FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Hyperdub

Albums of the Year: 2016

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Presented here is a list of our favourite albums from 2016. As difficult a task as this proved, we decided ultimately to choose the albums that we found ourselves turning back to time and again over the last twelve months. The exercise also reminded me of memories when growing up of reading interviews featuring our favourite musicians, what used to strike me so much was the number of times they would describe their favourite albums as being like “friends” to them. These albums were anything but material possessions, these wax and cardboard sculptures were simply part of their lives: their very identity, even. The following is a selection of sixteen albums released during 2016 which we feel fortunate to now call friends of our own.

Artwork: Craig Carry
Words: Mark Carry

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(i). Oliver Coates – “Upstepping” (PRAH Recordings)

Several ground-breaking records from 2016 can be attributed to the gifted talents of British cellist and composer Oliver Coates. The London-based composer’s sophomore full-length release ‘Upstepping’ is undoubtedly the year’s most accomplished, innovative and compelling musical journeys with its meticulously crafted and sumptuously layered cello-based compositions that carves out techno-fueled waves of pure bliss and transcendence. ‘Upstepping’ is indeed (in the words of Coates) “pumped-up body music”. From album opener ‘Innocent Love’, which immediately evokes the sound of Four Tet’s ‘There Is Love In You’ with its hypnotic female vocal line to the deep house groove of ‘Perfect Love’ (think Autechre, Aphex Twin), a world of shimmering cello-based sound-worlds are being channeled from the cosmos. Coates’s current activity of “distorted cello play over sequenced dance music” (Coates wrote for his exclusive Guest Mixtape) remains the most ground-breaking and original sounds to have surfaced in 2016.

“Upstepping” is out now on PRAH Recordings.

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

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(ii). Kaitlyn Aurelia Smith – “EARS” (Western Vinyl)

Last Spring during a conversation with Kaitlyn Aurelia Smith, she described her primary objective for her latest full-length ‘EARS’: “I wanted to create a sense that the listener was on a 3-D motion ride through a futuristic jungle and I had to create an arc from start to finish that took the listener on a journey”. These eight otherworldly compositions created by the L.A. based composer and producer were immediately noted for their extraordinary colours, textures and striking multi-dimensional forms. The rich instrumentation encompasses a myriad of organic and synthesized sounds as Smith’s utterly hypnotic voice melds with her trusted Buchla synthesizer and an intricate array of woodwind and brass arrangements. Cosmic bliss appears at each and every turn: the dazzling mantra of ‘Rare Things Grow’ is steeped in African music traditions; ‘Envelop’s meditative melodic pulses and the epic closing transcendence of ‘Existence In The Unfurling’. Later in 2016 came the equally exceptional ‘Sunergy’ LP – a collaboration between Smith and electronic music pioneer Suzanne Ciani – as part of the RVNG Intl label’s FRKWYS series.

“EARS” is out now on Western Vinyl.

http://www.kaitlynaureliasmith.com/
http://westernvinyl.com/

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(iii). Jóhann Jóhannsson – “Orphée” (Deutsche Grammophon)

This year saw the eagerly awaited new studio album – and first in six years – from the renowned Icelandic composer Jóhann Jóhannsson. Incorporating music for solo cello, organ, string quartet, string orchestra and unaccompanied voices, ‘Orphée’ represents Jóhannsson’s finest hour, whose fifteen divine compositions captured here feels like a distillation of the master composer’s life’s work. The utterly captivating ‘A Song For Europa’ belongs in the same stratosphere as Gavin Bryars’ ‘Jesus Blood’ such is its cinematic brilliance: a spoken word sample becomes embedded deep in the music, speaking so profoundly. ‘A Sparrow Alighted Upon Our Shoulder’ is steeped in unwavering beauty as rejoice and hope flicker onto the horizon amidst a soaring string section (performed by Air Lyndhurst String Orchestra). A lost companion to George Delerue’s ‘Camille’.

