FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Kiasmos

Fractured Air x Blogothèque – S1E6 | June mix

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fracturedairmix_june16

We’re delighted to present two exclusive tracks by the world-renowned Berlin-based contemporary classical music collective stargaze. Founded by German conductor André de Ridder, stargaze comprise a network of classically trained European musicians who have performed and collaborated extensively in a wide variety of contexts to date.

The German-based collective have worked with some of the most acclaimed and forward-thinking contemporary music-makers, including: Julia Holter, Nils Frahm, Bryce Dessner, Sonic Youth’s Lee Ranaldo, A Hawk and a Hacksaw, Shara Worden, Owen Pallett, These New Puritans and many more; and have appeared at prestigious festivals and venues including: the Holland Festival, Barbican Centre London, Acht-Brücken-Festival at Cologne Philharmonie, Crossing Borders Festival, Wonderfeel Festival, Kaltern Pop Festival, Berlin Pop-Kultur, Rewire Festival (NL).

Another vital element of the stargaze repertoire in recent years has been amassing their considerable collection of instrumental works. These have included: Deerhof Chamber Variations by Greg Saunier; string quartets by Sufjan Stevens and Bryce Dessner as well as David Lang’s composition Death Speaks; Mica Levi’s Under The Skin and Richard Reed Parry’s Music for Heart and Breath.

Presented exclusively for June’s mixtape are stargaze’s analogue arrangements of Boards of Canada’s EP “Hi Scores”, performed live at Motel Mozaïque in Rotterdam during April 2016. Arrangements are by Aart Strootman.

Staying in Berlin, also included in June’s mixtape is the highly acclaimed Hamburg-born and Berlin-based guitarist and composer Martyn Heyne who released his gorgeous debut solo E.P. “Shady & Light” this year (available as a free download from http://martynheyne.com). Heyne has long been associated with countless musicians in the independent music scene as they have recorded at Lichte, Heyne’s Berlin-based home studio (Sarah Neufeld, Nils Frahm, Lubomyr Melnyk, Peter Broderick). Heyne was also a touring member with Danish group Efterklang during their 2013 “Piramida” tour.

Finally, June also saw the release of Irish songwriter Brigid Mae Power’s masterful self-titled album (her first for U.S. independent Tompkins Square). The album was recorded in 2015 with Peter Broderick at The Sparkle, his hometown studio in Portland, Oregon.

 

Fractured Air x Blogothèque – S1E6 | June mix

To Read/listen on La Blogothèque:

http://www.blogotheque.net/2016/06/27/fractured-air-x-blogotheque-s01e06-june-mix/

 

Tracklisting:

01. Brigid Mae Power“Watching The Horses” (Tompkins Square)
02. Sarah Neufeld“Chase the Bright and Burning” (Paper Bag)
03. The Flaming Lips “The Observer” (Warner Bros.)
04. s t a r g a z e“Everything You Do Is A Balloon” (live at Motel Mozaïque, Rotterdam, 09/04/16)
05. Arthur Russell“Instrumentals – 1974 Volume 1” (Rough Trade, Audika)
06. Oliver Coates“Innocent Love” (PRAH Recordings)
07. Jessy Lanza“It Means I Love You” (Hyperdub)
08. Moderat “Finder” (Monkeytown)
09. Jamie xx & Four Tet“SeeSaw” (feat. Rome) [Club Version] (Young Turks)
10. Kiasmos “Swayed” (Erased Tapes)
11. Ólafur Arnalds & Nils Frahm“23:52” (Erased Tapes)
12. Boards Of Canada“Sunshine Recorder” (Warp)
13. Radiohead“Full Stop” (XL Recordings)
14. Explosions In The Sky“The Ecstatics” (Bella Union)
15. MJ Guider“Lit Negative” (Kranky)
16. Julee Cruise“Mysteries Of Love” (Warner Bros.)
17. Angel Olsen“Intern” (Jagjaguwar)
18. Martyn Heyne“Brandung” (http://martynheyne.com)
19. Roslyn Steer“Of A Sunday” (Kantcope)
20. Bob Dylan“Final Theme” (Pat Garrett & Billy The Kid OST, Columbia)
21. s t a r g a z e“Nlogax / Turquoise Hexagon Sun” (live at Motel Mozaïque, Rotterdam, 09/04/16)
22. Bill Fay“The Sun Is Bored” (Deram, Decca)
23. Amiina“Kola” (Lighthouse Version) (Sound Of A Handshake)

