FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Hildur Gudnadóttir

Fractured Air x Blogothèque – S01E09 | September mix

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We’re delighted to present two previously unreleased tracks for September’s mixtape, by Iceland-born cellist and composer Hildur Guðnadóttir and Portland Oregon-based artist Brumes.

For well over a decade now, Hildur Guðnadóttir has firmly established herself as one of the jewels in the crown of today’s independent music scene. Guðnadóttir’s remarkable artistry and versatility has been widely evident in her highly prolific recording output to date – whether in the form of solo works or her many collaborations – on labels such as Touch, Sonic Pieces and Oral Records. Guðnadóttir has released a string of formidable solo albums – from her landmark 2009 full-length “Without Sinking” to 2014’s “Saman” (both albums released via the world-renowned U.K. independent label Touch) and has collaborated with musicians including Hauschka (Dusseldorf’s Volker Bertelmann) and Iceland’s Jóhann Jóhannsson.

The moving composition “Fólk fær andlit” (translates to “People get Faces”) was originally published by Guðnadóttir to her YouTube page in April of 2016, in response to the series of events which unfolded in her native Iceland in December 2015, involving the deportation of Albanian children with terminal illnesses along with their families who had been denied residence permits (her heartfelt and eloquently written account of the inspiration to “Fólk fær andlit” can be read in full HERE).

Brumes are a three-piece based in Portland Oregon whose lineup comprises of lead songwriter and multi-instrumentalist Desireé Rousseau, Dalton Long (drums) and Nico Bartulski (keys). The band’s debut album “Soundings in Fathoms” was recorded by renowned producer (musician/composer) Peter Broderick at his home studio The Sparkle along the Oregon coast. “I’m Not Listening” was also recorded at The Sparkle by Peter Broderick.

Also featured in September’s mixtape are newly released gems by longtime indie greats Cass McCombs (“Mangy Love”, Anti-) and Woods (“City Sun Eater In The River of Light”, Woodsit); latest solo full-length by beloved Irish songwriter Lisa Hannigan (“At Swim”, Play It Again Sam); a pair of releases by the forever inspiring FatCat imprint 130701 (Warsaw-based cellist and composer Resina and Moscow-based pianist and multi-instrumentalist Dmitry Evgrafov). September also sees the welcome return of the hugely influential independent label Tomlab (The Books, Patrick Wolf, Final Fantasy) with Berlin-based electronic artist Heimer’s shape-shifting debut album “Teilzeit Swag”.

Fractured Air x Blogothèque – S01E09 | September mix

To Read/listen on La Blogothèque:

http://www.blogotheque.net/2016/09/28/fractured-air-x-blogotheque-s01e09-september-mix/

 

Tracklisting:

01. Masayoshi Fujita & Jan Jelinek“Cin” (excerpt) (Faitiche)
02. Botany“Needam Wish To” (Western Vinyl)
03. The Avalanches“Saturday Night Inside Out” (XL Recordings)
04. Syrinx“Hollywood Dream Trip” (RVNG Intl)
05. Ashanti Roy“Hail The Words of Jah” (Soul Jazz)
06. Barbara Lynn“This Is The Thanks I Get” (Light In The Attic)
07. Woods“Sun City Creeps” (Woodsit)
08. Mr. Sweety “G”“At the Place to Be” (Soul Jazz)
09. Cass McCombs“Opposite House” (Anti-)
10. Angel Olsen“Woman” (Jagjaguwar)
11. Lisa Hannigan“Ora” (Play It Again Sam / ATO)
12. Resina“Afterimage” (130701)
13. Hildur Guðnadóttir“Fólk fær andlit” (Unreleased)
14. Adam Bryanbaum Wiltzie“Lithium, The New Era” (Erased Tapes)
15. Brumes“I’m Not Listening” (Unreleased)
16. Fiona Brice“Dallas” (Digital 21 + Stefan Olsdal Remix) (Bella Union)
17. Cat Power“Say” (Matador)
18. ISAN“Napier Deltic” (Morr Music)
19. Forma“Maxwell’s Demon” (Kranky)
20. Jackie Lynn“Alien Love” (Thrill Jockey)
21. Craig Leon“Details Suggest Fidelity To Fact” (RVNG Intl)
22. Heimer“Icy Grip” (Tomlab)
23. Zomby & Banshee“Fly 2” (Hyperdub)
24. Oliver Coates“STASH” (PRAH Recordings)
25. Mogwai“U-235” (Atomic OST, Rock Action)
26. Katie Kim“FOREIGN FLEAS” (Bandcamp)
27. Eluvium“Strangeworks” (Temporary Residence)
28. Nick Cave & The Bad Seeds“Distant Sky” (Bad Seed Ltd.)
29. Dmitry Evgrafov“The Lofty Sky” (130701)
30. Irene Buckley“Waiting” (House of Usher extract) (Soundcloud)
31. Arvo Pärt“My Heart’s In The Highlands” (Else Torp, Christopher Bowers-Broadbent) (Harmonia Mundi)
32. Jóhann Jóhannsson“Good Night, Day” (Deutsche Grammophon)