In the words of Jóhannsson: “Orphée is for me about changes: about moving to a new city, leaving behind an old life in Copenhagen and building a new one in Berlin – about the death of old relationships and the birth of new ones”. As ever, the Icelandic master composer has crafted a challenging, utterly breathtaking and shape-shifting experience. A piece such as ‘Good Night, Day’ (featuring Jóhannsson’s close musical collaborator Hildur Guðnadóttir) paints life’s fleeting, transient nature onto a vast canvas of enchanting sound, before ‘Theatre of Voices’ (conducted by Paul Hillier) brings ‘Orphée’ to an astounding climax.

“Orphée” is out now on Deutsche Grammophon.

http://www.johannjohannsson.com/
http://www.deutschegrammophon.com/

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(iv). Nick Cave & The Bad Seeds – “Skeleton Tree” (Bad Seed Ltd.)

On lead single – and album opener – ‘Jesus Alone’, a devastating apocalyptic world descends upon us amidst sparse arrangements of piano and brooding synthesizer drones: “You fell from the sky/Crash landed in a field/Near the river Adur.” On Nick Cave & The Bad Seeds’ sixteenth studio album, a captivating, harrowing and deeply moving experience is forged as Cave’s songs navigates the heart of darkness.

The achingly beautiful gospel lament ‘Rings of Saturn’ exudes a healing power, which could belong on ‘The Boatman’s Call’ alongside ‘Brompton Oratory’. Scenes from John Hillocat’s ‘The Road’ (one of the many breathtaking scores Cave & Ellis have penned) is etched across the heartbreaking, tear-stained canvas of ‘Girl In Amber’. On a later verse, Cave mourns: “I used to think that when you died you kind of wandered the world/In a slumber til your crumble were absorbed into the earth.” A brooding darkness seeps into your bones on ‘Magneto’ – the album’s most gripping and intense moments – where buzzes of electric guitar drifts beneath Cave’s whisper-like pleas. The hypnotic mantra of “In love, in love, I love, you love” shares the cosmic spirit of Van Morrison’s ‘Astral Weeks’ ventures in the slipstream. A catharsis permeates the “heaven bound sea” of ‘Anthrocene’ with surreal, near-mythical dimensions somehow attained, which could depict Herzog’s ‘Aguirre, The Wrath of God’s haunting, doomed expedition. The sublime ecstasy of ‘I Need You’ is wrapped in impossible beauty; an empowering ballad that could belong to the ‘Lyre Of Orpheus’ sessions.

Skeleton Tree’ is a lament from the depths of darkness and despair: “With my voice, I am calling you.”

“Skeleton Tree” is out now on Bad Seed Ltd.

http://www.nickcave.com/

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(v). Jessy Lanza – “Oh No” (Hyperdub)

The Canadian songwriter and producer’s sublime sophomore full-length ‘Oh No’ (Hyperdub) showcases an artist at the peak of her powers, crafting some of the most beguiling synth pop creations of 2016 (and beyond). Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the seductive pop hooks and R&B gems crafts a joyously uplifting haven of euphoric sounds. As Lanza says “I want to make people feel good and I want to make myself feel good”. Infectious energy permeates ‘VV Violence’ and ‘Never Enough’ (reminiscent of classic Junior Boys and Caribou) whilst elsewhere the stunning ballads ‘I Talk BB’ (Lanza’s voice ascends to the forefront of the mix) and ethereal haze of closing cut ‘Could B U’. The infectious groove and affecting vocal delivery of ‘It Means I Love You’ crafts one of the record’s defining moments, soaked in reverb and compelling drum machines. Most recently, ‘Oh No No No’ remix EP has surfaced, with gorgeous reworks by DVA (‘Going Somewhere’), DJ Taye x DJ Spinn’s remix of ‘Could B U’ and Morgan Geist’s rework of ‘I Talk BB’.

