FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Greg Haines

Mixtape: This Uneven Thing [A Fractured Air Mix]

leave a comment »

thisuneventhing_sleeve

This Uneven Thing [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/this-uneven-thing-a-fractured-air-mix/

 

Tracklisting:

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.

Mixcloud / Facebook / Twitter

 

 

Chosen One: Greg Gives Peter Space

leave a comment »

Interview with Peter Broderick.

“I like to embrace the ever-evolving life of a song, and dub music is a very good outlet for that…”

—Peter Broderick

Words: Mark Carry

Artwork: Peter Broderick

ggps_back

Greg Gives Peter Space is the long-awaited first collaborative work with Peter Broderick and Greg Haines, which was released last June (via download and vinyl release) on the ever-illuminating independent label, Erased Tapes. Inspired by the pair’s obsession with dub music, the gifted multi-instrumentalists create sublime soundscapes, derived from rhythmically driven tracks, evoking the spirit of Lee ‘Scratch’ Perry, King Tubby and Augustus Pablo. On the utterly transcendent track, ‘The Drive’, Broderick asks “Are you ready for this?” — Greg Gives Peter Space unfolds layers of stunningly beautiful violin passages, ethereal sounds from tape-worn synthesizers, celestial harmonies and a hypnotic bassline. Welcome to the ever-expanding and shape shifting sounds of this incredibly exciting new collaboration.

‘Greg Gives Peter Space’ is a six-track mini album which reflects the latest artistic endeavors of Haines and Broderick, who have both been heavily immersed in a seamless array of collaborations in the not-too-distant past. American-born musician and composer, Broderick has long been synonymous with Copenhagen’s Efterklang, in addition to magnificent collaborative works with close friends Nils Frahm and Dustin O’Halloran, to name but a few. British born and Berlin based composer, Haines’s collaborative work includes his ongoing work with the Alvaret Ensemble (whose carefully constructed compositions feature intricate layers of brass, electronics, piano, voice, guitar and percussion) and 2012’s collaboration with the Dutch National Ballet and choreographer David Dawson.

Interestingly, it is the respective artist’s latest solo works which gives traces to the dub-influenced sounds of Greg Gives Peter Space. ‘These Walls Of Mine’ (Erased Tapes, 2012) saw Broderick effortlessly fuse a myriad of genres — soul, hip hop, folk, modern-classical — and the album’s longest cut ‘Copenhagen Ducks’ feels like a distant companion to ‘The Drive’s similarly evolving dub-infused sound. A space and dimension is wonderfully attained. Last year’s Denovali Records LP ‘Where We Were’ (Haines’s most groundbreaking and daring work to date) reveals the British composer’s fascination with dub music (and, indeed, musical experiments) where seamless layers of synthesizers created a resolutely unique body of work. Greg Gives Peter Space feels like the natural next step, where two like-minded artists forge thrillingly new, enchanting sounds.

————

‘Greg Gives Peter Space’ is available now on Erased Tapes.

——

https://www.facebook.com/greggivespeterspace
http://erasedtapes.com

————

ggps_front

Interview with Peter Broderick.

Congratulations on the incredible Greg Gives Peter Space record, which marks a special collaborative project between you and your close friend, Greg Haines. The music stems from your shared fascination and love for dub music. I must first ask you to discuss your love of Jamaican music and what records provided you the gateway into this exciting world of sound? What have been the most recent dub discoveries for you, Peter?

Peter Broderick: I will admit that the dub influence probably comes more from Greg’s side than from me . . . Greg has been collecting dub records pretty seriously over the last few years, and there have been many nights of us sitting together at his place, him playing me record after record of obscure dub. I’ve picked up several records myself and really grown to love the dub, but I’m an amateur compared to Greg. I do really love pretty much everything I’ve heard from the Wackie’s label . . . recently I picked up a record by Joe Gibbs called Majestic Dub . . . it’s pretty amazing! I’ve also been getting into a local record label here in Portland called ZamZam . . . they only release limited 7″ vinyls of dub music. Very cool!

————

One of the most striking aspects of Greg Gives Peter Space is the intuitive nature of the music, something that has proved a constant in both your and Greg’s solo work to date. Can you please recount your memories of recording the album? In terms of the musical layers, did your vocals and arrangements appear first or was it a case of Greg’s synthesizers and tape machines providing the starting point?

PB: The process for each song was quite different . . . some of them started as songs that I wrote, and then Greg sort of de-constructed them and expanded upon them. Others started as improvisations and sound experiments… For instance, The Feeling Shaker basically started when Greg showed up at my apartment in Berlin a few years ago, saying he had recorded some synthesizers, and suggested that we try and make a song based around those recordings. I had this vocal melody in my head that I had been singing to myself while walking or showering, etc… So I sang my words over the top of his synths. Then we added another track where Greg played piano and I played bass. Then we played some percussion together. Everything was done in one or two takes. This song bounced around in many incarnations for several years, before we finally sat down together and made a final mix in early 2014. The mixing process was a huge part of the sound for this record. This is where the dub inspiration really came into play . . . sending the mixes to Greg’s old tape machines, adding live effects as the final mix was being recorded.

————

I feel ‘Electric Eel River’ is one of the most special songs you have written thus far. The intimacy, openness and sheer beauty of the ballad provides endless inspiration. Can you please recount for me writing this song? It serves the formidable centrepiece to the record.