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

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

Fractured Air 33: Saccade (A Mixtape by Loscil)

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Loscil’s Scott Morgan has been responsible for some of the most captivating and stunningly beautiful ambient creations over the past fifteen years. Across a compelling body of work (beginning with the 2001 classic ‘Triple Point’) – the majority of which has been released on the immense Chicago-based imprint Kranky – Vancouver-based Morgan has developed his own unique style of textural rhythms that ceaselessly blur the lines of ambient, techno, drone and modern-classical. The recently released ‘Sea Island’ marks the latest chapter in Loscil’s explorations through sound that lies at the intersect between nature and humanity.

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Fractured Air 33: Saccade (A Mixtape by Loscil)

To listen on Mixcloud:

https://www.mixcloud.com/Fractured_Air/fractured-air-33-saccade-a-mixtape-by-loscil/

 

Tracklisting:

01. Mica Levi ‘Love’ [‘Under the Skin’ OST/Milan]
02. Rafael Anton Irisarri ‘Will Her Heart Burn Anymore_00’ [Room40]
03. Simon Scott ‘Spring Stars’ [Miasmah]
04. Lawrence English ‘Hapless Gatherer’ [Room40]
05. Hildur Guðnadóttir ‘Strokur’ [Touch]
06. Jon Hopkins ‘Breathe This Air (Asleep version)’ [Domino]
07. A Winged Victory for the Sullen ‘ATOMOS VI’ [Erased Tapes, Kranky]
08. Kyle Bobby Dunn ‘Spem in Alium and Her Unable’ [Students Of Decay]

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

 


 

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‘Sea Island’ is available now on Kranky.

http://www.loscil.ca/
http://www.kranky.net/

 

Mixtape: Illusions and Dreams

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Illusions and Dreams [A Fractured Air Mix]

To listen on Mixcloud:

https://www.mixcloud.com/Fractured_Air/illusions-and-dreams-a-fractured-air-mix/

 

Tracklisting:

01. K. Leimer ‘Allegory’ [Palace Of Lights]
02. Kaitlyn Aurelia Smith ‘Careen’ [Western Vinyl]
03. Circuit Des Yeux ‘Lithonia’ [Ba Da Bing!, L&L]
04. Hildur Guðnadóttir ‘Birting’ [Touch]
05. The Gloaming ‘The Girl Who Broke My Heart’ [Real World]
06. Planxty ‘Time Will Cure Me’ [Polydor/Shanachie]
07. Arthur ‘Sunshine Soldier’ [Light In The Attic]
08. Cem Karaca ‘Bir Of Çeksem’ [Pharaway Sounds]
09. Calexico ‘Woven Birds’ (Cinematic Orchestra Remixico) [City Slang]
10. The Notwist ‘Scoop’ [City Slang]
11. Aphex Twin ‘xmas_EVET10 [120] [thanaton3 mix]’ (excerpt) [Warp]
12. Theo Parrish ‘Tympanic Warfare’ (excerpt) [Sound Signature]
13. Wildbirds & Peacedrums ‘Soft Wind, Soft Death’ [Leaf Label]
14. Disappears ‘OUD’ [Kranky]
15. Mount Eerie ‘This’ [P.W. Elverum & Sun, Ltd.]
16. Dirty Three ‘I Really Should’ve Gone Out Last Night’ [Bella Union/Anchor & Hope]
17. Jonny Greenwood ‘Spooks’ [‘Inherent Vice’ OST/Nonesuch]
18. Richmond Fontaine ‘Valediction’ [El Cortez]

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.

To follow Fractured Air you can do so on Facebook HERE, or Twitter HERE.
http://fracturedair.com

 

 

Mixtape: Your Heart Is So Loud [A Fractured Air Mix]

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Your Heart Is So Loud [A Fractured Air Mix]
To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/your-heart-is-so-loud-a-fractured-air-mix/

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Tracklisting:

01. Colleen ‘Your Heart Is So Loud’ [The Leaf Label]
02. Vashti Bunyan ‘The Boy’ [FatCat]
03. Nick Cave & Warren Ellis ‘West of Memphis’ [J-2 Music]
04. Linda Perhacs ‘Prisms Of Glass’ [Asthmatic Kitty]
05. The Troggs ‘You Can Cry If You Want To’ [Repertoire]
06. Mary Lattimore & Jeff Zeigler ‘Echo Sounder’ [Thrill Jockey]
07. Steve Gunn ‘Tommy’s Congo’ [Paradise Of Bachelors]
08. Xylouris White ‘Old School Sousta’ [Other Music Recording Co.]
09. Tinariwen ‘Toumast Tincha’ [Anti-]
10. Smog ‘Strayed’ [Drag City / Domino]
11. The Brothers And Sisters ‘The Times They Are A-Changin’’ [Light In The Attic]
12. Calexico ‘Untitled II’ [City Slang]
13. Brigid Power-Ryce ‘Let Love’ [Abandon Reason]
14. Caoimhín Ó Raghallaigh And Dan Trueman ‘Laghdú’ [Irishmusic.net]
15. Hildur Guðnadóttir ‘Til baka’ [Touch]
16. Stina Nordenstam ‘The World Is Saved’ [V2]

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

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

Mixcloud / Facebook / Twitter

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Mixtape: ‘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:

http://www.mixcloud.com/Fractured_Air/do-not-wait-for-better-times-a-fractured-air-mix/

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Tracklisting:

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]

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

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

Mixcloud / Facebook / Twitter

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Chosen One: Valgeir Sigurðsson

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Interview with Valgeir Sigurðsson.

“The outside of her was suddenly froze and only the first part of the music was hot inside her heart. She could not even hear what sounded after, but she sat there waiting and froze, with her fists tight. After a while the music came again, harder and loud. It didn’t have anything to do with God. This was her, Mick Kelly, walking in the day-time and by herself at night. In the hot sun and in the dark with all the plans and feelings. The music was her – the real plain her.”

(—Carson McCullers, ‘The Heart Is A Lonely Hunter’, 1940)

Words: Mark & Craig Carry, Illustration: Craig Carry

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Reading Carson McCullers’s debut novel ‘The Heart Is Lonely Hunter’ one is reminded of the power music can have over an individual, in this case for the thirteen year old Mick Kelly. Mick, on hearing Mozart, and later Beethoven (via the radio through an open window of a neighbor’s house), has been cast under the spell of the power of music.

On listening to ‘Architecture Of Loss’, Icelandic composer Valgeir Sigurðsson’s third album, the listener is similarly transported to an unknown, magical realm. Released last year on the Bedroom Community label (founded by Sigurðsson); the album is a challenging, intricate collection and a delight to truly savor.

‘Architecture Of Loss’ was written for the dance piece of the same name by Stephen Petronio, a world-renowned dance-maker and choreographer, based in New York City. Petronio is widely regarded as one of the leading dance-makers of his generation. What makes Petronio unique is how he combines music, visual art and fashion to create “powerfully modern landscapes for the senses.” A quick look at some of the musicians Petronio has collaborated with in the past reveals some of music’s best-loved composers: Nick Cave, Johnny Greenwood, Lou Reed, Laurie Anderson and Michael Nyman.

Indeed, fellow Bedroom Community labelmate Nico Muhly has himself previously worked alongside Petronio for the dance piece entitled ‘I Drink The Air Before Me’, an evening length score which was intended to be “big, ecstatic and celebratory” (celebrating Stephen’s company’s 25th anniversary). The Nico Muhly album bearing the same name was put out by Bedroom Community in 2010 with Sigurðsson accredited co-producer (alongside Dan Bora) and programming (with Ben Frost).

To date, Sigurðsson has released two prior solo works; his debut solo album ‘Ekvílibríum’ in 2007, followed by a release of his soundtrack for ‘Dreamland’ (Draumalandið) in 2010. However, these three solo works from Sigurðsson only scratch the surface of the rich musical oeuvre he has been creating over the last couple of decades.

Most notably, Sigurðsson’s collaborative work with Björk would propel Sigurðsson’s status as a technical musical master. He would work alongside Björk (as engineer and programmer) on the soundtrack for Lars Von Trier’s ‘Dancer in the Dark’. This fruitful collaboration would continue for the best part of a decade, Sigurðsson playing a major role in Björk’s studio recording output.

Over the years, Sigurðsson would lend his technical mastery to a whole range of musical projects. Indeed, some of my personal favorite albums over the last number of years have been worked on by Sigurðsson. Fellow-Icelandic classically trained cellist Hildur Gudnadóttir’s extraordinary album ‘Without Sinking’ was put out by Touch in 2009; Sigurðsson mixed the album (alongside Gudnadóttir). Sigurðsson co-produced (and assisted on arrangements) Feist’s 2011 masterpiece ‘Metals’. Other collaborators include Bonnie ‘Prince’ Billy, Paul Corley, CocoRosie, and múm, amongst many others.

‘Architecture Of Loss’ was recorded in Sigurðsson’s own Greenhouse Studios in Reykjavík, Iceland. Sigurðsson composed, produced recorded and mixed the album, while also responsible for composing the electronics, piano, baritone guitar, programming and percussion. Guest musicians for the album include: Shahzad Ismaily, Nadia Sirota, Nico Muhly and Helgi Jónsson.

The album itself is a true delight, filled with one gem to the next. My current favorite is the fourth piece, entitled ‘Between Monuments’, where strings and piano combine to stunning effect, building to its dramatic earth-shaking finale. Elsewhere, the meandering ‘Reverse Erased’ recalls Hildur Gudnadóttir’s ‘Without Sinking’ in it’s pulsing and wonderfully atmospheric journey. The album drifts wonderfully between quiet, ambient shades of electronic sounds, to extremely visceral volume-raising sonic textures.

Yet, all the time, Sigurðsson’s technical mastery is in full evidence. Never does any one component take over, or seek to detract from the overall tone or mood of the particular piece of music; creating hard-edged and often beautifully subtle textures along the way. A true feast for the senses awaits the listener. A true musical creation from one of music’s most gifted and essential modern composers.

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“But maybe the last part of the symphony was the music she loved the best – glad and like the greatest people in the world running and springing up in a hard, free way. Wonderful music like this was the worst hurt there could be. The whole world was this symphony, and there was not enough of her to listen.”

(—Carson McCullers, ‘The Heart Is A Lonely Hunter’, 1940)

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Interview with Valgeir Sigurðsson. 

Congratulations Valgeir on your amazing new album ‘Architecture Of Loss’. It is such powerful music, filled with an outpour of emotion. It is a real pleasure and honour for me to ask you a few questions about your music. Thank you for your time.

I’m glad to hear that, thank you. I hope you will be able to come to one of our shows this spring, and really do I hope that we can come play Ireland.

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‘Architecture of Loss’ was originally composed for the same titled ballet by Stephen Petronio. I am intrigued to know more about your mindset and process involved when composing music with a physical performance in mind, by its players and dancers? 

