapes From Africa)
11. Marijata – “I Walk Alone” (excerpt) (Mr Bongo)
12. Visible Cloaks“Terrazzo” (feat. Motion Graphics) (RVNG Intl)
13. Kaitlyn Aurelia Smith“An Intention” (Western Vinyl)
14. Avey Tare“Season High” (Domino)
15. Deru“1979” (Friends Of Friends)
16. Brumes“Backward Hands” (Dauw)
17. Ulrika Spacek“Mimi Pretend” (Tough Love)
18. Jane Weaver“Did You See Butterflies?” (Fire)
19. Trouble“Snake Eyes” (Sacred Bones)
20. Donnie & Joe Emerson“Baby” (LateNightTales)
21. Balmorhea“Clear Language” (Western Vinyl)
22. Mary Ocher“To the Light” (Piano Version) (Klangbad)
23. Marcus Fjellström “Aunchron” (Miasmah)
24. The Durutti Column“Sketch For Dawn (I)” (Factory)
25. Martyn Heyne“Carry” (7K!)
26. Kara-Lis Coverdale“Grafts” (excerpt) (Boomkat Editions)
27. Colleen“Separating” (Thrill Jockey)

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

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

Fractured Air x Blogothèque – S02E04 | April mix

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

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

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

Fractured Air x Blogothèque – S02E04 | April mix

 

To listen on La Blogothèque:

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

 

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

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

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

Fractured Air x Blogothèque – S02E01 | January mix

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fracturedair_jan17

Welcome to the first mixtape for 2017.

January’s edition opens with the welcome return of Oklahoma’s finest The Flaming Lips with their latest studio album “Oczy Mlody”, released this month on Bella Union. Fellow indie greats Dirty Projectors also return, with Dave Longstreth’s soul-stirring lament “Little Bubble” – the follow-up to last September’s “Keep Your Name” – which makes the Dirty Projectors’ forthcoming full-length one of the most eagerly anticipated albums for 2017.

“Elwan” (translates to “The Elephants”), the new album by Malis’s beloved Tinariwen is sure to be found on many end-of-year lists come this December. The music again draws from Tinariwen’s homeland, a Saharan mountain range between north-eastern Mali and southern Algeria, which has been transformed into a conflict zone. “Elwan” was recorded at Rancho de la Luna studios in the desert of California’s Joshua Tree National Park during 2014, and again in 2016, in M’Hamid El Ghizlane, an oasis in southern Morocco, near the Algerian frontier.

Other intriguing new releases come from the Montreal-based group Avec le Soleil Sortant De Sa Bouche who release their exceptional second album “Pas Pire Pop, I Love You So Much” via Constellation, the follow-up to the band’s 2014 debut “Zubberdust!”. Having formed in 2011 in Montreal, Avec le Soleil Sortant De Sa Bouche features singer/songwriter Jean-Sebastien Truchy (of Fly Pan Am) as well as members of numerous other groups including: Panopticon Eyelids, Pas Chic Chic, Red Mass, Set Fire to Flames.

Of course, new releases only always paints one tiny portion of the wider picture, with so many exceptional re-issues always being repressed and made anew. This month sees Light In The Attic begin an exhaustive re-issue campaign for the music of Brazilian icon Erasmo Carlos, the first three albums showing an unparalleled appetite for fusing countless styles of music into his own unique, singular sound, heralding Carlos’ place as one of the most gifted songwriters from the seventies.

“Tumblers from the Vault (1970–1972)” by Syrinx (re-issues last year on RVNG Intl) was our favourite re-issue from 2016. Syrinx consisted of composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. Syrinx’s self-titled debut arrived in 1970, followed in 1971 by ‘Long Lost Relatives’, which is highlighted as the first album on Tumblers From The Vault.