PB: I’m so happy there has been a good response to that song. I remember very clearly how that song came about. I was in a hotel by myself in Oslo last winter, and I had my banjo with me. I was thinking about this night I had in the redwood forest last year, getting lost in the woods by myself, having the time of my life, realizing I wanted to move back to America. And I wanted to make a song about that evening. Originally the song was just called Eel River . . . but after Greg got ahold of it and “gave it some space”, he appropriately added Electric

————

Rupie Edwards described dub music as “a way of life coming out of a people.” I think this could be the essence of the interstellar journey that Greg Gives Peter Space takes you on. Can you discuss the construction (or indeed de-construction) of ‘The Drive’? This song serves the perfect prologue to the album’s narrative.

PB: The Drive started out as a very basic song, just guitar and voice, just three chords over and over again. Greg actually thought it was kind of a boring and plain song, ha, and basically he wanted to mess it up and make it a little more interesting. In the end the guitar is hardly a part of the song any more . . . but we had a lot of fun playing around with rhythms and percussion, synthesizers, building a small little homemade orchestra for the second chorus . . . and of course, lots of dubby effects!

————

What is fascinating about dub music is the endless versions and re-workings of various songs depending on whose production marks are left on the record. For example, I love how there are two versions of ‘Clear View’ on the record. Is it a challenge to settle on one particular take (when honing in on a certain sound or feel) when I imagine you both effortlessly create many mutations of songs as they gradually evolve to its final entity?

PB: It’s always a little strange to make the decision or acceptance that something is “finished” . . . and in fact, I don’t like to think of recordings as “final” versions of songs . . . a song is basically just an idea, and it changes every time it’s played. Even when listening to a recording, it’s going to be different every time, depending on the stereo system, the setting, what you ate for breakfast, everything! I like to embrace the ever-evolving life of a song, and dub music is a very good outlet for that.

————

After playing several UK shows during the summer, how have the songs translated to the live setting and have they changed in any way from the studio recordings? I can imagine playing these songs live must be a real thrill.

PB: We had a lot of fun at the shows . . . the songs all became much longer. We save a lot of room for improvisation when we play live, using the songs as a starting point to try and create something new each night. And it’s been a real thrill to get people dancing…

————

The album artwork is amazing. It really conveys the ceaseless dimensions the music inhabits. Can you please talk about the artwork that beautifully adorns the sleeves and who is responsible?

PB: We’re so happy with the artwork! It’s actually kind of a funny story . . . Greg and I had this very concrete idea of a picture of Greg in a spaceship with his studio inside, then I would be floating in space connected to Greg’s ship. And we actually had several artists try and create this image before finally ending up with Henning Wagenbreth who did the final version. At one point I even tried to draw the image myself, but since my drawing skills haven’t changed since the 3rd grade, we decided to hire a professional in the end.

————

What is next for you, Peter? 

PB: I am preparing for the release of my next solo record on the Bella Union label. I have a single/ep coming out in October (including a dub version of one of the songs by Greg!), and the album will be out next spring. I’ll be playing a lot of concerts around the release of the ep and album, with the help of three very talented musicians from Switzerland . . . it will be my first time touring with a band! But before all that Greg and I will be playing some shows together on the west coast of America. I’m really looking forward to showing Greg the area where I come from.

All artwork above by Peter Broderick. 

——

Greg Gives Peter Space will tour across the east coast of the U.S. this month:

24.09. LOS ANGELES (US) The Echo
25.09. SAN FRANCISCO (US) The Chapel
27.09. PORTLAND (US) Mississippi Studios
28.09. SEATTLE (US) Decibel Festival

greggivespeterspace_web

‘Greg Gives Peter Space’ is available now on Erased Tapes.

https://www.facebook.com/greggivespeterspace
http://erasedtapes.com

————

We’re delighted to be presenting Peter Broderick’s following concert this October:

Peter Broderick (plus band)
w/ Special Guests Loch Lomond

Half Moon Theatre, Cork on Sunday 19 October 2014.

Tickets are €15, available now from Cork Opera House box office, Emmet Place, Cork and from Plugd Records, Floor 1, Triskel Arts Centre, Tobin St. Cork.

Tickets can be purchased online here:
http://www.corkoperahouse.ie/events/peter-broderick-plus-band

————

Written by markcarry

September 10, 2014 at 11:34 am

Mixtape: Unfolding Of Consequence [A Fractured Air Mix]

leave a comment »

unfoldingofconsequevce_sleeve

Unfolding Of Consequence [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/unfolding-of-consequence-a-fractured-air-mix/

————

01. Greg Haines ‘The Whole’ [Denovali]
02. Conrad Schnitzler ‘Auf Dem Schwarzen Canal’ [Soul Jazz]
03. Craig Leon ‘She Wears A Hemispherical Skullcap’ [RVNG Intl]
04. The Congos ‘Congoman’ [VP]
05. Augustus Pablo ‘Pablo In Dub’ [VP]
06. Molly Nilsson ‘The Lonely’ [Dark Skies Association/Night School]
07. The Gist ‘Love At First Sight’ [Cherry Red]
08. K. Leimer ‘Ceylon’ [RVNG Intl]
09. Spiritualized ‘Feel So Sad’ (7″ Single Version) [Dedicated]
10. Sonic Boom ‘Help Me Please’ [Silvertone]
11. Fuck Buttons ‘Year Of The Dog’ [ATP Recordings]
12. Vermont ‘Rückzug’ [Kompakt]
13. My Bloody Valentine ‘Is This And Yes’ [MBV]
14. The Beach Boys ‘’Til I Die’ [Capitol]
15. The Gloaming ‘The Girl Who Broke My Heart’ [Real World]
16. Kronos Quartet ‘Tusen Tankar’ [Nonesuch]
17. Jackson C. Frank ‘Blues Run the Game’ [Earth/Columbia]