Compiled by Fractured Air, June 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/

Mixtape: This Uneven Thing [A Fractured Air Mix]

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This Uneven Thing [A Fractured Air Mix]

To listen on Mixcloud:

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

 

Tracklisting:

01. Antonio Sanchez ‘Get Ready’ [‘Birdman’ OST/Warner Jazz]
02. A Winged Victory For The Sullen ‘ATOMOS I’ [Erased Tapes/Kranky]
03. Ariel Kalma ‘Almora Sunrise’ [RVNG Intl]
04. Alasdair Roberts ‘This Uneven Thing’ [Drag City]
05. Teho Teardo ‘The Outside Force’ [‘Ballyturk’ OST/Specula]
06. Erik K Skodvin ‘Shining, Burning’ [Sonic Pieces]
07. Black to Comm ‘Hands’ [Type]
08. A New Line (Related) ‘The Slow Sound of Your Life’ [Home Assembly Music]
09. Kiasmos ‘Bent’ [Erased Tapes]
10. Thom Yorke ‘Guess Again!’ [Self-Released]
11. Antonio Sanchez ‘Doors and Distance’ [‘Birdman’ OST/Warner Jazz]
12. Charles Mingus ‘Slop’ [Columbia]
13. Mogwai ‘The Lord Is Out of Control’ (Nils Frahm Remix) [Rock Action]
14. Peter Broderick ‘Colours of the Night (Satellite)’ (Greg Haines Dub Mix) [Bella Union]
15. Noel Ellis ‘Memories’ [Summer/Light In The Attic]

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

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

Mixcloud / Facebook / Twitter

 

 

Mixtape: I Used To Dream [A Fractured Air Mix]

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I Used To Dream [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-used-to-dream-a-fractured-air-mix/

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Tracklisting:

01. Nicolas Jaar ‘Être’ [Circus Company]
02. Kiasmos ‘Looped’ [Erased Tapes]
03. Jon Hopkins ‘Abandon Window’ (Moderat Remix) [Domino]
04. Rival Consoles ‘Recovery’ [Erased Tapes]
05. Clark ‘There’s A Distance In You’ [Warp]
06. Junior Boys ‘You’ll Improve Me’ (Caribou Remix) [Domino]
07. Caribou ‘Mars’ [City Slang / Merge]
08. Sun Ra ‘Angels And Demons At Play’ [Strut]
09. Alfonso Lovo ‘Sinfonia Del Espacio De Do Menor’ [Numero Group]
10. Les Sins ‘Why’ (feat. Nate Salman) [Company]
11. Andy Stott ‘Faith In Strangers’ [Modern Love]
12. Glissandro 70 ‘Portugal Rua Rua’ [Constellation]
13. Ariel Pink ‘Dayzed Inn Daydreams’ [4AD]

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

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

Mixcloud / Facebook / Twitter

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Mixtape: I Set My Face To The Hillside [A Fractured Air Mix]

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I Set My Face To The Hillside [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-set-my-face-to-the-hillside-a-fractured-air-mix/

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Tracklisting:

01. Alexandre Desplat ‘The Heroic Weather-Conditions of the Universe, Pt. 1: A Veiled Mist’ [‘Moonrise Kingdom’ OST / ABKCO]
02. Calexico ‘Frontera /Trigger’ (Live) [City Slang / Anti-]
03. Tortoise ‘I Set My Face To The Hillside’ [Thrill Jockey]
04. Igor Stravinsky ‘L’Oiseau de feu (The Firebird Suite): Rondo (Corovod)’ [Revised 1945 Version] [CBS]
05. Lambchop ‘The Distance From Her To There’ [City Slang / Merge]
06. Karen Dalton ‘Take Me’ [Light In The Attic]
07. Emahoy Tsegué-Maryam Guèbrou ‘Evening Breeze’ [Buda Musique]
08. Grouper ‘Clearing’ [Kranky]
09. Choir of Downside School, Purley, Emanuel School Wandsworth, Boys’ Choir & London Symphony Orchestra ‘A Midsummer Night’s Dream, Op. 64: On the Ground, Sleep Sound’ [‘Moonrise Kingdom’ OST / ABKCO]
10. Oneohtrix Point Never ‘Still Life’ [Warp]
11. PASSAGE ‘Poem To The Hospital’ [Anticon]
12. The Notwist ‘Neon Golden’ (Console Remix) [City Slang]
13. Kiasmos ‘Swayed’ [Erased Tapes]
14. A Winged Victory for the Sullen ‘ATOMOS II’ [Erased Tapes / Kranky]
15. Jack Hardy ‘The Tailor’ [Numero Group]

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

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

Mixcloud / Facebook / Twitter

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Step Right Up: Rival Consoles

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Interview with Ryan Lee West.

“I don’t like to construct an illusion, I like the parts to feel special from a less is more approach.”

—Ryan Lee West

Words: Mark Carry

Rival Consoles - press photo_by Lenka Rayn H. Fine Art Photography_PRINT

The closing note on the inner sleeve of the ‘Erased Tapes V Collection’ – a celebration of the pioneering independent label’s first five years reads: “At the end of all music happiness will be erased.” Over a short space of time, the listener and early Erased Tapes music explorer alike, have been blessed to cross paths with such a gifted family of music-makers that have served a trusted companion to each and every turn of day and close of night.

2014 marked the continuation of this special journey with releases from London-based singer-songwriter, Douglas Dare (the wonderful debut full-length ‘Whelm’ in addition to several mesmerising EP’s), the enthralling, dub-based collaborative project of Greg Gives Peter Space (the gifted duo of renowned artists, Peter Broderick and Greg Haines), and soon-to-be-released full-length releases from A Winged Victory For The Sullen (‘Atomos VI’) and Kiasmos (‘Burnt’). In addition, earlier this month saw the eagerly-awaited arrival of Rival Consoles’ (aka Londoner Ryan Lee West) latest EP, entitled ‘Sonne’, – and follow-up to last year’s ‘Odyssey’ EP – an exploration of atmosphere, space and the power of colour with his analogue set-up of the Moog, Prophet and tape delay, and a central desire to create a more organic, humanised sound. As ever, the music contained on ‘Sonne’ reveals an artist’s desire – and innate musical capabilities – to transcend space and time, as an enriching experience is beautifully carved out in the shimmering canvas of sound, just like footprints in the sand.

The glorious title-track, ‘Sonne’ is built on layers of synth patterns that unveils a delicate beauty with each gorgeously-rendered melody and rich dappling of colour contained therein. A softness and tenderness lies at the heart of ‘Sonne’ that gradually transforms into a pulsating ambient tour-de-force, reminiscent of Aphex Twin’s ‘Selected Ambient Works’. The lead single ‘3 Chords’ is a kaleidoscope of enchanting sounds that feels a close companion – existing in a parallel orbit perhaps – to the synth-based works of label-mate, Nils Frahm such is its monumental beauty. ‘Helios’ contains that special spark and driving momentum of UK’s Fuck Buttons as waves of sound and rhythm ascends into the forefront of the mix.