I don’t know if it’s that much different to composing for another occasion. Like, I don’t crawl into a cave and think “movement, movement, movement”… But on the other hand, there is the dialog between the composer and the choreographer that really sets the tone of the piece, and it was riveting to see what Stephen came up with when we first sat in their rehearsal space in New York and  he tried out different movements with the dancers playing back my initial demos. I learned a lot from that, that I was then able to take back home to my studio and work the ideas further and focus in on what we discussed and experimented with in the physical space.

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Please discuss the digital processes involved in your music? 

Many of the pieces started from digitally manipulating raw recordings that I had made, both new recordings and older that I had lying around. And with these processed bits of audio I started piecing together structures and motifs that I had mostly written on a piano. I respond really well to abstract sounds and things that sound familiar but not pure, so I like to distort and disconnect many of the acoustic sounds that I use for source material from what they are intended to sound like. The piece deals with formation and disintegration, and one way of addressing that in the writing was to start with something our and completely turn it inside out.

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There is a wonderful tight-knit ensemble of musicians on ‘Architecture of Loss’, several highly talented Bedroom Community artists. I would love to gain an insight into this use of sparse musical materials on the album. The effect of which adds rich textures and new dimensions to the pieces themselves.

Before starting the writing process I thought long and hard about who I’d like to be able to bring with me into the performance, and I chose Nadia and Shahzad because they are each on their own extreme as performers and probably have a very different approach to what they do. I wanted to be able to push and pull in these two opposite directions, with Nadia’s viola as the central ‘voice’ of the music and Shahzad the unpredictable groove-machine.

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My favourite piece is ‘The Crumbling’. I love the sound of the hypnotic strings amidst the beautiful piano notes. Can you shed some light on this heart-wrenching piece of music please?

I think it’s all right in there, if people care to listen. It’s such a super simple cyclical piece built out of a bouncing bass-note figure and a slowly moving piano motif over which the viola soars and sometimes takes the lead. It’s meant to be sort of discomforting. What I’m especially pleased with in that piece is how spare it is, I did strive to use as few notes and as much space and silence as I possibly could and I think it worked out well.

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Your second album was the soundtrack to the film ‘Draumalandið’. Discuss please the differences between composing music for film and music for ballet/performance?

I approached both projects as writing the music that I wanted to write at the time, but there was an element of telling a story or following a narrative that was suggested already. The major difference for me was that one was composed with the performance aspect in mind and the other was realised as a studio project, and the performance came as an afterthought.

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I love all the releases on the Bedroom Community label. The records always deliver and inspire. You are the founder of the Bedroom Community label and Greenhouse Studios in Iceland. Please tell me about the close family of Bedroom Community and its prolific development over its relatively short lifespan?

I don’t know if I think of it as a particularly prolific output, we’ve put out less than 20 records in our 6 years of existence and that’s probably not a lot compared to many labels who release a seemingly endless stream of albums. But yes, it’s a tightly knit family of people who all really enjoy working together and learning from each other. We have excruciatingly high standards and all we care about is making the best records we possibly can.

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Describe Greenhouse Studios and the reasons why it’s such a magical place in the creation of art through sound?

It’s  a place that feels homey and technical at the same time, it has a spirit of creativity and the studio setup is very fluent. A place is not much without the people and we make sure to nurture every aspect of the creative process, including making nice meals and having a good time. The fact that it’s home to Bedroom Community does give the studio an added dimension too, where as many studios depend entirely on visiting artists and bands Greenhouse is constantly channeling the output of the Bedroom Community as well as a fresh and new inspiration from musicians from all over the world.

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Iceland is a country I would love to visit and experience. How does this place inspire your music?

It’s pretty hard for me to say exactly how it might influence my music, but my basic theory is that your experiences and surroundings will influence who you are and therefore how you make music and any other art or form of expression. The only time I’ve consciously drawn on this place I’m from was when I wrote Dreamland, that was definitely written as Music for Landscape.. You should come visit!

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What records inspire you most lately?

Frank Sinatra Sings For Only The Lonely.

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‘Architecture Of Loss’ is out now on Bedroom Community.
http://bedroomcommunity.net
http://valgeir.net

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January 18, 2013 at 6:35 pm