————

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

————

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

Mixcloud / Soundcloud

————

Fractured Air 14: Time To Be Free (A Mixtape by Greg Haines)

with one comment

A special Dub Mix compiled by the UK-born and Berlin-based composer Greg Haines. This June, Greg Gives Peter Space, Haines’s brand new collaborative project with US songwriter and multi-instrumentalist Peter Broderick, release their debut album via Erased Tapes. Haines’s latest solo LP is the magnificent ‘Where We Were’, released last year on Denovali Records. As well as producing a string of impressive solo albums over the past decade, Haines also performs alongside both The Alvaret Ensemble and The Group. 

greghaines_front

Fractured Air 14: Time To Be Free (A Mixtape by Greg Haines)

To listen on Mixcloud:
http://www.mixcloud.com/Fractured_Air/fractured-air-14-time-to-be-free-a-mixtape-by-greg-haines/

“You hear a lot of talk about “dub” music these days, and I myself find the word slipping from my lips on a daily or sometimes hourly basis. “Dub” is cool again, and I have to admit I find it a bit frustrating that the word “dubby” is thrown around in reviews of every album that has echoey vocals or a cowbell! The word “reggae” still seems like it hasn’t caught on, it’s as if its a dirty word. But dub without reggae is the equivalent of John Cage’s 4’33”: just an empty tape of silence. So here is a mix that is based around roots reggae tracks that I have been spinning recently — it sure is dubby, but you can’t forget your roots!”

—Greg Haines

——

Tracklisting:

01. Cedric “Im” Brooks ‘Satta Massa Ganna’ [Water Lily]
02. Jackie Mittoo ‘Ayatollah’ [Nefertiti/Basic Replay]
03. Dadawah ‘Run Come Rally’ [Trojan]
04. Keith Hudson ‘Felt The Strain’ [Joint International]
05. Al Campbell / General Lee & Trinity ‘Jah Love / Jah A Me Right Hand Man’ [High Power Music]
06. Pad Anthony ‘Blackman’s World’ [Hit Bound]
07. Sista Beverley ‘Rasta Woman’ [Iroko]
08. Willie Williams ‘Come Make We Rally’ [Black Roots]
09. Dennis Bovell ‘Jughead’ (Dubplate Mix) [Kingston Connexion]
10. Ernest Wilson ‘I Know Myself’ [Hit Bound/Channel One]
11. The Mystic ‘Forward With Jah Orthodox’ [Black Art]
12. Freddie McKay ‘I Am A Freeman’ [Money Disc]
13. Noel Tempo ‘Time To Be Free’ [Iroko]

————

Track-by-track description by Greg Haines:

01. Cedric “Im” Brooks ‘Satta Massa Ganna’ [Water Lily]
When asked to compile this mix, I immediately thought of this track to start it off. Originally written by The Abyssinians and covered endless times since, it has even turned into something of a hymn for the Rastafarian religion. This version brings a completely different flavour to it — something like a reggae big-band feel, which opens with such power and confidence that in a strange way it reminds me of the classic opening passage of Isaac Hayes’ “Hot Buttered Soul” album.

——

02. Jackie Mittoo ‘Ayatollah’ [Nefertiti/Basic Replay]
A beautifully synth-y track, reissued by Basic Replay, this was another contender for the opening track of this mix. Its got a little bit of an Ethiopian feel to it, along with a lot of hazy sci-fi goodness, which always seems to work well in the context of dub. Amazing female backing vocals hidden in there too!

——

03. Dadawah ‘Run Come Rally’ [Trojan]
This record is one of my favourite recent finds — it has a spaciousness and a sacredness to it that combine to create something really beautiful. Run Come Rally, a Niyabinghi chant from Jamaica, is another song that crops up very often in different versions, but after hearing this version, it will always belong to Dadawah to me. Ras Michael, the man behind the project, has released many records and so far I have loved everything I have heard. Always very loose and vibe-y, but made with intent.

——

04. Keith Hudson ‘Felt The Strain’ [Joint International]
A less common cut to the famous track by the legend that is Keith Hudson. There is always something to his tracks which is unique — to me the only way I can explain it is a hot, swampy sound. Its like the music is dripping in sweat. It’s also got a strong psychedelic quality to it — the room must have always been smokey when Keith Hudson was recording! I could have easily have picked another track from him, especially something from the “Playing it Cool” album which I love, but I just picked this up a few weeks ago and its been on heavy rotation ever since.

——

05. Al Campbell / General Lee & Trinity ‘Jah Love / Jah A Me Right Hand Man’ [High Power Music]
One of my favourite tracks to DJ with. The take over in the middle is insane and brings a huge smile to my face every time I hear it…“Jeeeessuus Christ! We’re Nice!”. The legendary Roots Radics playing the riddim, and Scientist behind the desk – which is always a winning combination. And lets not forget Al Campbell’s powerful vocals. Incredible track.

——

06. Pad Anthony ‘Blackman’s World’ [Hit Bound]
The b-side to Sugar Minott’s “No Vacancy”. Minott’s work, particularly on the Wackies label, often blows me away, but as I recently made a mix of exclusively Wackies tracks, I thought I would try to stay away from it this time. Anyone who says that the lyrics of dub reggae are all nonsense should listen to this track — it’s heartbreaking; political yet personal, and pretty melancholy despite the upbeat riddim.

——

07. Sista Beverley ‘Rasta Woman’ [Iroko]
More women singing reggae please! I love the sound of a woman’s voice over such a tough riddim — if someone out there has some more recommendations for me, please let me know! Reissued through Iroko — a constantly good label from France. Produced by Dennis Bovell — but more about him in a minute!

——

08. Willie Williams ‘Come Make We Rally’ [Black Roots]
Not much to say about this one except that its a beautiful production — slinky! Fantastic horns. Produced by Sugar Minott, who I mentioned above. Mixed by scientist — the master!

——

09. Dennis Bovell ‘Jughead’ (Dubplate Mix) [Kingston Connexion]
The second mention of Dennis Bovell, and this time its in the context of a record under his own name. This is the b-side to a 10”. The A-side is another mix of the same track, but there is something about this dubplate mix which is so biting and driving. I always have a soft spot for re-issue records that have been recorded from the dubplate — they certainly have a different sound, and although usually you loose a bit of the lows and a bit of the highs, the degradation of the audio can sometimes add something incredible. I love that about dub and reggae music — a lot of of the textures of sound you hear come from years experimenting the studio, but some of the things you learn to love about it come from the limitations of the moment or the medium…and these limitations can even be exploited for wonderful effect. Its man vs. machine!

——

10. Ernest Wilson ‘I Know Myself’ [Hit Bound/Channel One]
One of my favourite tracks to come out on Channel One, and one of my favorite vocal tracks out there — can’t help but bring a smile to my face! And the best thing is that the 10” I have includes four versions of the same track. Perfect! The only thing thats better than listening to it once is listening to four different people’s take on it!

——

11. The Mystic ‘Forward With Jah Orthodox’ [Black Art]
One name has been notably vacant from this list so far, and that is Lee “Scratch” Perry. It’s hard to underestimate his influence on all that came after him. This track by The Mystic, produced at Black Ark by Scratch, and is a perfect example of why he is so revered.

——

12. Freddie McKay ‘I Am A Freeman’ [Money Disc]
Just a fantastic song. An alternative take to the original, from the album of the same name — the last he made before he died.

——

13. Noel Tempo ‘Time To Be Free’ [Iroko]
This song just gets to me every time — its unusual, its extremely soulful, and it has a mixing style that shows that Jamaican mixing techniques are more than just delays and reverbs. Its a very “dry” track. What it lacks in FX, it makes up for in emotion, and channels a little bit of the classic Motown singers like Curtis Mayfield or Otis Redding along the way. This is a great track to play to people who think they don’t like reggae music. Its such a diverse world, and with this mix, I tried to show just a little bit of that. I hope it whet your appetite for me — but trust me, it won’t sound quite right unless it’s on vinyl!

————

Greg Gives Peter Space, the new collaborative project featuring Greg Haines and Peter Broderick, will be released on vinyl and download via Erased Tapes on June 16th, 2014.

http://greghaines.co.uk
http://erasedtapes.com

Greg Haines’s latest solo album, ‘Where We Were’, is available now on Denovali.

http://denovali.com

————

To follow Fractured Air you can do so on Facebook HERE, or Twitter HERE.

————

 

Written by admin

May 13, 2014 at 10:43 am

Whatever You Love You Are: Peter Broderick

leave a comment »

Portland Oregon-based composer Peter Broderick will release a special collaborative record with longtime friend — the UK composer and Berlin-based artist, Greg Haines, this summer. The resultant mini-album, entitled ‘Greg Gives Peter Space’, will be issued by Erased Tapes on June 16th. Here, Peter Broderick reveals his newfound passion for Dub music and what has inspired his latest project.

Words: Mark Carry, Illustration: Craig Carry

peter_web

I’ve definitely been inspired by pretty much everything I’ve heard on the Wackie’s label…and more recently I’ve been getting into the work of Joe Gibbs. Not to mention classics like King Tubby, Prince Jammy, Augustus Pablo, and Lee ‘Scratch’ Perry. I also love the sideways approach to dub music by Bill Callahan on his latest record ‘Have Fun With God’. The thing I love about dub is how the studio becomes an instrument in itself, and very tangibly so…it’s all about deconstructing songs and piecing them back together again in a very intuitive and playful way. And something about the sound of old analog tape delays is just so warm and beautiful! And funky!