“Oh No” is out now on Hyperdub.

http://jessylanza.com/
http://www.hyperdub.net/

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(vi). Peter Broderick – “Partners” (Erased Tapes)

The gifted American composer, producer and multi-instrumentalist has crafted his most captivating, emotive and transporting works to date on his latest masterwork ‘Partners’. This collection of solo piano music not only sees the beloved sound sculptor come full-circle in many ways but also delving deeper and further into music’s boundless orbit and life’s great mystery than ever before. In essence, the artist has effectively removed himself from the activities of the sounds he makes, in turn, creating piano music so pure, mysterious and far-reaching, evoking the timeless sounds of older generation masters such as John Cage and Lubomyr Melnyk. Hugely inspired by John Cage’s chance techniques and visionary spirit, Cage’s own composition ‘In A Landscape’ serves the vital pulse to ‘Partners’s aching canvas (having fallen in love with the piano once again during the process of transcribing this seminal piece, note-by-painstaking-note). Compositions such as the utterly transcendent ‘Carried’ unleashes a haven of heart-wrenching emotion as celestial harmonies meld effortlessly with mesmeric piano patterns, and ‘Up Niek Mountain’s drifting cosmic reverb-laden piano tapestries become interwoven deep inside the listener’s thoughts and dreams. The closing ‘Sometimes’ is a cover version of Brigid Mae Power’s divine ballad, the record for which is dedicated to Brigid. A freedom abounds on ‘Partners’ as the sacred piano notes become transcribed from the very composer’s subconscious mind.

“Partners” is out now on Erased Tapes.

http://www.peterbroderick.net/
http://www.erasedtapes.com/

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(vii). Xylouris White – “Black Peak” (Bella Union)

Xylouris White is the inspired collaboration between Greek lute player George Xylouris and the Australian, Brooklyn-based drummer Jim White. Both composers are legends in their own right, the former through his Cretan lute-led sounds of the Xylouris Ensemble, the latter through his membership of mythical Australian trio Dirty Three and myriad of collaborations over the years. The sheer expanses covered on the band’s sophomore full-length ‘Black Peak’ is staggering. The opening rock opus ‘Black Peak’ and ‘Forging’s momentous rock’n’roll rhythms are followed by the poignant parable of ‘Hey, Musicians!’ and divine epic love song, ‘Erotokritos’. Ancient traditions are interwoven with contemporary, avant-garde musical structures, forever embedded deep inside a mysterious, enchanting and cosmic space. ‘Black Peak’ invites the listener to inhabit the far-reaching plains of life’s mysterious and kaleidoscopic landscape. As depicted on the striking narrative of ‘Hey, Musicians!’, music indeed never ends.

“Black Peak” is out now on Bella Union.

http://www.xylouriswhite.com/
http://bellaunion.com/

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(viii). Loscil – “Monument Builders” (Kranky)

The Canadian ambient artist Scott Morgan’s latest masterwork unleashes a cathartic, hypnotic spell throughout; belonging to a dichotomy of worlds where an engulfing cloud of prevailing darkness prevails in tandem with the radiant light of hope and survival. Delicately beautiful ambient soundscapes drift majestically in the ether alongside the more intense, pulsating sound worlds. Take for example, how the fragile pulses of ‘Deceiver’ flows effortlessly into the glorious crescendo of ‘Straw Dogs’ or how the stunningly beautiful album opener ‘Drained Lake’ is gradually followed with the techno-infused ‘Red Tide’. A wall of intense moods, colour and textures flood these sonic creations, creating one of Morgan’s most accomplished and concise records to date. The addition of horn arrangements (recalling Philip Glass) immediately casts an ethereal quality; harmonies meld beautifully with a collection of old synths, warm textures of drone soundscapes.

“Monument Builders” is out now on Kranky.

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

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(ix). The Avalanches – “Wildflower” (XL)

2016 saw the return of The Avalanches after sixteen years with their long-awaited second album. The pertinent question for the duo was how could a band follow-up a seminal classic like ‘Since I Left You’ but the duo have managed to create a kaleidoscope of rejuvenated, cosmic sounds. An endless array of samples, hip-hop rhymes, lucid beats, celestial harmonies and pop-laden hooks fill ‘Wildflower’s exhilarating voyage where cameo appearances from Mercury Rev’s Jonathan Donahue, Dirty Three’s Warren Ellis, Father John Misty and Toro Y Moi’s Chaz Bundick all stop by. ‘Wildflower’ is one of those perfect summer records: the Laurel Canyon-era sunshine pop of ‘If I Was a Folkstar’ and ‘Because I’m Me’s funky soulful strut and seductive Ariel Pink-esque ‘Subways’ are just some highlights. The heart-stopping ‘Saturday Night Inside Out’s dreamy haze and poignant epicentre serves the perfect closer to ‘Wildflower’s glorious psychedelic pop oeuvre.