Part B of ‘Sonne’ reveals the musical journey’s most formidable moments. ‘Haunt’ is one of those electronic-based tracks that immediately leaves you dumbfounded. I’m reminded of a previous interview with Nils Frahm where he explained his desire to “translate music into psychology” where the audience would “feel like anything’s possible”. Certainly, this is the case for not only the shape-shifting creations sculpted by Germany’s Nils Frahm but London’s Ryan Lee West too (and indeed the entire roster of Erased Tapes). A dimension of other-worldly proportions is attained here on ‘Haunt’, particularly later on as the live instrumentation of drums and acoustic guitar blends with the soaring synth-based patterns. Music’s endless possibilities shine forth like the ceaseless array of sound waves (and power of colour) captured masterfully by West.

The closer ‘Recovery’ transports me back to an older recording of Rival Consoles, entitled ‘Daddy’ – a haven of electronic bleeps and glitches featuring label-mate Peter Broderick on vocals – combining the synthetic and organic, resulting in something deeply affecting and human. Gentle ripples of synths serve the opening notes to ‘Recovery’ as a sense of healing and solace prevails. As ever, West’s compositions traverses the human space.

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Sonne’ by Rival Consoles is available now on Erased Tapes.

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

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Rival Consoles - studio shot

Interview with Ryan Lee West.

Congratulations Ryan on the incredible ‘Sonne’  EP. After a string of sublime EPs released in a relatively short period of time, your music is constantly evolving and taking on new forms- all the while, a deeply humanised foundation remains at the core. Firstly, please talk me through the new tracks on ‘Sonne’ and if your process or technique –  in creating these sounds – changed in anyway from your previous works?

Ryan Lee West: Thanks! Glad you like it. A very similar approach from Odyssey continued, both are concerned with finding minimal, emotive electronic ideas. The main difference to me is that Odyssey was darker and consistently moody, with this Sonne I tried to use more colour: sounds that feel more vibrant and brighter, hence Sonne (meaning Sun in german), because the title track and others have a lot of light and warmth in them. There is quite a range of techniques throughout the EP, I tend not to milk one technique, for example Sonne is a layered melodic journey of synths almost like a quartet. And this achieves everything through melody and harmony, where as 3 Chords and Helios are about the sound of the parts, the distorted synths rising, recordings of switches, clicks, guitars, vocals, chopped up and recoiled to make shimmering details etc. Recovery is actually born from Philip on Odyssey. because I wasn’t finished with this rapid synth idea. This is the most considered point on the release, where every single chord is placed in time and out of time to form these changes in speed and density, it took a long time to get this right because I need it to sound natural.

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One aspect I love about the latest EP is the presence of live drums and acoustic guitar, in addition to the shimmering electronics. It is obvious listening to your unique blend of electronic music that a huge amount of care, time and attention to detail pours into the music. For these tracks, would the starting point often be an electronic loop and then a case of adding layers? I imagine the instrumentation of drums/guitar is added later? Would there be a significant amount of splicing tracks, and adding/removing layers before the final sonic creation is fully realized?

RLW: Exactly that, though I don’t really work in loops per say. I tend to improvise out a long sequence of ideas and then improvise a second sequence over the top, then if anything interesting has happened I start to construct a sense of structure. But I’m constantly recording in little moments of ambience, or details like drums, guitar etc. The problem is I don’t like over laboured music, so I might add a bunch of stuff, delete a bunch of stuff, but the end result will not be complex to me. I don’t like to construct an illusion, I like the parts to feel special from a less is more approach.

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Your music always enters this special dimension of radiance. For example, the seamless layers contained on ‘Haunt’ evoke a stunningly beautiful world of sound where the listener gets beautifully lost in. I feel your label-mates such as Nils, Peter, and Ólafur all share this innate ability to transcend space and time through the musical compositions you create. Forgive the generalness of the question but I would love to gain an insight into how you see or visualize music? Has the creative process changed in any way for you since the inception of Rival Consoles project?

