FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Jóhann Jóhannsson

Fractured Air x Blogothèque – S01E10 | October mix

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October’s mixtape contains an exclusive unreleased track by the world-renowned electronic composer Loscil (Canada/Kranky) ahead of the release of his forthcoming album “Monument Builders”, due for release on November 11th via Kranky.

For over nearly two decades Loscil (Vancouver-born Scott Morgan) has been amassing a constantly evolving, soul-stirring body of work. Beginning with his 2001 debut “Triple Point”, Loscil has developed his own unique style of textural rhythms that ceaselessly blur the lines of ambient, techno, drone and modern-classical. Next month sees the hugely anticipated release of Loscil’s “Monument Builders” (his eighth release for the Chicago-based independent Kranky) and follow-up to 2014’s magnificent “Sea Island” full length.

Also included in October’s mix are two selections from the latest masterful guest mix by Late Night Tales – this time with Belfast-born producer extraordinaire David Holmes at the helm – which ranks amongst the most irresistible contributions in the vast Late Night Tales archive to date. Featured here is the heart-stopping tribute to the late Henry McCullough, the Northern Irish guitarist who was a member of Spooky Tooth, Paul McCartney’s Wings, Sweeney’s Men and also performed with Joe Cocker. Holmes collaborates with the Irish DJ, musician and author BP Fallon for the gorgeous “Henry McCullough”, a most loving and poignant tribute to his memory.

October’s mix also features new releases by the Irish-based electronic producer Ellll (pseudonym for Cork-based artist Ellen King) who releases her sublime debut EP “Romance” next month; Katie Gately’s stunning debut album “Color” on the Tri Angle label; the impeccable “Stranger Things” soundtrack composed by Kyle Dixon & Michael Stein from the Austin-based band S U R V I V E and the second album by Xylouris White (legendary Cretan-lute player George Xylouris and Dirty Three’s Jim White) entitled “Black Peak”, out now on Bella Union.

Fractured Air x Blogothèque – S01E10 | October mix

To Read/listen on La Blogothèque:

http://www.blogotheque.net/2016/10/21/fractured-air-x-blogotheque-s01e10-october-mix/

 

Tracklisting:

01. John Carpenter“Hofner Dawn” (Sacred Bones)
02. Colleen“Your Heart On Your Sleeve” (The Leaf Label)
03. Ellll“Romance” (Art For Blind)
04. Katie Gately“Lift” (Tri Angle)
05. Jessy Lanza“Could Be U” (Hyperdub)
06. Kyle Dixon & Michael Stein“This Isn’t You” (Stranger Things OST, Lakeshore)
07. Black Marble “It’s Conditional” (Ghostly International)
08. Madvillain“The Illest Villains” (Stones Throw, PIAS)
09. Betty Harris“There’s a Break in the Road” (Soul Jazz)
10. J Dilla & MF Doom“Sniper Elite” (Gold Dust Media)
11. Virginia Wing“Daughter of the Mind” (Fire)
12. Marissa Nadler“High on the Road” (Bandcamp)
13. Nick Cave & Warren Ellis“Texas Midlands” (Hell or High Water OST, Milan)
14. Stars Of The Lid“Tippy’s Demise” (Kranky)
15. Low “Untitled 1” (Bandcamp)
16. Bob Dylan“Song To Woody” (Columbia)
17. Xylouris White“The Feast” (Bella Union)
18. the Marquis de Tren and Bonny Billy (with Angel Olsen)“Solemn 28” (Drag City, Domino)
19. The Children Of Sunshine“It’s A Long Way To Heaven” (LateNightTales)
20. Townes Van Zandt“Waitin’ Around To Die” (Charly, Poppy)
21. Ennio Morricone“The Ecstasy Of Gold” (The Good, The Bad and The Ugly OST, United Artists)
22. The Avalanches“The Wozard Of Iz” (XL)
23. BP Fallon & David Holmes“Henry McCullough” (LateNightTales)
24. Primal Scream“Inner Flight” (Creation)
25. Katie Kim“Ghosts” (Art For Blind)
26. Boom Bip“I See Me” (Sun Choke OST, Lex)
27. Loscil“Varia” (Unreleased)
28. Jóhann Jóhannsson“A Song for Europa” (Deutsche Grammophon)
29. Claire M Singer“Wrangham” (Touch)
30. Gavin Bryars (with Tom Waits)“Jesus’ Blood Never Failed Me Yet” (Obscure, Island)

Compiled by Fractured Air, October 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/

 

Chosen One: Stars of the Lid

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Interview with Adam Bryanbaum Wiltzie.

“…when it works, it’s a feeling not even of contentment, it’s a sort of cross between accomplishment, contentment, satisfaction and just where you can sit there for a moment and it feels as if the whole world is OK for a few minutes even though the rest of the time it feels as if it’s about to explode.”

—Adam Bryanbaum Wiltzie

Words: Mark Carry

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Since releasing their debut record ‘Music For Nitrous Oxide’ in the mid-nineties, Stars of the Lid have been responsible for creating some of the most ground-breaking, singular and innovative ambient music to have graced the earth’s atmosphere. The innate ability of the gifted duo Adam Wiltzie and Brian McBride to stretch out space that in turn, creates vast, limitless drones steeped in unimaginable beauty. Each Stars of the Lid record remains a vital musical document whose meaning and significance has only deepened with time.

Brian Eno once said “A studio is an absolute labyrinth of possibilities — this is why records take so long to make because there are millions of permutations of things you can do.” It is abundantly clear across the storied career of Wiltzie and McBride’s sacred works that a labyrinth of possibilities permeate the drone soundscapes and intricately arranged symphonic works of monumental works such as 2007’s ‘And Their Refinement of the Decline’ (the band’s last studio album); ‘The Tired Sounds of Stars of the Lid’ (using strings, horns and piano to captivating effect) and ‘The Ballasted Orchestra’s utterly compelling ambient explorations. These albums were painstakingly recorded, processed and assembled over long periods of time (for instance, the band’s last studio album was five years in the making). I feel this has become the essence of Stars of the Lid’s resolutely unique musical oeuvre: the listener feels the creator’s sheer devotion to their chosen art being poured through every divine note and aching pulse.

SOTL’s Adam Wiltzie and Brian McBride will be embarking on an extensive tour to debut some new compositions, and some old classics with long time visual collaborator and projectionist Luke Savisky, and German lighting designer MFO.  On stage this tour will be featuring a new band. Two new members, Robert Donne from Kranky label mates Labradford, and Adam’s long time studio collaborator Francesco Donadello. Plus Brussels residents and A Winged Victory for the Sullen’s string ensemble, the Echo Collective and a vintage Moog 55 Modular Synthesizer.

2016 has already seen Brussels-based Wiltzie provide original scores for a number of feature films including Jalil Lespert’s ‘Iris’, ‘The Yellow Birds’ by Alexandre Moors and Mike Plunkett’s ‘Salero’ (the latter will be released on 11th November 2016 via Erased Tapes).

For full details of Stars of the Lid’s European tour, which kicks off this Saturday (1st October @ Paradiso, Amsterdam) and includes two Irish dates (Cork’s Triskel Arts Centre and Dublin’s National Concert Hall), see HERE.

https://www.facebook.com/starsofthelid

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Interview with Adam Bryanbaum Wiltzie.

I’d love for you to discuss the forthcoming Stars of the Lid European tour itself? It must be very special for you and Brian to be re-united again after being involved with other projects in the interim?

Adam Bryanbaum Wiltzie: So, technically it’s been ten years since we released a record. In the meantime, I’ve been really busy doing a lot more soundtrack work and working with A Winged Victory For The Sullen but at the same time, pretty much every year Brian and I have at least done a couple of shows here and there. So we were always there but I think initially it was intentional to step away from it for a while and try something different so I think more and more we’re kind of getting back into it and getting closer and hopefully we’re going to find a way to finally finish the record and so it’s connect a little bit to both, you know getting our feet wet again. And like I said, we haven’t been completely gone away from it, there’s also this thing connected with the Moog that brought us to do more than just a couple of shows. Having the ability to use this beautiful piece of analogue furniture was sort of the catalyst to make the tour go longer and go to places we haven’t been in a long time – like Ireland – and yeah it’s good to be back.

I’d love for you to discuss a bit more about the synthesizer itself because as you say that must be a real treat to have in your live set-up because normally that might not be possible?

AW: Yeah absolutely, it’s a hugely famous piece of old gear that’s obviously really expensive and fragile and it’s so huge that it’s not really so easy to normally take on tour. We’re really lucky to have this for a really short period of time. I had it in my studio some months ago to test it out and see how we could make it work. We’re going to be playing some new material plus we’re playing some old songs we’ve played throughout the years so it’s nice to breathe some new life into it with some new sounds and in a new way to approach it.

The Moog is a complicated instrument because this one in particular doesn’t have the ability to save pre-sets, so when you get a sound it’ll go away really quick so we’re kind of meeting it halfway. The Moog can very easily turn into some sound that doesn’t sound like anything that we do but there is some inherent beautiful simplicity within the instrument that really fits to what our sound is. It’s been a nice journey to find a way to make it fit inside our world so we’re looking forward to trying that out every night.

Another component too, Adam, is the wonderful string ensemble that audiences would already be familiar with those very special A Winged Victory For The Sullen shows?

AW: Absolutely. The same string players I have been using for a while now, mostly through A Winged Victory For The Sullen. They’ve started playing with Stars of the Lid a few years ago but they live with me, I’m here in Brussels and they’ve become really good friends and they have become a really big part of my live show no matter where I play so it’ll be a real treat to have them along with me as well.

It was cool to see last year Kranky re-issuing some of the Stars of the Lid albums on vinyl, and just a reminder of what special musical documents they very much are.

AW: Yeah, they went out of print. I don’t know if it was really conscious but it seemed a really good time to re-press them on vinyl. It’s been such a long time it’s funny; I figured out that sometimes the best promotion is to do nothing for as long as possible and for some reason we’ve grown in a strangely beautiful organic sense that I never really imagined. For whatever reason those records resonated with people and people care about them so in a weird way this is almost like we’re going back on tour to support those records we released almost twenty years ago [laughs]. It’s nice and as I always say, I’m pretty lucky that people like anything that I do, it’ll be a real pleasure.

I’m curious with the art of a duo – there’s of course you and Brian as Stars of the Lid and alongside Dustin as A Winged Victory – there’s obviously something very special with working or creating together as a two-piece?

AW: Well there’s something two people can do that one person could never do, that’s always the beautiful thing with collaboration. I guess I’ve always been a big believer and big fan of it. I’m lucky to have two guys that I click with in this world.

You already mentioned scores and different things – even more so in the last few years – it’s a wonderful time seeing all these composers with so many projects and varied releases coming out where you’re one prime example. It must be interesting to have all these different projects in your mind at the same time?

AW: I think it’s nice to do different things because you don’t get bored with it whether it’s the different projects or working on something individually like the score project. And obviously as an artist you want to keep busy and not become stagnant so it’s good to have all these different things you can work on.

In terms of the new Stars of the Lid material, can you shed some light on the new material or direction in which you’re going with it?

AW: I don’t really know. We have a lot of new material but I don’t think we have really sat down and decided on what’s actually going to be on the record. In that sense, it’s almost as if we’ve done nothing but we go out on tour sometimes to test out new songs and see what feels like you want to develop more. As far as telling anyone about our new record, there’s actually nothing to report. Everyone seems to think we’re going on tour because we have a new record but we don’t. And everyone also seems to think – it’s a strange thing – that we still live in Texas, I don’t know why that is but they always say the Texan duo, it seems that in the world of the press we will always be existing in Texas.

You already mentioned living in Brussels, you know the studio itself has it been a place that’s been developing over the last few years? I’d love to learn more about the space itself and your set-up?

AW: Yeah I mean I’ve been there for almost twenty years. So, it’s slowly developing – you get new gear and whatnot – it’s basically a really old apartment with really high ceilings and it’s very sympathetic for recording acoustic instruments. Although I do a lot of recording for bigger projects with an orchestra in a studio in Budapest and sometimes I record some strings at another studio in Brussels but I somehow have been able to make it sound like as if you can’t really tell so you can mix and match different things from different places and it feels connected. I’ve always – from the early days – all my earlier recordings were recorded at home because I didn’t have any money, so I’ve always loved recording at home, it’s something that I think I will always do.

The special thing is too with the range of the different material, you know it always has this sort of DIY aesthetic to it too, which is a big compliment too.

AW: Yeah absolutely, it’s all connected. I mean in the beginning, we were so anonymous and we didn’t have any money so we had to do it yourself. So I think it stems from that even though I have a manager now and people who work for me, it still feels strange if I don’t do most of it myself. I feel as if I’m cheating someone if I don’t. My mom told me the other day, she likes to tell me that I remind her of my father because he always had trouble sitting still and so maybe I have adopted a little bit of that from my father. It’s hard to let someone else do something because you just want to do it yourself.

Looking over the Stars of the Lid discography, there’s obviously a string of really amazing records. The length of time it took to make some of these double or even triple records, it must feel like a gradual process when you’re trying to build one piece with so much going on?

AW: I think in the past; songs would develop over a course of years. A two-hour record – you know like a triple album – could take years to make but as I’ve gotten older it seems things happen a lot quicker. I recorded a score this summer – and I’m going over the soundtrack right now to release it – it’s this French film Dustin and I have just composed and it’s over an hour-long and we did all this in about two months. So I think as I’ve gotten older, I’ve found that it’s a little bit easier to let go and not be so precious about everything. I’m not necessarily saying that one is better than the other and I do still slave over things, there are some other music that I’m working on that will take longer and develop. I guess it really depends on the project, you know when you’re working by yourself – for example a soundtrack, it’s a commissioned piece – you have to please other people so you have to find a way to not be precious and let go quicker because there’s deadlines and people have agendas. When you’re working for yourself, you can take all the time in the world.

I always think about when you’re connected to the first [Stars of the Lid] record ‘Music For Nitrous Oxide’, which came out in the early nineties and you had your whole life building up to that one moment, which I was in my early twenties when that came out so it was essentially twenty-three years of my life to release the first record and after that it’s a series of a lot shorter times. So I can see both sides, I do have to say that since I’m professional and that I make a living out of making music, I am relieved in a sense that I can not spend too much time if I need to. I was talking to Jóhann Jóhannsson the other day and he feels as if it doesn’t matter what he has recorded, it never feels finished to him and that must be really stifling at times you know. I like to let go when I can, I think it’s good for you; they’re like these time capsules so you need to let go, otherwise you’ll never finish anything.

It reminds me of Arthur Russell too who always seemed to struggle in order to finish something.

AW: It’s hard to let go sometimes, which I totally understand. You’re making this piece of art and once something doesn’t feel finished it can be very stifling and suffocating, you know it’s better to put it aside and release something that you aren’t happy with because you don’t want to end up feeling like a prostitute or something. What’s the line from that movie, “a wise man once said there’s always a fine line between clever and stupid”, that’s important to remember.

I’ve been listening a lot to your ‘Salero’ soundtrack recently, it’s really amazing and the pieces are just so beautiful. It feels related to other things you have done but it exists in its own realm as well, there’s a separate identity as well.

AW: Yeah maybe, it’s a commissioned piece so I had to work a lot quicker on it but I mean I still think that it sounds like me even though it’s recorded with an orchestra but I’m biased so I don’t know. I don’t know how to feel about it, I’d like to get out of my body and look at myself but sometimes it’s hard to do that. But I’m pleased with it, I’m glad it’s going to come out. I think it’s a beautiful time capsule.

And composing to actual visuals is the process really but in terms of the film then, it feels like a perfect fit where you’re composing music to a vast salt flat?

AW: The first time I saw the images, they were absolutely overwhelming, they’re so beautiful and it’s also kind of strange to see a part of the world that you’ve never seen before. It could maybe look a bit familiar but just have no concept for it, especially the reflections from the sun it looks as if it’s not part of the earth sometimes. It was just so beautiful.

You already mentioned the string orchestra, you must go to that stage after having the compositions pretty much written I imagine but I wonder it must be nice to end up in the same space as the orchestra?

AW: For me, it’s my favourite part because this is the moment where you have this brain fart in your head and you get to let it come out. And just have these other people interpret, it’s going to pretty much sound like you wrote it down, I just absolutely love it. I found this great orchestra – I can’t say they connect with what I’m doing because they are just playing notes – it’s really my favourite part of the whole process because this is where all the happy accidents happen. It sounds like kind of what I was trying to do and you get these other things out of it that you never imagine in a thousand years, you know when you get thirty people in a room to play a drone, it’s absolutely beautiful.

That must be the same feeling for those Stars of the Lid albums where the sessions at the end, you hear all these strings and horns over those drones?

AW: Yeah, it’s different though because that record I mostly recorded in my home studio, not to say that wasn’t a satisfying recording experience but since I’ve been moving more into larger orchestras for the past number of years now, it’s a different thing. I mean there’s one track on the ‘Salero’ record – most of it is recorded with an orchestra except this one track called ‘Bring This Place To Life’ – it’s recorded in my studio with the people who I play with normally and it’s got a totally different sound so the feeling you get when you get people to play on something that you have written – it doesn’t matter if it’s large or small – when it works, it’s a feeling not even of contentment, it’s a sort of cross between accomplishment, contentment, satisfaction and just where you can sit there for a moment and it feels as if the whole world is OK for a few minutes even though the rest of the time it feels as if it’s about to explode. I guess if I meditated on a regular basis, it would be like this moment you come out of meditation and everything is calm. That’s the only way I can describe it, it’s just a feeling of slight contentment.

You have done so much and there’s been so many accomplishments that you should be very proud of, I wonder looking back – and forward too – has there been one philosophy or belief that you always hold onto when you work on the next album, like a musical philosophy so to speak?

AW: Oh my God I definitely do not have but I did read ‘The Oblique Strategies’ by Eno the other day and he has one called ‘Honour your mistakes as a hidden intention’ [laughs] and that one makes complete sense to me [laughs]. I think that’s about as close as I can get to having a theme song.

There’s been several odes to ‘Twin Peaks’ in some of the Stars of the Lid material in terms of song-titles and whatnot, you must have great memories of watching the various David Lynch films and the TV series?

AW:  The Lynch connection was more with ‘Twin Peaks’ because when Brian and I were starting out that was around the time when ‘Twin Peaks’ was on TV so we used to sit there and watch it every week on a Thursday night when it would come on TV. It was a great moment in television history for America. I don’t know if we were the biggest David Lynch fans but we absolutely loved that TV show so that’s why we dedicated that song to him.

Lastly, Adam, what’s been your favourite records that you’ve been enjoying lately?

AW: Well my favourite record that I’ve been listening to is Jóhann Jóhannsson’s new one called ‘Orphee’, it’s absolutely beautiful. He hasn’t released a record of his own work in a long time, it’s gorgeous and I would highly recommend checking it out.

For full details of Stars of the Lid’s European tour, which kicks off this Saturday (1st October @ Paradiso, Amsterdam) and includes two Irish dates (Cork’s Triskel Arts Centre and Dublin’s National Concert Hall), see HERE.

https://www.facebook.com/starsofthelid

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 x Blogothèque – S01E08 | August mix

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We’re proud to present an exclusive unreleased track by Christina Vantzou for August’s mixtape.The Kansas City-born and Brussels-based composer has released three solo full-length LP’s to date (‘N°1’, ‘N°2’ and ‘N°3’) via illustrious Chicago-based independent label Kranky.

Vantzou’s formidable body of work also spans the mediums of both visual art and film-making while her own music career began with duo The Dead Texan (alongside Adam Wiltzie) as the hybrid role of keyboardist/animator/video artist. The pair released their debut self-titled album in 2004 via Kranky. Through her preferred composing set-up of laptop, midi keyboard and headphones and an ever-present curiosity and tireless passion for exploring new sonic territories, Vantzou is among the the finest contemporary composers making music in the modern classical realm today.

Also featured on August’s edition are selections from the awe-inspiring Guerssen Records, a record label based in Catalonia, Spain. Set up in 1996, Guerrsen’s ever-expanding catalogue specialises in the reissuing of rare and obscure psychedelic, progressive, folk and garage albums from the 60s to early 80s.

Featured here are tracks from Paul Martin’s mid-sixties timeless opus “It Happened”; We The People’s fascinating compilation “Visions of Time: Complete Recordings” (a 60s teen band from L.A. who also recorded 45s under the American Zoo alias) and Oberon’s “A Midsummer’s Night Dream”, a classic in the British psych-folk genre (it was originally released in 1971 as a private edition of only 99 copies).

August’s mixtape also features new releases from MJ Guider’s stunning debut album “Precious Systems” (Kranky), hype williams’ “10/10” (Bandcamp); the return of legendary duo Xylouris White (Australia’s Jim White and Greece’s George Xylouris) with “Black Peak” (Bella Union) and Peter Broderick’s latest masterful record, “Partners” (Erased Tapes).

Fractured Air x Blogothèque – S1E8 | August mix

To Read/listen on La Blogothèque:

http://www.blogotheque.net/2016/08/29/fractured-air-x-blogotheque-s01e08-august-mix/

 

Tracklisting:

01. Christina Vantzou“juno loop 200 BC” (Unreleased)
02. Tomorrow The Rain Will Fall Upwards“…And I Tried” (Blackest Ever Black)
03. Spiritualized“Let It Flow” (Dedicated)
04. The Velvet Underground & Nico“Venus In Furs” (Polydor)
05. Dirty Three “Furnace Skies” (Anchor And Hope / Bella Union)
06. Xylouris White“Black Peak” (Bella Union)
07. Trader Horne“Jenny May” (Earth)
08. Dieterich & Barnes“Parasol Gigante” (LM Duplication)
09. Kamuran Akkor“Kabahat Seni Sevende” (Pharaway Sounds)
10. Mulatu Astatke“Nètsanèt (Liberty)” (Buda Musique)
11. The Avalanches“Because I’m Me” (XL Recordings)
12. Kamasi Washington“Change Of The Guard” (excerpt) (Brainfeeder)
13. hype williams“DIVA” (Bandcamp)
14. Jenny Hval“Female Vampire” (Sacred Bones)
15. MJ Guider“Triple Black” (Kranky)
16. Julian Winding“The Demon Dance” (The Neon Demon OST, Milan)
17. Rival Consoles“Lone” (Erased Tapes)
18. Bibio“Wren Tails” (Warp)
19. Benoît Pioulard“Layette” (Kranky)
20. Roj – “Attaining The Third State” (Ghost Box)
21. Oberon“Nottamun Town” (Guerssen)
22. Georges Delerue“Au Revoir Mon Amour!” (Cartouche OST, EmArcy)
23. We The People“Back Street Thoughts” (Guerssen)
24. Robert Wyatt“At Last I Am Free” (Rough Trade)
25. Jóhann Jóhannsson“Flight from the City” (Deutsche Grammophon)
26. Peter Broderick“Up Niek Mountain” (Erased Tapes)
27. Glenn Jones“Spokane River Falls” (Thrill Jockey)
28. Brigid Mae Power“Sometimes” (Tompkins Square)
29. Fiona Brice“Glastonbury” (Bella Union)
30. Paul Martin“This Is The End” (Guerssen)

Compiled by Fractured Air, August 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 x Blogothèque – S1E5 | May mix

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fracturedairmix_may16

 

For May’s mixtape we are delighted to present a pair of exclusive tracks by two of Ireland’s finest songwriters: Adrian Crowley and Katie Kim.

Since his debut release at the turn of the century (“A Strange Kind”), Adrian Crowley has quietly established himself as one of the finest songwriters of his generation. With seven studio albums to date (Crowley’s most recent record is “Some Blue Morning”, released in 2014 via Glasgow-based label Chemikal Underground) Crowley’s reputation has been built upon his poetic lyricism, distinctive baritone and a natural gift for storytelling. Presented here exclusively for this mix is Adrian Crowley’s haunting cover version of U.S. folk legend Jackson C. Frank’s “Milk And Honey”.

While the Buffalo-born musician Jackson Carey Frank only released the one album during his lifetime (his Paul Simon-produced self-titled debut from 1965) Frank’s reputation has steadily grown in recent times, in no small part due to Ba Da Bing’s release of “The Complete Recordings” (2015) and the 10″ vinyl issue of “Forest Of Eden” (Secret Records, 2013), a collection of previously unreleased tracks and demos.

We’re equally thrilled to present an exclusive track by another of Ireland’s best-loved and consistently intriguing songwriters, Katie Kim (the pseudonym for Waterford-born Katie Sullivan). With two full-length albums to date (2008’s “Twelve” and 2012’s double LP “Cover&Flood”) a third LP, entitled “Salt”, is scheduled for release later in 2016. Katie Kim has supported the likes of Low and Slint to date while her diverse influences stem from the realms of experimental, folk, post-rock, shoegaze, ambient and outsider folk.

Also presented in May’s mixtape is a number of long-established cornerstones to the independent music scene who have debut records for their latest projects: Four-piece Liima features Efterklang’s Mads Brauer, Casper Clausen and Rasmus Stolberg who are joined by Finnish percussionist Tatu Rönkkö. The band’s 4AD debut is entitled “ii”.
Dieterich & Barnes is the new collaboration between Jeremy Barnes (A Hawk And A Hacksaw, Neutral Milk Hotel) and Deerhoof’s John Dieterich who released their scintillating debut “The Coral Casino” on LM Duplication earlier this year.
“You + Your D.Metal Friend” is the latest improvisational project from Cico Beck (Joasihno, Aloa Input, the Notwist) and Markus Acher (the Notwist, Tied & Tickled Trio, Rayon). The duo’s debut album “Sonnier” is available via the forever-dependable German independent label Alien Transistor.

Fractured Air x Blogothèque – S1E5 | May mix

To Read/listen on La Blogothèque:

http://www.blogotheque.net/2016/05/27/fractured-air-x-blogotheque-s01e05-may-mix/

 

Tracklisting:

01. William S. Burroughs“Origin and Theory of the Tape Cut-Ups” (excerpt) (Sub Rosa)
02. Jóhann Jóhannsson“Melodia (I)” (4AD)
03. Moondog“Each Today Is Yesterday’s Tomorrow” (Columbia)
04. Mark Pritchard“Beautiful People” (feat. Thom Yorke) (Warp)
05. Tim Hecker“Music of the Air” (4AD)
06. Andy Stott“Too Many Voices” (Modern Love)
07. Kaitlyn Aurelia Smith“Envelop” (Western Vinyl)
08. Joasihno“Wondrous Sibling” (Alien Transistor)
09. Dieterich & Barnes“What” (LM Duplication)
10. Liima“Amerika” (4AD)
11. Wildbirds & Peacedrums“Soft Wind, Soft Death” (The Leaf Label)
12. Max Richter“Path 5” (Mogwai Remix / Edit) (Deutsche Grammophon)
13. Adrian Crowley“Milk And Honey” (Unreleased)
14. The Beacon Sound Choir“Drone 1” (excerpt) (Infinite Greyscale)
15. You + Your D. Metal Friend“Sonnier 6” (Alien Transistor)
16. Homeboy Sandman“God” (Stones Throw)
17. DJ Danger Mouse“Interlude” (Self-Released)
18. Dick Dale & His Del-Tones“Angry Generation” (Ace)
19. DJ Shadow“Nobody Speak” (feat Run The Jewels) (Mass Appeal)
20. Ria Bartok“Tu La Revois” (Ace)
21. Julianna Barwick“Same” (Dead Oceans)
22. Georges Delerue“Paul” (Le Mépris OST, EmArcy)
23. Katie Kim“Warm Bait” (Unreleased)
24. Christina Vantzou“Stereoscope” (Steve Hauschildt remix) (Bandcamp)
25. Marissa Nadler“Waking” (Bella Union / Sacred Bones)
26. Harold Budd“Afar” (All Saints)

Compiled by Fractured Air, May 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 x Blogothèque – S1E2| February mix

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Part Two of our mix series for La Blogothèque. We’ve tried to include something here from as many of our favourite labels as possible. Also included is a short excerpt from an interview we did with the legendary Los Angeles-based folk singer Linda Perhacs (to coincide with the release of her second solo LP “The Soul Of All Natural Things” on Asthmatic Kitty in 2014). February’s mix also comprises a few original scores to films (“Belladonna of Sadness”, “#HORROR”, “Mistress America” and “Mustang”) where each soundtrack certainly conveys a very singular mood and spirit for their respective subjects (and films). While it’s a little foolish to single out a particular song/artist (isn’t that the complete opposite of what a mixtape is supposed to be?) we would like to conclude by mentioning someone very special whom we only recently discovered: Tia Blake (thanks to Josh Rosenthal’s gorgeous book “The Record Store of the Mind”); her sole album was 1971’s “Folksongs And Ballads” (by “Tia Blake and her folk-group”), a most beautiful and precious thing indeed.

fracturedairmix_feb16

 

Fractured Air x Blogothèque – S1E2 | February mix

To Read/listen on La Blogothèque:

 english: http://en.blogotheque.net/2016/02/23/fractured-air-x-blogotheque-s01e02-february-mix/

 

Tracklisting:

01. Fire!“She Bid a Meaningless Farewell” (Rune Grammofon)
02. Dawn of Midi“Ijiraq” (Erased Tapes)
03. nonkeen“chasing god through palmyra” (R&S)
04. 1115“The Drowned World I” (Alien Transistor)
05. Julia Holter“Vasquez” (Domino)
06. Kaitlyn Aurelia Smith – “Arthropoda” (Western Vinyl)
07. Cool Maritime“Spring” (Leaving)
08. Linda PerhacsInterview (excerpt) (Fractured Air)
09. Linda Perhacs“Parallelograms” (Kapp/Sunbeam)
10. Jóhann Jóhannsson with Hildur Guðnadóttir & Robert Aiki Aubrey Lowe“End of Summer Part 4” (excerpt) (Sonic Pieces)
11. Bob Dylan“Father Of Night” (Columbia)
12. Lubomyr Melnyk “Sunshimmers” (Erased Tapes)
13. Lee Hazlewood“Hands” (MGM, Ace)
14. Masahiko Sato“Valle Incantata” (Belladonna of Sadness OST, Finders Keepers)
15. The Fabulous Luckett Brothers“Help Me to Carry On” (Honest Jon’s)
16. A Hawk And A Hacksaw“Wedding Theme (Ukraine)” (LM Dupli-Cation)
17. Calexico“When Only The Ashes Are Left” (Our Soil, Our Strength)
18. Thomas Köner“Tiento de la Luz 4” (excerpt) (Denovali)
19. Ricardo Donoso“Morning Criminal” (Denovali)
20. EMA“Amnesia Haze (Vox & Guitar Only)” (#HORROR OST, City Slang)
21. Dean Wareham & Britta Phillips“Mistress America” (Mistress America OST, Milan)
22. Alex Smoke“Fair Is Foul” (R&S)
23. Lord RAJA“Footwork” (Ghostly International)
24. Roly Porter“In System” (Tri Angle)
25. Warren Ellis“Mustang” (Mustang OST, Milan)
26. Tia Blake “The Rising of the Moon” (Water)
27. Langley Schools Music Project“Space Oddity” (Bar/None)
28. Qluster“In deinen Händen” (Bureau B)

Compiled by Fractured Air, February 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/