“Wildflower” is out now on XL Recordings.

http://www.theavalanches.com/
http://xlrecordings.com/

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(x). Amiina – “Fantômas” (Mengi)

Icelandic outfit Amiina’s latest adventure, ‘Fantômas’, was originally composed as a live score to a silent masterpiece from 1913 (‘Fantômas’ was a French silent crime film serial directed by Louis Feuillade, based on the novel of the same name). Importantly the music stands on its own, independent of the visual narrative that, in turn, marks a brave new chapter in Amiina’s cherished songbook. The band’s Fantômas score is menacing, dark and brooding as it is steeped in delicate beauty and vivid hope. The cinematic opening title-track begins with a slow rhythmic pulse before haunting strings cast an eerie disquiet. The main theme’s melodic motif is masterfully revisited on the sublime ‘Lady Beltham’ before vivid dappling of light ascend on ‘Crocodile’. The closing electronic-oriented ‘L’Homme Du Noir’ explores adventurous new horizons. As ever, immaculate instrumentation of violin, cello, drums, percussion, metallophone, table harp, ukulele, and electronics graces the listener akin to the gradual fading light at dusk or a bird’s majestic flight across vast skies.

The score Fantômas premiered in Paris in 2013 at the prestigious, Théâtre du Châtelet, where Amiina, together with musicians James Blackshaw, Tim Hecker, Loney Dear, and Yann Tiersen, took part in a special Halloween event (curated by Tiersen), celebrating the centenary of the Fantômas series, directed by the French film director Louis Feuillade in 1913-1914.

“Fantômas” is out now on Mengi.

http://www.amiina.com/
http://www.mengi.net/

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(xi). Carla dal Forno – “You Know What It’s Like” (Blackest Ever Black)

The Australian singer-songwriter’s masterful debut solo album ‘You Know What It’s Like’ marked undoubtedly the year’s most dazzling and exciting debuts. Released on the prestigious Blackest Ever Black imprint, lead singles ‘Fast Moving Cars’ and ‘What You Gonna Do Now?’ revealed adventurous avant pop song structures to get beautifully lost in. Forno asks “Did you want this to last a long time?” over a gorgeous haze of meditative bassline grooves and drumbeat on the luminous ‘Fast Moving Cars’. Forno’s voice – a truly formidable instrument – melts and dissolves in the other-worldly pop spheres, conjuring up the timeless sound of ‘Tragedy’-era Julia Holter and Brian Eno’s visionary early 70’s pop gems. A striking emotional depth resides throughout, reflecting on failed relationships, love, loss and the impermanence of it all. Loneliness is etched across the canvas of the album’s title-track, sharing the colours and shades of Miles Davis’s ‘Kind Of Blue’ and Nico’s celestial voice with its yearning, searching feel: “What you gonna do now that the night’s come and it’s around you?” Elements of dub, post-punk, psychedelic folk and avant pop sounds shimmer majestically throughout: from the late 60’s psych folk of ‘Drying In The Rain’ to the dub-infused odyssey ‘DB Rip’s wave of synthesizers. The stripped-back closer ‘The Same Reply’ serves the record’s most breath-taking moments; distilled in lost love.

“You Know What It’s Like” is out now on Blackest Ever Black.

https://www.facebook.com/carladalfornoyes/
http://blackesteverblack.com/

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(xii). Andy Stott – “Too Many Voices” (Modern Love)

The renowned UK producer Andy Stott delivered his highly anticipated follow-up to 2014 classic ‘Faith In Strangers’ in the form of ‘Too Many Voices’ last Spring via the peerless Manchester-based imprint Modern Love. The gifted producer continued to explore new sonic terrain and tap into new emotional depths with gorgeous dub step, electronic, grime and 80’s synth pop flourishes. On Stott’s fourth studio album, breathtaking synth washes of ‘New Romantic’ (with nods to This Mortal Coil) and soulful seduction of ‘Butterflies’ (the record’s lead single) are interwoven with utterly compelling dubstep techno for the dancefloor (‘First Night’) and crystalline ambient chill-wave bliss (‘On My Mind’). The title-track and album closer perhaps serves the record’s glorious climax with masterfully arranged choral harmonies (supplied by longtime vocal contributor Alison Skidmore who appears on half of the record) and euphoric production (think Holly Herndon crossed with the Yellow Magic Orchestra), providing one of the tracks of 2016 in the process.

“Too Many Voices” is out now on Modern Love.

http://modern-love.co.uk/

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(xiii). Katie Kim – “Salt” (Art For Blind)

‘Salt’ sees the revered Irish musician explore deeper into the ethereal dimension, for which she has long ago established. The hypnotic guitar drone of ‘Day Is Coming’ envelops the deepest of fears and anguish, culminating in a swirling symphonic haze of heavenly harmonies and brooding strings. ‘Someday’ is a delicately beautiful piano lament and searching prayer for hope. The striking intimacy and hypnotic spell cast by the gifted songwriter throughout ‘Salt’ unleashes the most deeply affecting batch of songs to have been unearthed for quite some time. Sonically, the latest record is a partnership between O’ Sullivan and producer John Murphy, whose expansive, guttural soundscapes of album opener ‘Ghosts’ and centerpiece ‘I Make Sparks’ are masterfully contrasted with the closing fragile piano ballads ‘Thieves’ and ‘Wide Hand’. One of the album’s defining moments arrives with the pulsating ‘Life Or Living’; a euphoric exploration into the depths of darkness. An image depicted on the second verse becomes the engulfing embodiment of ‘Salt’s realm of raw emotion and blissful transcendence: “Holding my hand now the tides incoming/Make us a shield so the light won’t get in.”

“Salt” is out now on Art For Blind.

https://katiekim.bandcamp.com/
https://www.facebook.com/DANCEKATIEKIMDANCE/

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(xiv). Marissa Nadler – “Strangers” (Bella Union, Sacred Bones)

“Strangers” finds Marissa Nadler’s sonic palette expanding (synths and drumbeats are at times added to Nadler’s voice and guitar). But despite the added instrumentation and more intricate arrangements, a purity forever remains in the treasured songbook of Nadler’s forever timeless oeuvre. Beautiful subtleties exist within the sonic tapestries while striking imagery such as disintegrating cliffs, towering skyscrapers, darkening woods and deep rivers are offset with characters often feeling at odds with the world they find themselves in (or more accurately find themselves suspended into, all of a sudden). There’s a tangible sense of contrasting dichotomies lying at the heart of “Strangers” (between the familiar and the unfamiliar; safety and danger; darkness and light; life and death) which makes the journey Nadler takes us on all the more real. Tangible. Life-affirming. And like a silent witness we can quietly navigate that darkness with her. For we are not strangers after all.

“Strangers” is out now on Bella Union (UK) / Sacred Bones (USA).

http://www.marissanadler.com/
https://marissanadler.bandcamp.com/

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(xv). Brigid Mae Power – “S/T” (Tompkins Square)

Brigid Mae Power’s stunningly beautiful latest solo full-length – and Tompkins Square debut – is an album drenched in reverb-soaked emotion and lament. Enchantingly performed and produced, the record showcases a songwriter of immense talent in a soundscape that naturally merges itself to Brigid Power’s engulfing sound. The magic lies in the songwriter’s expression of raw emotion, in all its delicate beauty. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. In the words of Power, the album is about “trusting if you lose yourself or your way — you can come back.”

Such is the album’s timeless brilliance, the nearest parallels that can be drawn to Power’s quietly unassuming, divine artistry are those blessed folk spirits of bygone times such as Sibylle Baier, Tia Blake or Margaret Barry. As reflected in the lyrics of closing heartfelt lament of ‘How You Feel’, this deeply personal and intimate set of songs become a place of hope and solace where the path laid out in front you is filled with the light of day and sea of love.

“Brigid Mae Power” is out now on Tompkins Square.

http://brigidmaepower.com/
http://www.tompkinssquare.com/

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(xvi). Syrinx – “Tumblers from the Vault (1970–1972)” (RVNG Intl)

A collection of experimental synth music culled from the early 70’s Toronto music scene is beautifully celebrated by the ever-indispensable Brooklyn-based RVNG Intl label on the shape-shifting, genre defying musical document, ‘Tumblers From The Vault (1970-1972)’. The band in question are the avant-garde three-piece Syrinx whose wholly unique hybrid of chamber pop and electronic experimentation crafts an utterly timeless journey into the limitless possibilities of music. The dreamy, lo-fi gem ‘Hollywood Dream Trip’ remains as vital and fresh as the day it was recorded. The sprawling epic ‘December Angel’ dumbfounds the listener in its sheer beauty and compelling sound: a piece of music from some future age, unknown and mysterious all at once. Psychedelic flourishes are etched across the more electronic-oriented ‘Ibistix’; the amalgamation of distorted voices and cosmic strings creates a symphony of rapture and transcendence.

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. Re-issue of the year, hands down.

“Tumblers From The Vault (1970-1972)” is out now on RVNG Intl.

https://igetrvng.com/syrinx-tumblers-vault/

Designs for the first ten albums are by Craig Carry, a limited edition series of screen prints (each edition is limited to 25 copies) have been created to coincide with Fractured Air’s favourite albums of 2016. Prints will be available to purchase online from January 2017. 

With very special thanks to each and every one of our readers. Wishing you all a peaceful and happy new year.

https://fracturedair.com/

Guest Mixtape: Oliver Coates

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Several ground-breaking records from 2016 can be attributed to the gifted talents of British cellist and composer Oliver Coates. The London-based composer’s sophomore full-length release ‘Upstepping’ is undoubtedly one of the year’s most accomplished, innovative and compelling musical journeys with its meticulously crafted and sumptuously layered cello-based compositions that carves out techno-fueled waves of pure bliss and transcendence. ‘Upstepping’ is indeed (in the words of Coates) “pumped-up body music”. In addition to ‘Upstepping’, Coates performed on Radiohead’s latest ‘A Moon Shaped Pool’ LP and most recently, a collaborative work with UK’s Mica Levi (Micachu & The Shapes) in the form of ‘Remain Calm’, another crowning jewel of 2016.

The British composer, producer and arranger is best known for his collaborative work with the London Contemporary Orchestra, Jonny Greenwood (‘The Master’ score) and Mica Levi (score for ‘Under The Skin’). On Coates’ latest solo masterwork ‘Upstepping’, A scintillating record of disparate influences is crafted 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.

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We are delighted to present to you a special guest mix compiled by Oliver Coates. Below is Oliver’s description about this inspired selection of music:

Here is a panorama: the integration of human voice, real or concocted, as formant synthesis which binds instrumental haze beyond slamming rhythms and does wonders for the physiology. There are versions upon versions – distorted cello play over sequenced dance music is my current activity – where the cello intercedes as human element, using the bow as a Cirklon Sequencer. All the different attacks. Wahs and pointillisms, bulges, swells, sighs. Airs, ahs and pointed teeth. Polyphony like a baby’s mobile, Alexander Calder, hot and cold, monophonic bassline attitude underneath large and diffuse chords.”

—Oliver Coates

Oliver Coates – Fractured Air Mix – December 2016

01. Gecko Afterlife HD“Earth Jump” (YouTube)
02. AFX“simple slamming b 2” (Warp)
03. Levantis“Undr” (Technicolour)
04. Elysia Crampton“Dummy Track” (Break World)
05. Micachu feat. KEVIN“Clothes Wear Me” (adult swim)‎
06. Dean Blunt & Inga Copeland“9” (Hyperdub)
07. Boards of Canada“Dayvan Cowboy” (Warp)
08. My Bloody Valentine“To Here Knows When” (Creation)
09. Cocteau Twins“Pitch The Baby” (4AD)
10. DMX Krew“You Can’t Hide Your Love” (Hidden Love Mix) (Warp)
11. D’Breez – “Crazy for Love” (Autechre remix) (Skam)

‘Upstepping’ is out now on PRAH Recordings & ‘Remain Calm’ by Mica Levi & Oliver Coates is out now on Slip Discs.

Compiled by Oliver Coates, 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.olivercoates.com/
https://www.facebook.com/olivercoatesmusician/

Written by admin

December 20, 2016 at 7:46 pm

Ten Mile Stereo

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Mick Turner “Don’t Tell The Driver” (Drag City)
The latest work by the ever-prolific Melbourne-based artist and Dirty Three guitarist Mick Turner is a magnificently sprawling affair – comprising an expansive cast of musicians – and is perhaps his most accessible work to date. Equally renowned for his worldwide status as an internationally renowned painter as well as musician, Turner is best known as being one-third member (alongside drummer Jim White and violinist Warren Ellis) of the cult Australian trio Dirty Three. As well as Dirty Three’s considerable output (culminating in last year’s sublime “Toward The Low Sun”), Turner has also released records under the Tren Brothers guise (effectively Turner and White recording as a duo), as well as “solo” works (‘Don’t Tell The Driver’ is Turner’s fourth such record). The record – released by Chicago’s Drag City – is arguably Turner’s most expansive yet, featuring french horn, trumpets, piano, melodica, bass and the vocals (lyrics by Turner) are beautifully sung by Caroline Kennedy McCracken.

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Tim Hecker “Virgins” (Kranky)
One of the year’s most eagerly awaited albums came from the Montreal-based composer and sound artist Tim Hecker. “Virgins”, released by Chicago-based independent label Kranky, is yet another masterful recording by the Canadian musician, producing an album of staggering scope and beauty. Hecker’s work has been described as: “focused on exploring the intersection of noise, dissonance and melody, fostering an approach to songcraft which is both physical and emotive.” One of the finest of todays modern composers, Hecker is here joined by an impressive cast of musicians from the Icelandic-based Bedroom Community label; Valgeir Sigurðsson performs and mixes (alongside Hecker) and Paul Corley takes part in the performing and engineering, while the album was recorded at Greenhouse Studios, Reykjavík (as well as Avast, Seattle and Empac Concert Hall, Troy).

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Moonface “Julia with Blue Jeans On” (Jagjaguwar)
Spencer Krug’s fourth album under the Moonface moniker, “Julia With Blue Jeans On” is a highly personal, quietly affecting and truly moving album which will prove to be one of the year’s most masterful hidden gems. The album’s genesis came from Krug’s time creating 2012’s “Heartbreaking Bravery” – a despair-laden album written after a difficult break-up – while in Helsinki and recording with Finnish band Siinai. During the same period, the highly prolific Krug set off on another creative journey, inspired by “a rediscovery of love and a reconsideration of the Moonface persona he’d created for himself.”

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Laurel Halo “Chance Of Rain” (Hyperdub)
Released at the end of October on the Hyperdub label, “Chance of Rain” is the striking and sublime second album by American electronic musician Laurel Halo (aka Ina Cube) and follow-up to her debut 2012 LP “Quarantine”. The nine tracks which comprise “Chance Of Rain” showcases Halo (who is a classically trained musician)’s wonderful talents as both composer and producer where a breathtaking spectrum of sounds – industrial, electronic, techno, club, house – effortlessly form a cohesive and organic whole, producing a wholly unique and compelling album in the process. An album as striking and engrossing (much due to the breathtaking vocals as well as the distinctive production) as the grimly evocative sleeve cover art (by Halo’s father, the artist Arthur Chartow).

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Wooden Shjips “Back to Land” (Thrill Jockey)
The Ripley Johnson-led psychedelic quartet Wooden Shjips’ follow-up to their 2011 “West” LP is their most immersive and engrossing work yet. Recorded in Portland, Oregon in May 2013 over a period of an 11-day session at Jackpot! Recording Studio, ‘Back To Land’ mark’s the band’s first record to be conceived outside of their native San Francisco. From the opening title-track, a blissful, wonderfully melodic guitar-led song to the stunningly forlorn album closer (recalling Beck’s “Sea Change”), the engrossing soundscapes of Wooden Shjips are a joy to journey through (bands such as Pavement, Sonic Youth, Crazy Horse and Spacemen 3 come to mind). Album art (with multiple circular die-cuts) by Oliver Hibert (and layout by the wonderful Sheila Sachs) ensures the vinyl edition is a must have.

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Ghost Maps The Ocean From The River “S/T” (Casino Gravity)
Released on November 15th, Ghost Maps The Ocean From The River’s self-titled debut album comprises the new musical chapter in Jeff Martin (Halfset)’s hugely impressive career to date. The album features legendary multi-instrumentalist and indie-giant John McEntire (Tortoise/The Sea and Cake) as well as a special contribution by the immensely gifted pianist Tony Crow, long-term player in the legendary Kurt Wagner-led Nashville-based collective Lambchop. From the opening gorgeous minute-long piano and violin “Intro”, we are treated to a stunning meandering journey across oceans of heavenly sounds and unknown beauty. Current personal highlight is the majestic instrumental opus “If I knew Where I Was I’d Be There”, a piece that could belong on Lambchop’s Double LP “Aw C’mon / No You C’mon” or Efterklang’s “Piramida”.

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Omar Souleyman “Wenu Wenu” (Ribbon Music)
One of the most surprising albums of the year thus far came courtesy of “Wenu Wenu” (meaning “Where Is She?”) – aided by Kieran Hebdan’s production prowess – via the latest record by Syrian musician Omar Souleyman. Prior to his homeland’s civil war crisis hit, Souleyman crossed the Syrian border into Turkey. Souleyman was formerly a wedding singer in his native Syria, a position – as described in an interview with NPR – as “important for experimenting in different kinds of music. In the region where I’m from, weddings have been really important in mixing different kinds of musical heritage.” Souleyman has released a plethora of material – mainly comprising live recordings of his wedding performances and spanning hundreds of cassette tapes – and his stature only grew when he collaborated with Bjork and subsequently appeared in numerous festivals in both the US and Europe.

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Dean Wareham “Emancipated Hearts” (Sonic Cathedral)
Dean Wareham (ex Galaxie 500 and Luna frontman) released his debut solo record “Emancipated Hearts” via Sonic Cathedral earlier this month. The resultant mini-album (the record contains six tracks) is a treasure of a record, produced by Papercuts’ Jason Quever and features a beautifully fragile and understated set of songs, including five original Wareham compositions (featuring the politically-charged “The Deadliest Day Since The Invasion Began” and “The Ticking Is The Bomb”) plus a cover of “Air” by The Incredible String Band. Also available on gorgeous limited edition orange 10″ vinyl.

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Recondite “Hinterland” (Ghostly International)
Berlin-based producer Recondite’s first album for Ghostly International is the gorgeous “Hinterland”, an album inspired by Recondite’s homeland of Lower Bavaria (indeed, much field recordings spanning various times of the year are included across the album’s ten tracks). Like the poetic tree-lined and light-filled monochromatic landscape photograph depicted on the cover, “Hinterland” proves a lush, near-spiritual listening experience and proves a landmark release for the hugely talented producer. As Recondite has said of “Hinterland”: “I tried to capture the area’s mentality and natural environment within the album. Particularly the moods that behold the emotions of the four seasons, which differ a lot in this region.”

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The Velvet Underground “Loaded” (Cotillion/Atlantic)
“I found a reason to keep living / Oh and the reason, dear, is you / I found a reason to keep singing / Oh and the reason, dear, is you” sings Lou Reed on “I Found A Reason”, taken from The Velvet Underground’s fourth album, “Loaded”, released in 1970 on Atlantic Records’ subsidiary label, Cotillion. The song, like any one from Reed’s considerable output – both as a solo artist and as principal songwriter with The Velvet Underground – confirms Reed as one of the finest and most gifted (and certainly most influential) songwriters of the last fifty years. Despite The Velvet Underground’s modest commercial success during their all-too-brief lifespan – from the late sixties until the early seventies – the band’s influence on new generations of musicians is as strong today as it ever was. Brian Eno’s famous and much-repeated quote (in reference to The Velvet Underground’s beloved, classic 1967 debut “The Velvet Underground And Nico” only selling a mere 30,000 copies) stated: “everyone who bought one of those 30,000 copies started a band.”

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