RLW: Thanks! I usually hear music as a structure I guess, as you get so used to thinking about structure and layering. I think when I first started I was making music it was a product of the latest tricks I learnt and liked. So there is a sense of the music being made up of techniques rather than any kind of meaning. As I’ve got older, I am needing a little more meaning or a more considered angle. so I have thousands of ideas/ techniques/ production ideas in my head, but I think well why would I choose one over the other or any at all? So I guess I am more questioning about what I include. But this doesn’t mean that there are no accidents. I do a lot of improv and some great moments appear that I love. I think I’ve always been interested in a composition achieving something interesting, but as I’ve got older I need to feel that a recording has captured a performance or sensation of something happening. This is my problem with a lot of electronic music is that people spend loads of time editing and effecting and tweaking details to form the illusion of capturing a moment, I prefer to try and create a moment with a more natural approach.

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Can you please take me back to when your fascination with sound began. I would think this started from an early age? Did you start composing music using digital or analogue?

RLW: I started learning guitar when I was 12, and I was really obsessed with learning to play new music. I got pretty good quickly. but I always remember wanting to make music and not to just play it, I have composed music since then really, but I haven’t really had much guidance in this until I was at university, where I was shown a whole world of possibility. So I guess I started with analogue (guitars/bands), I didn’t start making music with a computer until nearly 10 years later! and then it was very much digital for me. But over time it has become more 50/50.  I only use 2 analogue synths now through a chain of hardware,you can make good music with just a laptop if you have god ideas though. For me it is about physically things to play with. I’m not elitist about analogue vs digital at all.

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In terms of electronic music then, what were the early days like experimenting with IDM, glitch and dance? What records during this time made a big impact on you?

RLW: Aphex Twin Come to Daddy EP – incredibly diverse collection of ideas, from the brutality of Come to Daddy, to the softness of Flim, the intelligent exponential rhythms of Bucephalus Bouncing Ball and the nostalgic vibes of Iz Us, I just think the ideas are inspiring and exciting, this made me think about exploring the sounds of instruments more, it’s easy to get a synth sounding ok, but to make it sounds unique takes lots of time and thinking, so this EP made me want to explore this.

Clark Body Riddle – this is the best electronic album ever made in my opinion, it has everything, Herzog is the greatest track. rich, yet simple through line, swelling, pulsating, organic, heavy, melodic, atmospheric, it just does everything I want in such thoughtful ways! It is my favourite electronic composition ever.

Radiohead Kid A – I was a huge fan of Radiohead when OK Computer came out, I would learn all the guitar parts and play them in bands with friends at school. When Kid A came out I didn’t understand it fully, I didn’t like that they had abandoned guitars, but as the years went by I understood what was going on. It’s a very unique album that has it’s own world of sounds and ideas.

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As an accomplished sound designer, you have frequently performed at the Tate, and recently created a bespoke audio-visual performance for Boiler Room at the V&A. I would love to gain an insight into the whole area of sound design, Ryan? Would this aspect of sound design feed its way into your solo project of Rival Consoles, or is it a case of each one having a synergistic effect on each other?

RLW: Lots of sounds that are in modern electronic music are influenced by film, people realised long ago that capturing sounds can be used in a musical way very effectively. I’m always looking for sounds which behave like other things but are different. So instead of using a bass drum I recently have been recording the hammers on my piano falling to a resting position and then compressing the hell out of this! And adding lots of bass etc. I record lots of clicks and switch sounds with a contact microphone to use as percussion. I’m actually in the process of building a board of different switches so I can play this kind of sound live. I guess for me it’s usually to accompany an idea rather than being the idea itself.

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It’s difficult to highlight just one track on the new EP but I adore the closing piece, ‘Recovery’ and the gorgeous electronic loops that build continually throughout. There is a real sense of a climax to the journey here, especially when the analogue synthesizer layer is added, bringing to mind Laurie Spiegel’s pioneering works. Please talk me through this particular song and the construction (or de-construction) of ