FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Katie Kim

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/

Fractured Air x Blogothèque – S01E10 | October mix

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fracturedair_oct16

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: Xylouris White

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Interview with George Xylouris & Jim White.

All these things forge our sound and make us more who we are and where we are from. Pictures and sounds, deserts and forests and towns and sky and people, and I woke up in the bus in Arizona at 6 in the morning at sunrise and everything was pink, I’d never seen anything like this.”

—George Xylouris

Words: Mark Carry

george and jim

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 collaborations over the years (Nina Nastasia, Cat Power, Bill Callahan, PJ Harvey, Nick Cave, to name a few). Both have harnessed truly unique and unparalleled playing styles and levels of musicianship in their respective instruments where inspiration seems in endless supply at all times.

A catharsis of energy is unleashed throughout ‘Black Peak’ with an incredible force and unwavering beauty that has become one of the treasured hallmarks of the duo’s incendiary sound (ever since the duo’s 2014 debut full-length ‘Goats’). A wider sonic palette is masterfully explored here with the addition of George Xylouris’s immense baritone vocals (on several tracks) and a myriad of special guests from the extended Xylouris family (George’s father Psarandonis and Will Oldham carve beautiful new textures and colour to the duo’s visionary sound), further heightening the revelatory experience that awakens with each pulsating beat and enriching narrative.

If ever a song embodied the spirit of a record it comes with the closing epic ballad ‘The Feast’. A rich tapestry of otherworldly sounds gloriously ascends amidst a whirlwind of life’s fleeting moments. George’s father Psaradonis takes the lead role: his soaring lyra and voice weaves majestically around his son’s hypnotic lute playing and White’s joyous and sprawling drums. The Last Waltz. The gorgeous, sombre feel could be any one of Bonnie ‘Prince’ Billy’s deeply moving records and shares the infinite possibilities and sacred space of Dirty Three’s Ellis, White and Turner.

The sheer expanses covered on ‘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’. Worlds drift in. Ancient traditions are interwoven with contemporary, avant-garde musical structures, forever embedded deep inside a mysterious, enchanting and cosmic space.

Bret Easton Ellis began his introduction to John Williams’s vintage novel ‘Butcher’s Crossing’ by saying: “A novel is about the opening of consciousness, in both the characters who inhabit the fictional narrative as well as that of the reader envisioning the novel in their head as they explore the terrain the author has laid out.” Just like the sweeping, intimate portrait of (central character) Will Andrews’s search for a new way of living, ‘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 available now on Bella Union.

https://www.facebook.com/XylourisWhiteBand/
http://bellaunion.com/

Fractured Air & Plugd Records present XYLOURIS WHITE w/ KATIE KIM

TDC, Triskel Arts Centre, Cork Friday 28 October 2016 Tickets: €15 (ORDER ONLINE HERE)

xw-pic-web

Interview with George Xylouris & Jim White.

Congratulations on the stunning sophomore full length ‘Black Peak’. Firstly, there is new sonic terrain covered on ‘Black Peak’ with the addition of your immense baritone vocals, and a wider sonic palette is masterfully drawn from, with special guests from the extended Xylouris family also deployed. Please take me back to the making and recording of ‘Black Peak’ and please recount for me the recording sessions? What was the studio set-up and how long did the recording take?

George Xylouris: BLACK PEAK is recorded in different studios around the world, New York, Providence, Crete, Iceland, we were on tour at the time we were recording. That’s one of the reasons we call the album Black Peak, not only because of the song about the mountain above where I’m from but also the symbol of linear B (Minoan script) for this mountain and its sister peak which maybe means the horizon (anthropological theory).

The first song recorded for the album was Forging, recorded at Guy’s studio and it also helped us with direction for the record. We recorded Black Peak (the song) in Queens, The Feast was from Guy’s in New York and finished in Crete with my father singing and playing, and Erotokritos was finished in Louisville the day we played a show there, the studio set up is different depending where we were.

In Rethymnon you can hear the birds from the open windows singing with Psarandonis. Hey Musicians! was the first time we played this song, we recorded it in Iceland in a studio that used to be a swimming pool and we played in the bottom of the pool. We recorded many songs like that, but this was the first song we recorded that day. It tells about somebody asking the musicians to tune up their instruments because he wants to sing about his old loves and he wants the air to take the words away where his loves hang out, those ones who loved him and those that lied to him and he’s got a lot to take out of his heart in a love way and then when his fantasy party finishes he says to the musicians to hang up their instruments and put them in their cases because music never ends.

A catharsis of energy is unleashed throughout ‘Black Peak’ with an incredible force and unwavering beauty that becomes one of the trademarks of the Xylouris White sound. For example, the aesthetics of the record is another important aspect, where gripping intensity of the more rock fuelled anthems (‘Forging’ and ‘Black Peak’ at the beginning) is joined with epic ballads such as album closer ‘The Feast’. In what way do you feel your live tour of your debut album help shape the songs off ‘Black Peak’. It is this energy between the pair of you – this resolutely unique duo – that evokes such a shape-shifting, enriching and incomprehensible sound. Please talk me through the creative process and indeed the space you each create that forms the bustling heart of Xylouris White? 

GX: Thanks for your comments.

We’ve played a lot of concerts in a lot of places since the release of Goats and we like to do that, a lot of time together a lot of sound checks, traveling, concerts, talking, listening, and traveling to the horizon all the time, ahead. All these things forge our sound and make us more who we are and where we are from. Pictures and sounds, deserts and forests and towns and sky and people, and I woke up in the bus in Arizona at 6 in the morning at sunrise and everything was pink, I’d never seen anything like this.

Are any of the new tracks actual traditional songs?

GX: The lyrics of Erotokritos is from the 14th century. There are different melodies – different ways to sing the words depending on the area in Crete; it’s a love epic song 10,000 couplets, we cover around 15.

Pretty Kondilies is a traditional dance and that type of melodies are traditional, there are many choices and you choose and put them in a row and often people and musicians improvise the words on the spot. it depends the situation and their feelings, the arrangement is ours.

Please discuss the rich musical lineage of the Xylouris family and indeed the players – past and present – that comprise the Xylouris Ensemble. Also, there is a beautifully vivid sense of place in your music, something that resonates powerfully with The Dirty Three and how a sense of journey always finds a way into the music, and Xylouris White is certainly no exception. Can you explain the importance of travel and the act of travelling must have on the music you create? I always feel it could be music to an epic road-trip through many journeys past.

GX: I grew up in a musical family, my uncles, father, brother and sisters, my villagers who were also feel like my family and many of my friends, we grew up together playing music and soccer in the village, and hung around in the sides of the village and cut wood and would pretend it’s a lute, and play, singing the sounds and that’s one of our fun and enjoyable games, and we also mimic dancers and musicians from our village. So I grew up playing mandolin and serenading around the village many, many times, and hung out with older people, who wanted me to play for them, to sing and have all the sounds of the wedding and parties in the square and later on when I was thirteen I left school and I went with my father to play all around the island as a full-time musician and soon I understood what I wanted do with my life.

Later on I had the opportunity to travel with my father and met many other musicians and singers and dancers and kept in touch with them through the years, exchange ideas and hear other music, keep in touch and play music all these years, unstoppable, and when I was 27 we went to Australia to play with my father and I stayed there for 8 years. A few friends and family there happened to be musicians from different traditions and background and that’s how we started Xylouris Ensemble, and that’s also when Jim and I met in the late 80s and later on Dirty Three started and they invited me to play as a guest etc.

What are your earliest musical memories?

GX: Listening to my Dad rehearsing at my grandfather’s house, a couple of my Dad’s friends were there and one is a really beautiful and unique dancer and I remember that and I never forget that I heard the melodies I already knew and I saw my Dad try to play those melodies in a different way, put more or less in, different bows and try in that way to cover the dance, talking with the dancer and tried to drive them connected to the dance and that was a huge experience and I discovered that you could play the same thing in different ways and I noticed it was for them the most important thing that was happening in the whole world , like a meeting of the big countries having a summit to save the world.

Jim White: My parents playing Bob Dylan records at parties at my house.

As masters of your chosen instruments, I would love for you to discuss your first encounter with the drums and lute?

GX: In the square at a wedding listening to my uncle Yiannis play the lute. 

JW: Listening to records and loving it but having no understanding of it at all, and then making a band with my friends which never even got together once but I decided to choose drums.

What musical philosophy you feel has remained true to you throughout these years? 

GX: To quote my Dad, – he doesn’t play with meters he plays with kilometres.

JW: Trying to understand the drums from the basics.

Can you recount for me your memories of first meeting one another? It’s amazing to think this occurred even before the beginnings of Dirty Three, another factor to what makes this duo so special and unique. 

GX: I met Jim through friends at a party, and then again when I saw Venom P. Stinger play.

JW: At a party through friends when George couldn’t speak any English, and then playing by himself at a bar in the city and then later Xylouris Ensemble by the river. 

What is your compositional approach? I wonder has the process changed or developed in any way from the debut ‘Goats’? 

GX: Everything changes. Nothing stays stable. Next year will be different again! We don’t know what we are exactly looking for but we face our direction.

The closing ballad ‘The Feast’ represents the finest moment of ‘Black Peak’s rich tapestry of otherworldly sound. The music of Xylouris White feels at once steeped in an age-old tradition of folk music and the wide expanses of experimental nuances. Can you talk me through the construction of this song and the addition of lyra & voice? It must be exciting to be playing some of these songs more stripped down as a duo (minus the added instrumentation of the guests), I wonder do the songs mutate or evolve in any way over the course of a long tour?

JW: This song is an improvisation on a melody we recorded at Guy’s house in New York, we had that and liked it very much and later on in Rethymnon at Aristotelis’ studio with the windows open on a hot day the birds came and started singing with Psarandonis (George’s dad) and George.

The words are about someone, he’s going to marry the moon and because he loves that moment he writes the lyrics and the moon is in and out of the clouds and he calls to the mountains because he is so happy “hello friends, how heavy you are, as much as I love you” and he calls earth his mum and the sky his dad and he asks them to come to his wedding with the moon because that’s what he feels is so beautiful that he loses his mind and wants marry the moon.

 

‘Black Peak’ is available now on Bella Union.

https://www.facebook.com/XylourisWhiteBand/
http://bellaunion.com/

Fractured Air & Plugd Records present XYLOURIS WHITE w/ KATIE KIM

TDC, Triskel Arts Centre, Cork Friday 28 October 2016 Tickets: €15 (ORDER ONLINE HERE)

Written by admin

October 18, 2016 at 2:02 pm

Fractured Air x Blogothèque – S01E09 | September mix

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fracturedair_sep16

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/

Central And Remote: Katie Kim

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“You really don’t know if it’s day or night when you’re in there and that was more than perfect for me. Every now and then, you’ll hear the trains approaching and rolling above your head and it’s one of the most beautiful sounds.”

—Katie Kim

Words: Mark Carry, Photographs: Terry Magson

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One of Ireland’s finest and most intriguing songwriters, Dublin-based and Waterford-born Katie Kim has two albums to date, beginning with the 2008 debut solo album “Twelve” and 2012’s seminal masterwork, the double album “Cover&Flood”. Also available is “The Feast”, a collection of ten previously unreleased remixes of songs from “Cover&Flood” while the “VALUTS” series compiles various unreleased songs. The highly anticipated third studio album ‘Salt’ will be released on the 14th October 2016 (500-limited heavy weight vinyl can be pre-ordered here). “Salt” was recorded in a self-built recording and artist space in Dublin called Guerrilla Studios which has become an integral part of the Independent Irish music scene. Since Cover and Flood Katie has toured the Netherlands, Germany and Belgium playing mostly sold out venues.

Katie Kim has supported the likes of Low and Slint to date and her influences stem from the realms of experimental, folk, post-rock, shoegaze, ambient and outsider folk. Kim’s distinctive sound is characterized by her fragile vocals, breath-taking lyricism and a constant striving for both purity and simplicity in her truly unique and utterly beguiling recorded output (akin to Grouper’s Liz Harris or early period Cat Power) casting a deeply profound spell on the listener in turn.

Delving into Katie Sullivan’s cherished songbook, the listener is catapulted deep inside a realm of raw emotion and blissful transcendence. The home recordings captured on debut full-length ‘Twelve’ shared the glittering spark of Cat Power’s deeply-affecting songbook (particularly ‘Moon Pix’ or ‘You Are Free’) where a lo-fi warmth and wonderful minimalism floats beneath the Irish songstress’s deeply-affecting voice. ‘Oak Tree’, the album’s towering penultimate track is a sparse folk blues ballad that could just as easily be one of Chan Marshall’s eerie folk tales.

The sonic envelope is pushed much further on the 2012 follow-up ‘Cover&Flood’, revealing soaring soundscapes and immaculate instrumentation. The introspective, slow-burning songs (twenty tracks across this defining double-record) and utterly hypnotic quality almost immediately felt like songs you’ve known all your life. The timeless nature of ‘Cover&Flood’ is exactly the reason why the soon-to-be-released follow-up ‘Salt’ comes with such feverish excitement and genuine anticipation. It is clear from the album teaser, ‘Salt’ sees the revered musician explore deeper into the ethereal dimension, for which she has long ago established.

‘SALT’ will be released on 14th October 2016 (500-limited heavy weight vinyl) can be pre-ordered HERE.

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

katie kim

Interview with Katie Kim.

Huge anticipation surrounds your forthcoming full-length release of ‘Salt’, which reflects again just how special and wholly unique your sacred songbook is to so many people. I would love for you to discuss the making of the new record? In terms of the recording and sonic terrain explored on ‘Salt’, the songs go deeper and further than ever before and creates a most captivating experience in turn. Please shed some light on your priorities/objectives you had in mind for the new record? I can also imagine the simple factor of time (being on your side) – and allowing the songs to slowly evolve and blossom – also helped shape these new songs into glittering life?

Katie Kim: Before this year I was always writing or playing. At home mostly and then bringing new half formed songs to live shows and playing them for a while before I got bored and moved on to the next one. So I nearly always have all these little “things” hanging around sometimes getting played, sometimes not, sometimes I record them at home, sometimes not. So the ones that stayed with me, I made part of SALT. Sonically it was a partnership with John Murphy. He brought it to quite a dark place. I mean we had to trim a lot off the endings of many songs where he went deeper and deeper into great big guttural soundscapes because we wouldn’t be able to fit them on the vinyl otherwise. So we had to meet a happy medium. Regarding time though, it was never an issue. Well I suppose actually it is, because I can’t spend too much time on anything or it loses life. It degrades for me.

The recording space is vital to the (resultant) sound of an album. On previous releases such as the seminal ‘Cover&Flood’, I fell in love with that DIY aesthetic/home recording warmth that permeates throughout those sparse recordings. ‘Salt’ sees you recording in a self-built recording and artist space in Dublin. What were your first impressions of the space itself and what do you feel led you to choose Guerilla Studios as the recording space for the latest album? I would love to gain an insight into the studio itself and what were the equipment and actual set-up utilized for sculpting these new tracks?

KK: Well we all (meaning John, myself, Ian Chestnut and Elly from Percolator) were looking for a rehearsal space /potential recording studio for John, in Dublin and a project didn’t scare us. In fact, it was preferable. So a big one fell through and we came across the three arches on the North Strand road. Under a railway track. It was an old garage. Patrick Kelleher’s rehearsal space was next door. It was reasonable, so we took it and started the work. I can’t claim much of the hard graft mind! But I painted and cleaned and scrubbed to help until it was what it is presently.

So we had a place to play, John had a place to record, so organically SALT had to be created there. I’ve never felt so comfortable recording than I did there. John has a mix of beautiful vintage tape machines and a big old wooden analogue mixing desk along with some digital equipment, but the main feeling is one of quietude. You really don’t know if it’s day or night when you’re in there and that was more than perfect for me. Every now and then, you’ll hear the trains approaching and rolling above your head and it’s one of the most beautiful sounds.

The single ‘Foreign Fleas’ – released last year – gave a lovely taster in many ways of the new sonic explorations you’ve been gravitating towards. For example, the masterful production and beautifully sculpted layers of drone-infused sound conjures up the sound of Portishead or Grouper’s Liz Harris. Can you talk me through the production stage itself and indeed the collaborative process between you and John Murphy. I can imagine it must be very rewarding to witness how the bare bones of a song is transformed as a result of the subsequent happenings undertaken by the various music-making stages?

KK: It was very relaxed. John is part of my band, so I never felt like I couldn’t say anything if I was uncomfortable with the way things were progressing. I’m the first to admit I can be extremely particular. I know this has sometimes been problematic in the past when working with people in other areas but with John, we really understand each other, so it was fun and I learned from him and for him he was interested in the vocal production element so we bounced well off each other. It was a really fluid organic process.

I fondly recall your live show in Cobh at the Sirius Arts Centre last year. The hypnotic effect created by your looped harmonies unleashes an ocean of raw emotion, which belongs in its own realm of utter transcendence. This magic and sheer beauty is etched across the canvas of ‘Salt’, where an intimacy is forever captured. Can you talk me through the layering process and particularly for your voice? I also love the minimal nature of the music formed but just how much is obtained from a minimal framework. I imagine there are some challenges posed by adding layers and knowing when you have enough, so to speak?

KK: The looping began because I felt quite bare when I initially started playing live. When I recorded I would go down wormholes for hours adding layers upon layers of vocals and I missed that when I played in public. So I bought the pedal and it became an extension of the live show which I really had fun with. It’s the looping that people would really grab onto at shows and still do, but I’d hate for it to become a gimmick. So I’m trying not to rely too much on it these days, getting ready for the upcoming shows. It’s a little trickier now that I play quite a bit more piano, but I still like to use it for sonic reasons here and there. Knowing when enough is enough is purely due to technical reasons. After a certain point the sound starts to distort and although I don’t mind that, it doesn’t translate well in venues. Otherwise I could lose the run of myself. It would probably be horribly self-indulgent!

Collaboration is an important part to your music, Katie. I would love to gain an insight into the collaboration between you and Crash Ensemble for instance, who will be arranging your new songs for a special show? The new perspectives a collaborative partner must bring to your own music must always feel quite revelatory and as a listener, gives new insight into a musician’s music. I also love the many other collaborations you have been part of, not least the beautiful ‘Some Blue Morning’ – and subsequent European tour – by Adrian Crowley.

KK: I’m so excited for The Crash show. Sean Clancy is spearheading the arranging and he’s an absolute master. It’s good to collaborate when it’s right. Sometimes it doesn’t always fit. Even though all the numbers look right on paper, the solution isn’t always the right one. It’s happened a few time in the past, so it’s great when something works. Like Some Blue Morning. I think that’s such a beautiful album. When Adrian sent the songs over for me to hear and play around with, I didn’t have to spend any time sitting with them. I felt like I’d known them already, for a long time.

What were your earliest musical memories, Katie? I wonder how soon did you realize the importance music would have in your life? I love how each record of yours represents a special document – and distinct moment in time -yet each one very much belongs to one distinct realm of endless possibilities. Who were the musical voices that guided you on your own musical path?

KK: It’s been fairly well documented by me that The Carpenters, Mariah Carey and Queen were my childhood! But kneaded into all that I remember my sisters having the “Twin Peaks” soundtrack and Julee Cruise’s voice was the most mysteriously beautiful thing I had ever heard up to that point. Most young girls sing with the hairbrush in the mirror and I was no different, but I remember buying a little notebook when I was very young. Maybe 8 or 9 to write songs in. I had no instrument at that time but I would just make up melodies to go along with them, so that may indicate a deeper interest in songwriting.

Lastly, I’d love to know what records, films, books that have made a big impact on you, Katie?

KK: So many. The most formative time for me was around 14. I got my first guitar, me and my friends started smoking and drinking and discovering people like Harmony Korine and Larry Clarke. “Kids” was a mind blower when I first watched it. We were all deathly silent watching that movie together in my first boyfriends house. Watching that for the first time as a teenager in Waterford was eye opening. I loved documentaries. I watched Instrument repeatedly. There’s a beautiful Low documentary that follows them around on tour [“Low In Europe”, Plexifilm, 2004] that I had but was taken at a party and I could never find it again. Don’t Look Back and The Year That Punk Broke, Jean Michel Basquiat The Radiant Child. I wore tapes and CD’s out. Cocteau Twins Treasure, Radiohead’s Amnesiac, Elliott Smith Either Or, Low I could live In Hope, Cat Power – Everything. Stina Nordenstam – Everything. Sibylle Baier Colour Green, Beck One Foot In The Grave, Sonic Youth Evol, John Jacob Niles, John Lennon, Sebadoh, and I can’t forget Nine Inch Nails Downward Spiral. I listened to that record for 5 straight years.

Books – The Ass Saw the Angel by Nick Cave (this was a big one for me and inspired more than one track on Cover & Flood) In Watermelon Sugar by Richard Brautigan, Bastard Out of Carolina by Dorothy Allison, and more recently The First Bad Man by Miranda July is weirdly wonderful.

Movies have probably inspired me musically more than anything else. I loved and still do love a well compiled soundtrack, whether it be an original score or otherwise. Big ones for me would be Gummo, Blue Velvet, Twin Peaks, Kids, The Doom Generation, The Tree of Life soundtrack is heart-breaking.

 

‘SALT’ will be released on 14th October 2016 (500-limited heavy weight vinyl) can be pre-ordered HERE.

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

Katie Kim performs with Crash Ensemble at the Engage Arts Festival, Bandon, Cork on Friday 30th September at The Court House, Bandon (TIX & INFO HERE).

Fractured Air & Plugd Records present XYLOURIS WHITE (Greece’s George Xylouris plus Dirty Three’s Jim White) with very special guest KATIE KIM at the TDC, Triskel Arts Centre, Cork on Friday 28 October (TIX & INFO HERE).

 

Written by admin

September 26, 2016 at 8:17 pm

ANNOUNCEMENT: Xylouris White (AUS/GRE, Bella Union) plus special guest Katie Kim (IRE) / TDC, Triskel Arts Centre, Cork / Fri. 28 Oct. 2016

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Fractured Air & Plugd Records present
XYLOURIS WHITE plus special guest KATIE KIM
TDC, Triskel Arts Centre, Cork
Friday 28 October 2016
Tickets: €15 (ORDER ONLINE HERE)

xylouris_white_poster_a2_craigcarry

 

george and jim

Xylouris White (Jim White with George Xylouris)

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 collaborations over the years (Nina Nastasia, Cat Power, Bill Callahan, PJ Harvey, Nick Cave, to name a few). Both have harnessed truly unique and unparalleled playing styles and levels of musicianship in their respective instruments where inspiration seems in endless supply at all times. Xylouris White create the kind of celestial, contemporary and powerful music which blurs all boundaries and constantly defies all categorization (and logic) in the process.

When Xylouris White recorded their second album ‘Black Peak’ – released via Bella Union on 7th October 2016 – this most intuitive and inquisitive of duos did what comes naturally to them: expanded their horizons. For the legendary duo, one aim was to extend a core metaphor of their ruggedly visionary debut album, 2014’s ‘Goats’. “Like goats walking in the mountain” is Xylouris’s poetic analogy for their approach: “They may not know the place, but they can walk easily and take risks and feel comfortable. Really, the goats inspired us.”

That exploratory pitch is matched by the majestic Black Peak, named after a mountain top in Crete and, says Xylouris, “recorded everywhere”. A peak in both artists’ careers, the album testifies to their determination to stretch the scope of their instruments and forge something vigorously questing from more traditional roots. Where ‘Goats’ was mostly instrumental, Black Peak gives Xylouris’s full-force baritone a lead role. And where Goats was often frisky, its tumultuous, tender and terrifically expressive follow-up drives harder and dives deeper.

http://www.xylouriswhite.com

https://www.facebook.com/XylourisWhiteBand/

katie kim

Katie Kim

One of Ireland’s finest and most intriguing songwriters, Dublin-based and Waterford-born Katie Kim has two albums to date, beginning with the 2008 debut solo album “Twelve” and 2012’s seminal masterwork, the double album “Cover&Flood”. Also available is “The Feast”, a collection of ten previously unreleased remixes of songs from “Cover&Flood” while the “VALUTS” series compiles various unreleased songs. The highly anticipated third studio album ‘Salt’ will be released on the 14th October 2016 (500-limited heavy weight vinyl can be pre-ordered here). “Salt” was recorded in a self-built recording and artist space in Dublin called Guerrilla Studios which has become an integral part of the Independent Irish music scene. Since Cover and Flood Katie has toured the Netherlands, Germany and Belgium playing mostly sold out venues.

Katie Kim has supported the likes of Low and Slint to date and her influences stem from the realms of experimental, folk, post-rock, shoegaze, ambient and outsider folk. Kim’s distinctive sound is characterized by her fragile vocals, breath-taking lyricism and a constant striving for both purity and simplicity in her truly unique and utterly beguiling recorded output (akin to Grouper’s Liz Harris or early period Cat Power) casting a deeply profound spell on the listener in turn.

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

https://katiekim.bandcamp.com/

Fractured Air & Plugd Records present
XYLOURIS WHITE plus special guest KATIE KIM
TDC, Triskel Arts Centre, Cork
Friday 28 October 2016
Tickets: €15 (ORDER ONLINE HERE)

Written by admin

September 7, 2016 at 1:58 pm

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/