—Peter Broderick

————


Joe Gibbs & The Professionals ‘Yard Music’

——


Augustus Pablo ‘King Tubby Meets Rockers Uptown’ (Leftside Wobble Edit)

——


Prince Jammy & The Aggravators ‘Prince Jammys Magic’

——


Lee ‘Scratch’ Perry & Max Romeo ‘Chase The Devil Dubplates’

——


Augustus Pablo ‘Power Of The Trinity Dub/West Abyssinia Dub’

——


Jackie Mittoo & The Soul Vendors ‘Love Is Blue’

————

Greg Gives Peter Space is the long-awaited first collaborative work with Peter Broderick and Greg Haines, which will soon see the light of day (via download and vinyl release on June 16th) on the ever-illuminating independent label, Erased Tapes. Inspired by the pair’s obsession with dub music, the gifted multi-instrumentalists create sublime soundscapes, derived from rhythmically driven tracks, evoking the spirit of Lee ‘Scratch’ Perry, King Tubby and Augustus Pablo. On the utterly transcendent track, ‘The Drive’, Broderick asks “Are you ready for this?” — Greg Gives Peter Space unfolds layers of stunningly beautiful violin passages, ethereal sounds from tape-worn synthesizers, celestial harmonies and a hypnotic bassline. Welcome to the ever-expanding and shape shifting sounds of this incredibly exciting new collaboration.

‘Greg Gives Peter Space’ is a six-track mini album which reflects the latest artistic endeavors of Haines and Broderick, who have both been heavily immersed in a seamless array of collaborations in the not-too-distant past. American-born musician and composer, Broderick has long been synonymous with Copenhagen’s Efterklang, in addition to magnificent collaborative works with close friends Nils Frahm and Dustin O’Halloran, to name but a few. British born and Berlin based composer, Haines’s collaborative work includes his ongoing work with the Alvaret Ensemble (whose carefully constructed compositions feature intricate layers of brass, electronics, piano, voice, guitar and percussion) and 2012’s collaboration with the Dutch National Ballet and choreographer David Dawson.

Interestingly, it is the respective artist’s latest solo works which gives traces to the dub-influenced sounds of Greg Gives Peter Space. ‘These Walls Of Mine’ (Erased Tapes, 2012) saw Broderick effortlessly fuse a myriad of genres — soul, hip hop, folk, modern-classical — and the album’s longest cut ‘Copenhagen Ducks’ feels like a distant companion to ‘The Drive’s similarly evolving dub-infused sound. A space and dimension is wonderfully attained. Last year’s Denovali Records LP ‘Where We Were’ (Haines’s most groundbreaking and daring work to date) reveals the British composer’s fascination with dub music (and, indeed, musical experiments) where seamless layers of synthesizers created a resolutely unique body of work. Greg Gives Peter Space feels like the natural next step, where two like-minded artists forge thrillingly new, enchanting sounds.

————

‘Greg Gives Peter Space’ will be released on vinyl and download via Erased Tapes on June 16th, 2014.

Tour Dates:
5th June LONDON – Village Underground · Tickets: bit.ly/1eyLl9B
9th June BERLIN – Berghain Kantine · Tickets: bit.ly/1sYgVRT

——

http://greghaines.co.uk
http://peterbroderick.net
http://erasedtapes.com

————

Written by admin

April 28, 2014 at 11:37 am

Ten Mile Stereo

leave a comment »

10_web


Steve Gunn “Time Off” (Paradise Of Bachelors)
Yet another defining masterpiece courtesy of the peerless North Carolina record label Paradise Of Bachelors. Previously, in April, the label issued Hiss Golden Messenger’s sublime “Haw” LP, while this summer heralds the release of yet another milestone in Steve Gunn’s incredible “Time Off”. New York-based Gunn is also behind the acclaimed Gunn-Truscinski Duo (Three Lobed Recordings) where Gunn – on guitar – is joined by legendary drummer and percussionist John Truscinski (X.0.4, GHQ). Over the years, Gunn has also added his guitar talents to Kurt Vile’s band The Violators. “Time Off” features the trio of Gunn (guitars, vocals), John Truscinski (drums, percussion) and Justin Tripp (bass). Gunn’s guitar playing draws from the songbooks of Fahey, Basho, Bull, Harper and Chapman, while his vocals are reminiscent of early Wilco and Califone’s Tim Rutili. “Time Off” sees Gunn create some of the most vital music of recent times.

————


R.E.M. “Reckoning” (I.R.S.)
As part of our Calexico contributions – where each member has been choosing their most prized album – R.E.M.’s 1984 classic second LP “Reckoning” was chosen by Calexico frontman Joey Burns. Follow-up to “Murmer”, “Reckoning” would embody the live sound of the band – who had toured extensively the year previously – and is characterized by Michael Stipe’s darker subject matter in his lyrics. As Joey Burns himself said, “They captured a mood and energy that was compelling. Peter Buck’s drone guitar style resonated with my style as well as the foggy vocals of Michael Stipe. There was a mystique and depth with the layers of their instrumentation and vocals that I appreciated.”

————


Postiljonen ‘Skyer’ (Best Fit Recordings)
Stockholm-based trio Postiljonen (Daniel Sjörs, Joel Nyström Holm, and Mia Bøe) released their stunning debut “Skyer” (translates to “Clouds”) this year to widespread critical acclaim. The band showcase a wonderful pop sensibility throughout the album’s ten tracks, creating gorgeous gleaming pop songs in the process. The album can be listened in full here. 

————


Pure Bathing Culture ‘Moon Tides’ (Memphis Industries)
Portland Oregon-based duo Pure Bathing Culture comprises of Daniel Hindman and Sarah Versprille who had previously played with Andy Cabic’s folk band Vetiver. The duo have thus far released their debut self-titled EP on Father/Daughter Records, and have also exclusively covered “Dreams” for a special Fleetwood Mac edition of Mojo magazine. The band have recorded with songwriter, multi-instrumentalist and producer Richard Swift at his National Freedom studio. “Moon Tides” will be released on 19th August on Memphis Industries.

————


DJ Koze “Amygdala” (Pampa)
When the end-of-year lists are being compiled, the wonderful “Amygdala” LP by DJ Koze is sure to find its way to the top of many’s favourite album for 2013. DJ Koze is German producer Stefan Kozella, and “Amygdala” is Koze’s first new solo material for almost a decade. Featuring a number of special guest vocalists (Caribou and Daphni’s Dan Snaith, Matthew Dear and Apparat’s Sascha Ring) the real star is Kozella whose genre-defying soundscapes and incredible lyrics make “Amygdala” the compelling gem that it truly is. As album opener “Track ID Anyone?” says: “We need to eat and we need to sleep and we need music.” The album can be streamed in full here.

————


Forrests “Wilder” (Blast First Petite)
Dublin-based electronic duo Forrests’ incredible “Wilder” EP is amongst the finest electronic material out there, recalling Hebden’s Four Tet, Bristol’s Fuck Buttons and fellow-Dublin electronic duo White Collar Boy. Released on the Blast First Petite label on July 8th of this month, the EP consists of a stunning array of hypnotic beats, irresistible grooves and an impressively wide range of sonic textures. Forrests are as adept with the creation of gorgeously subtle, ambient shape-shifting sounds (the two-minute “Symmetries” and closer “Latitude” recalling Ulrich Schnauss’s “Far Away Trains” LP) as well as more hypnotic and immediate tracks such as the dreamy, rhythmic “Tarifa”. The EP can be streamed here.

————


After Dark 2 (Italians Do It Better)
Johnny Jewel’s “After Dark” series of compilations features the impressive Italians Do It Better label and is – as always – a wonderful showcase of the artists on the label. Featuring Glass Candy, Desire, Chromatics, Symmetry and Mike Simonetti, the tracks are slick, timeless and (unquestionably) über-cool. Personal favorites on the label are “Night Drive” and “Kill For Love” by Chromatics and “Themes For An Imaginary Film” by Desire.
The “After Dark 2” set can be heard in full here.

————


borngräber & strüver “Clouds” (m=minimal)
Berlin duo borngräber & strüver have established themselves as one of the most compelling and impressive of electronic/ambient artists working today. “Clouds” comprises tracks written over a period of over a decade (2000 to 2012) and features chamber music compositions merging with an array of influences such as minimal, classic, baroque and pop. Also essential are borngräber & strüver’s “urlaub” and “In G” albums, now being issued by Berlin label m=minimal in one set.

————


Greg Haines “Where We Were” (Denovali)
This May marked Berlin-based Greg Haines’s most innovative album yet. “Where We Were” signals a departure in Haines’s previous works, markedly in his use of tape-worn synthesizers (and subsequent omission of strings). Much like friend and composer Frahm’s recent recordings (“Juno” EP on Erased Tapes) Haines seeks to create blissful and rhythmically driven pieces. The album is an ode to the handmade where the world of analogue sounds replaces digital technologies. Gripping, enriching and meticulous in execution and delivery.

————


Fuck Buttons “Slow Focus” (ATP)
Benjamin Power and Andrew Hung make their hugely anticipated return since 2009’s Andrew Weatherall produced “Tarot Sport”. “Slow Focus”, the Bristol-based band’s third studio album, is self-produced and it’s seven tracks feature an unforgettable array of sonic textures and an endless amount of hidden realms. Not only the band’s best album, but one of the finest albums this year has produced.

————

Chosen One: Greg Haines

leave a comment »

Interview with Greg Haines.

Greg Haines discusses his new album ‘Digressions’, the creative process, composition and sound, Berlin, The Alvaret Ensemble and “The Group” that features Greg, together with Peter Broderick and Casper Clausen (Efterklang) among others (coming in January 2013).

Words: Mark Carry, Illustration: Craig Carry

greghaines_craigcarry

The British composer, Greg Haines’ latest album ‘Digressions’ is a masterpiece with wonderful shades and textures of divine neo-classical and ambient music. Over the past several years, Haines has created such emotive and engaging music. Listening to the latest master-work, that is ‘Digressions’, I am transported to an odyssey of beauty, immaculate and divine. The epic piece ‘183 Times’ contains violin strings, drenched in aching emotion. A soft piano serves as the heart pulse of this amazing piece. Words can’t describe the sheer emotion and profound effect music of this kind possesses. I have been listening to ‘Digressions’ a lot during the year and the album has unknowingly become a part of me; a soundtrack to the sunrise and sunset and all points in between. The works of Brian Eno and Christian Fennesz comes to my mind when recounting my first discovery of Greg Haines’ compositions. The new album ‘Digressions’ originated from Greg’s work with a school orchestra in Britain. The aim of the project was to get its players thinking about different approaches to composition and sound. At the end of his time with his students, the piece they had worked on was recorded, which Greg shaped further and eventually became ‘Digressions’. The subtle music that graces ‘Digressions’ is akin to Arvo Pärt. Take for example, the album closer ‘Nueblo Pueblo’. Slow and tranquil piano notes are played over an atmospheric background. This first section is similar to Sylvain Chauveau. Six minutes in, film-score strings arrive and a world of modern-classical is gorgeously created. Think Marsen Jules. The five pieces of music on ‘Digressions’ are truly captivating. The album was mixed and mastered by neighbour and friend, Nils Frahm. There are also guest appearances from Peter Broderick and Dustin O’ Halloran; the heart of the Berlin music community, where Greg Haines has lived for several years now.

Hello Greg, it’s a real pleasure to ask you a few questions about your music. Your latest album ‘Digressions’ is a masterpiece with wonderful shades and textures of divine neo-classical and ambient music. Congratulations on creating such emotive and engaging music. It’s really lovely to talk to you about your music.

Tell me please about the making of your latest album ‘Digressions’. I was very interested to read how the source of inspiration came from your work with a school orchestra in Britain, and how this led to the orchestra becoming the source material for your own compositions. I’d love to hear you explain more about this please.

A while ago I was commissioned by a school in England to create a piece of music for students to perform. This was also around the time that I was thinking it was about time to start working on a new album, and so I had the idea that perhaps I would use the recordings of the commission as a starting point in some way. Because of this, the piece I wrote was quite empty sounding, as I was more interested in collecting a library of interesting textures that I could use as inspiration. As the players were only students, and hadn’t really had any experience playing this kind of music, there were lots of interesting sounds in there created by accident, such as strange vibrations as the air passed through the reed instruments, or a lot of people all playing slightly out of tune with each other. For some reason I am always drawn to these sounds; sounds that are a little bit broken or unorthodox. When listening back to the recordings, I noticed that one of the many microphones we used was a little broken, and occasionally the sound would fracture or it would emit weird popping noises – I even ended up using that! Sometimes those sounds are much more interesting than what you would expect. For me, the hardest part of the writing process is always the first step, when the ‘canvas’ is completely empty, so having these recordings really helped to start the creative process for that album. In those textures that I created through processing the source material, I started to hear the melodies and the structures that eventually became ‘Digressions’.

————

You said your aim, when working with the school orchestra was to get its players thinking about different approaches to composition and sound. I can only imagine how this whole mindset must be central to your creative process. What are the different approaches you use to composition and sound and how do you achieve this?

As I mentioned above, I often approach compositions from a really strange angle – often the weird noises and strange processed sounds come before the melody, rhythm, or any of the ‘conventional’ elements of a piece. For Digressions, I would often I would take a note or chord and then process and stretch it beyond recognition, then in listening back to that really destroyed sound I would begin to hear melodic patterns in my head, or perhaps as the sound gets more processed, hiss starts to build up in certain areas and that can be the beginning of a structure. If there is a certain mindset I suppose it is to try to focus on every tiny detail of the sound, whether its a violin or radio static, try to work out whats interesting about it, and then try to exaggerate or isolate those elements.

————

What are the central themes for you on ‘Digressions’?

I think I was trying to take the same source material and take it in five different directions. Whereas the album before (Until the Point of Hushed Support) is meant to be considered one long composition, the tracks on Digressions are meant to each have their own individual characteristics. I am not sure I really succeeded with that but I think that was my initial idea. I suppose another theme of the album is a crazy amount of layering in the sounds – there is just so much going on, so much hidden. But even if you can’t really hear a lot of the layers, without them it would definitely sound different!

————

My favourite piece is 183 Times’. The ambient world is created so wonderfully with drifting piano notes and emotive strings. Can you give me an insight please into the title 183 Times’ and the use of instrumentation in creating this stunning piece.

I don’t really like to discuss the titles much, as I prefer to keep the names of the songs pretty abstract so people can interpret them how they wish. But if you search around on the internet a bit, it shouldn’t be too hard to work it out. The piece is basically made of 4 chords that repeat, except at one point there is an additional lower chord entering, so its really very simple. All of the movement and emotion in the track comes from the violin, which was played by Iden Reinhart in quite a freeform way, and then the chords were placed around when she reached certain parts of the score – so thats why the length of every chord is completely different. In terms of other orchestration, you can find the (heavily processed) school ensemble in there, along with piano, organ, bass guitar, synths, bells and Peter Broderick doubling the chords by layering his voice.

————

I was fortunate to talk to Nils Frahm recently, who mixed and mastered ‘Digressions’. In terms of recording, he said “For some reason I find my way around in sounds very easily” and how it’s a very natural process. I can imagine making music must be the same for you, as a composer. Tell me please about how you developed an interest in sound? Can you recall certain memories you have that triggers this close connection you share with sound?

Yes, it all seems so effortless for Nils! I don’t really think music is as natural to me as it is to Nils and Peter and those kind of guys – it always seems like such hard work to create anything, almost like I have to start from scratch every time. But I get there in the end, and I suppose in general it just comes from a love of sound. It gets a little easier all the time, but I also would be worried if it seemed too easy. I am not really sure where all this came from – I am not from a musical family or anything like that. Maybe it just comes from growing up in a small town, where you have to develop some kind of hobby otherwise you would just be incredibly bored. I never liked sports, so I guess I just became a musician!

————

In relation to the cello instrument, how have you developed your cello playing? Listening to your music I can feel such emotion pouring from the cello strings. What are the range of possibilities you see when playing cello?

There is no cello on the new album, except maybe a tiny bit played by a member of the school ensemble, but its so processed you probably can’t hear it. On the album before, I played a little bit of cello, but just for additional sounds in the background – the main cellist was Anna Müller. So there hasn’t really been any of my cello playing on my albums for a long time. I never play cello live anymore – I have basically given up. I do love the cello, but thats why I thought it was best to leave it to the people who are really passionate about playing it.

————

Your music is subtle that builds wonderfully, blossoming into something of large scale depth and emotion. You cite Arvo Pärt as a major influence. Please give me an insight into how his music inspires you? Are there certain albums that you see as having a significant impact on you?

I think all the ECM albums are favourites, but the first thing by him that I heard was ‘Passio’ on a cheap Naxos CD. I had just bought it as I had heard the name around from various people, and I put it on loop very quietly as I was going to sleep. Throughout the night I kept waking up to certain parts of the piece and listened in a kind of half-awake way. By the morning I was obsessed, and I knew that this music was going to be something really important to me. The finale of ‘Passio’ is just amazing, and hearing that for the first time really sticks with me. If I had to try to explain what it is about his music that I am drawn to, I would have to say its something contradictory like its the complexity of the simplicity. Its so refined, its as if music has been distilled to its emotional core, but there is still so much nuance left.

————

Talk me through the composition of ‘Caden Cotard’ please, the second piece on your album. It feels as if there’s three separate movements, where piano becomes more prominent after the opening strings. I love the dynamic range and feel to this piece of music.

There wasn’t really any conscious decision to create something in three movements or anything like that, thats just the way the piece naturally developed – it felt like thats what had to happen. I try not to over-intellectualize what I’m doing when I am making something. I think about it a lot, maybe too much, but I am not really asking myself the question “why” anymore. It just gets way to complicated, and often it just gets in the way. ‘Caden Cotard’ is a pretty dense piece, with a lot of different stuff going on. Depending on what I muted, or how I mixed it, this track could have been so many different things. In the end section, there is even a violin and mandolin part really quietly in the background – if this was in the foreground it would really sound like some kind of moonshine-swigging country song. So its probably lucky that its not!

————

You have lived in Berlin for a few years. What is the community like there for making music? You have all these wonderful like-minded musicians from Peter Broderick to Nils Frahm. It must be a dream place to be immersed in sound and to develop your skills?

There are a lot of great musicians around, and more every day it seems – I wonder when it will reach saturation point. Its great to have people like Peter and Nils in town, partly to make music with but mainly because they are friends and its great to hang out. But I wouldn’t say it was a ‘dream place’. Don’t get me wrong, its a great city, but its just that – a city. There are a lot of problems with Berlin, just like anywhere else, and by moving there it certainly doesn’t mean your music or art or dance is going to get better, or you are going to become more successful. The truth is that most musicians living in Berlin are making their money elsewhere, as there isn’t really much work in Berlin at all. But its definitely a great place to meet people, see music or go to a club. Its getting pretty good now for food also!

————

What albums are you listening to most lately?

I’ve been away in Italy for quite a while now, so haven’t been able to really listen to my records, but some Cds that have been on in the car are:

Efterklang – Piramida
Daft Punk – Homework
Ligeti – String Quartets
Four Tet – Rounds
Paulo Angeli – Tibi
Ryuchi Sakamoto – Discord

————

Please tell me about The Alvaret Ensemble? I have read there is a debut album coming in December. 

The core of the Alvaret Ensemble is myself, Jan Kleefstra, Romke Kleefstra and Sytze Pruiksma, but there are usually other musicians performing alongside us. Our self-titled debut album is a 2xCD/2xLP that was recorded in a church in Berlin along with Iden Reinhart on violin, Hilary Jeffery on trombone, Peter Broderick on violin and Martyn Heyne, who played a bit of church organ. It was recorded, mixed and mastered by Nils Frahm – mixing this was incredibly painstaking, but I think you can hear in the end result that a lot of effort when into this. Maybe Nils wanted to kill me at some points, but thats ok as I probably wanted to kill him at some points! All part of the fun. It will be released on Denovali Records in December, and we will be touring a bit in the beginning of next year.

————

What’s next for you Greg?

Well, quite a few different things. In January, Peter Broderick, Casper Clausen (Efterklang), Francesco Donadello, Martyn Heyne and myself will premiere a new group/collective/experiment simply called ‘The Group’ at HBC in Berlin. More on that soon. In May, Denovali will release a 6xLP wooden boxset of all my previous albums, along with some extra material, and then in the same month will release my next solo album, which is really something pretty different. Things are really going in a different direction, which I am very excited about and I hope that people can get excited about too. I’m also already confirmed to create the music for three dance pieces next year, one of which will be at the Royal Opera House with the Royal Ballet and David Dawson choreographing. It will be a work for a full orchestra. Thats going to be a lot of fun. There are all kinds of other things coming up too, but they will be announced when the time comes…

‘Digressions’ is out now on Preservation. 

http://www.preservation.com.au/product/greg-haines-digressions

http://greghaines.wordpress.com

The self-titled debut album by The Alvaret Ensemble can be ordered now from Denovali Records:

http://www.denovali.com

greghaines_2

Written by admin

December 9, 2012 at 4:04 pm