Fractured Air x Blogothèque – S02E01 | January mix

 

 

01. The Flaming Lips“There Should Be Unicorns” (Bella Union)
02. Syrinx“Syren” (RVNG Intl)
03. Erasmo Carlos“26 Anos de Vida Normal” (Light In The Attic)
04. Mr. Tophat & Robyn“Disco Devato” (excerpt) (Smalltown Supersound)
05. Tinariwen“Sastanàqqàm” (Anti-)
06. Avec le Soleil Sortant De Sa Bouche“Alizé et Margaret D. Midi moins le quart. Sur la plage, un palmier ensanglanté II” (Constellation)
07. Awa Poulo – “Dimo Yaou Tata” (Awesome Tapes From Africa)
08. Roberto Musci“Water Music” (Music From Memory)
09. MJ Guider“White Alsatian” (Kranky)
10. Gareth Dickson“Atmosphere” (Discolexique)
11. Steve Hauschildt“Same River Twice” (Kranky)
12. Run The Jewels“Thursday in the Danger Room” (feat. Kamasi Washington) (Self-Released)
13. Plankton vs. Defcon“Jealousy” (Karaoke Kalk)
14. Lee Hazlewood“For One Moment” (Light In The Attic)
15. Duane Eddy“This Town” (Ace)
16. Molly Burch“Try” (Captured Tracks)
17. Patience“Wait For You” (Night School)
18. Bézier“Widows Tears” (Cin Cin)
19. Copeland & Gast“Sisters of Control” (All Bone)
20. Tangents“Jindabyne” (Four Tet Remix) (Temporary Residence)
21. Ólafur Arnalds“Árbakkinn” (ft. Einar Georg) (Mercury Classics)
22. Dirty Projectors“Little Bubble” (Edit) (Domino)
23. Odd Nosdam“Daliman OG” (Glue Moon)
24. April Stevens“End Of Desire” (Cherry Red)
25. Mica Levi“Children” (Jackie OST, Milan)
26. Daniel Lanois & Rocco DeLuca“Low Sudden” (Anti-)
27. Allred & Broderick“The Ways” (Erased Tapes)

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

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

 

Step Right Up: Oliver Coates

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Interview with Oliver Coates.

“I still think of myself of an interpreter, always channelling something from outside of me.”

—Oliver Coates

Words: Mark Carry

Oliver Coates by Gaelle Beri 2015-5

My first introduction to Oliver Coates’s music came in the form of a rather splendid mixtape compiled by British composer and organist James Mc Vinnie. The appropriately titled mix, Music for Travel consisted of Coates’s utterly beguiling cello-based composition ‘The Room is the Resonator’ as the fitting opening track. A gorgeous ebb and flow of mournful cello strings coalesces effortlessly with gentle ambient pulses and field recordings, evoking the sound world of Brooklyn-based cellist Julia Kent and Canadian violinist Sarah Neufeld. A returning motif of fragile cello pizzicato forms the pulsing heart of this incredible composition that not only signifies music for travel but music for motion of the beating heart and stirring soul.

The London-based cellist, composer and producer has released records on PRAH Recordings – an offshoot of the legendary Moshi Moshi label – and SLIP and in addition, his collaborative work with the London Contemporary Orchestra, Jonny Greenwood (‘The Master’ score) and Mica Levi (score for ‘Under The Skin’). The gifted composer’s first full-length ‘Towards the blessed islands’ was Prah’s first release and earlier this month saw the eagerly-awaited new solo full-length, ‘Upstepping’. A scintillating record of disparate influences where vital sounds of electronic and techno collide with neo-classical elements, which somehow feels closely adjacent to the works of Aphex Twin, Four Tet and Boards of Canada as it does to the modern-classical realm of today.

Coates has described ‘Upstepping’ as “pumped-up body music”. The record’s meticulously crafted and sumptuously layered tracks forms a lovely parallel with Four Tet’s ‘There Is Love In You’ LP, the early Warp output and Canadian artists of Dan Snaith’s Caribou and Owen Pallett’s otherworldly odysseys. The album opener ‘Innocent Love’ feels a lost companion piece to Kieran Hebden’s ‘There Is Love In You’ opus with a hypnotic female vocal line delicately placed in the forefront of the mix alongside a deep bass groove and utterly transcendent cello sections. ‘Innocent Love’ epitomises the inventive spirit and deeply engaging voyage that ‘Upstepping’ takes you on, transitioning between many musical forms in the process.

A myriad of warm textures and flourishes are masterfully embedded in the following cut of ‘Timelapse’, which maps the cherished memories of childhood as the radiant warmth of nostalgia permeates each and every aching pore of this joyously uplifting electronica exploration. ‘Bambi 2046’ contains looped samples and meditative strings that evokes the neo-classical splendour of Jóhann Jóhannsson’s ‘IBM 1401, A User’s Manual’ culminating in a glorious crescendo of distorted strings. Deeper house grooves are employed in ‘Perfect Love’ with scintillating techno beats reminiscent of master producers DJ Koze, Mathew Herbert et al. The masterful transition to the brooding cinematic soundscapes of ‘Memorial to Hitchens’ reflects the soaring emotional depth and rich intensity of ‘Upstepping’. The gradual strings and enveloping emotion of ‘Memorial to Hitchens’ shares the immaculate beauty of A Winged Victory For The Sullen’s modern-classical masterworks.

‘Upstepping’ is out now on PRAH Recordings.

http://www.olivercoates.com/

https://www.facebook.com/olivercoatesmusician/

Oliver Coates by Gaelle Beri 2015-1

Interview with Oliver Coates.

Congratulations on the truly stunning new record, ‘Upstepping’. One of the great hallmarks of this new full-length is the marvellous marriage of the dance sphere and modern-classical realm; a voyage brimming with ideas, sonic nuances, textures and intricate detail. Please take me back to the recording sessions of ‘Upstepping’ and the main objectives and desires you wished for this solo effort? I wonder were any challenges posed during the making of these compositions?

Oliver Coates: It was an out-of-my-head combination of recording sessions, writing sessions and mixing sessions mixed up into one type of behaviour. There was a laptop, mic and cello, sometimes working all night sometimes grabbing 5 minutes to write a new pattern. There was never a plan – only a desire to make the music come to life. I had more, ambient, noise and dance tracks and then Stephen from PRAH helped me pick for this. Lawrence’s artwork completed it. Desiring the track to exist, for it to be satisfying, a kind of internal ecology with the materials, I don’t think about where it’s going to go or who it’s for. Except maybe for my wife and Stephen. The most intense periods alone, making and listening, were in Hong Kong late 2014, Egypt – a couple of days in 2015, and Waterloo summer 2015. I listened to a whole USB stick of Egyptian pop in the desert in a taxi one day and I learnt a lot from that.

Two sister tracks that feel the vital pulse to ‘Upstepping’ are the sublime techno-infused explorations of ‘Innocent Love’ and ‘Perfect Love’. If there ever was an opener to a record it would be ‘Innocent Love; conjuring up the sound of Four Tet at his finest. Can you talk me through the various layers of these particular tracks, Oliver? In terms of the cello instrumentation, how much of these tracks contain cello and what ways do you treat and process the cello sound? A beautifully euphoric sound radiates throughout and reflects the dynamic and shape-shifting sound of ‘Upstepping’.

OC: Four Tet’s arrangement and editing of sampled sound has an intuitive sense and flow which impacts the way I play the instrument. The practice of taking old sounds, chopping them up, and reconfiguring them digitally until it sounds natural and spontaneous has had an impact on my bowing technique on the old wooden analogue instrument. Maybe this is ironic but to me it feels obvious – the manner in which you approach any instrument which makes its acoustic sound, body language, repetition, improvisation, reduction, ornamentation (or special effect), continues to evolve even if you don’t update the technology – I play on a normal old cello with four steel strings. The microscopic and infinite ways you can vary the attack; you can repeat as if you yourself have been sampled – these electronic processes from the last 40 years affect my work – they set the bar higher. Right now I think a lot about arpeggiators as used by Boards of Canada and also Shackleton’s percussion patterns.

I’m not really sure how I made Innocent Love. I remember walking around Hong Kong Island through the night listening to different mixes.

‘Timelapse’ transitions effortlessly between warm, inventive electronica and luminous ambient flourishes. It feels there are several distinct sections contained within this one piece. For example, I love the middle section’s rhythmic groove and the final – what feels to be – soothing synth passages. In terms of constructing ‘Timelapse’, does a gradual process lie at the heart of layering/fusing the many elements together?

OC: The structure for that track revealed itself quite quickly. Staying in one hotel for a couple of nights when we found the home we had just completed on – our first flat – had been completely flooded out. There’s a repeating sample of a child talking that got in there. Instantly that takes me back to early ’90s Aphex and how to straddle that feeling of innocent bright melody and something a bit sinister creeping along.

Upon many revisits of ‘Upstepping’, the spirit of Arthur Russell most certainly feels present, floating through the ether. Again, it’s the many transitioning styles, contrasts, and moods that morph together throughout the record. Can you discuss for me your approach to the cello instrument and the different techniques or processes you have developed when it comes to performing on this instrument?

OC: The cello is often recorded then transposed to another pitch digitally. There are a lot of notes in this record tuned away from the 12 semitones, microtonally shunted around. It keeps the harmonies alive, pitches have more magnetism or so the intervals between them, being reconfigured from the 12 notes of the piano. Cello unadorned plus beats direct and simple hasn’t yet gelled for me. I don’t know if it will. I add a tonne of processing until it feels right. But the best technique of all is the oldest – slowing down or speeding up recordings. Jonny Greenwood does that too when he records strings. Listen to The Master- things are not quite what they seem. For me it sounds good to record a long pure tone like a harmonic then pull it down to the bass register. You bring these spectral colours down too, into the mid-range. You’re more aware of a spectrum soaked in adjacent tones.

The aesthetic and feel to the new record is another important aspect to the sense of journey the music takes you on. For instance, the placing of the more neo-classical-based pieces, ‘Memorial to Hitchens’ and ‘The Irish Book Of Death & Flying Ships’ (and also, the fragile closing lament of ‘Rise and Fall’ embody the emotive and deeply affecting nature of the music. Can you shed some light on the narrative to these particular pieces? The spoken word segments on the latter works so beautifully, evoking the works of Gavin Bryars and Steve Reich along the way.

OC: If there’s a narrative then it’s personal – a lot has changed recently. I still think of myself of an interpreter, always channelling something from outside of me. And not knowing what kind of musician I am. That way I’m going to keep listening and not just churning music out – listening to nature most of all, but also the rhythms of other people as they go about their lives. The poet Alice Oswald speaks well about this. So much is indirect – I made Rise & Fall in a cupboard in 20 minutes while I was waiting for some dancers to warm up. My brother-in-law heard it playing out of my laptop speakers a few months later and took interest in it so I asked if we could add it on the end of the record.

Please discuss your love for dance music and the more techno-infused sound worlds you obviously have such a strong affinity for? Who would have been the most ground-breaking producers and dance records for you when it came to forming the direction of ‘Upstepping’?

OC: I never consciously formed a direction but I’ve always loved fast dance music. I used to have Moving Shadow & Metalheadz compilations on cassette but I think the Come to Daddy EP was a big moment for my head. I was mostly playing Shostakovich cello music at the time so it was weird to try to make sense of the two. Burial, we had some at our wedding, Enya too.

The album’s penultimate track ‘Stash’ for me is the record’s defining moment. The otherworldly dimension and sense of movement captured is revelatory. I wonder would it be a case of finding one or two motifs – whether it’s a cello-based melodic pattern or some interesting sample – where you then piece these elements together and in turn, embed these into a rhythmic structure? It feels there must be some difficulty in piecing together these various sections whilst retaining the liquid state of the music?

OC: Everything was arranged sound by sound on a timeline. This was the last track I made. The most live cello playing is in the sliding sounds near the beginning, between snatches of conversation and found sound. Then the big melody in the middle bit is a cello harmonic played through an arpeggiator in different patterns. I now have a new version for live performance of this track with new live harmonised cello layers and dubby delays – it’s starting to sound more tropical, maybe this is my seapunk record. I have some great new pressure-sensitive devices which are helping me perform these sounds live.

I must ask you about your collaborative work, if you don’t mind Oliver. I’m a huge fan of your collaborative work with Jonny Greenwood and Mica Levi. These scores represent some of the most deeply affecting, adventurous, compelling and timeless soundtracks of recent times. Can you recount your memories of working with Mica and Jonny on some of these scores, for which you must have some particularly strong memories for (‘Under The Skin’, ‘The Master’ to name two)?

OC: It’s mostly nonverbal. There’s a curious magic to it – a kind of quick-read knowingness and a sort of quiet understanding. Pieces of paper with different musical cues. Sometimes these feel finished and polished on the page or sometimes they are a starting point. A studio with lots of mics and some great freelance players getting together. You figure out as quick as you can what to do, where you can help most in each track. A good thing about both Mica and Jonny is they don’t talk much, they listen hard and they trust. They let go and want to do what you can with the notation (obey it precisely with lots of dynamics I find is the best) until it starts to fit with the mood of the scene. With the Under the Skin I enjoyed going in and multi-tracking Mica’s viola playing with my harmonics. Jonny and Mica both play viola very well (amongst many other instruments). Funny that.

‘Upstepping’ is out now on PRAH Recordings.

http://www.olivercoates.com/

https://www.facebook.com/olivercoatesmusician/

 

 

 

 

Written by admin

May 30, 2016 at 6:54 pm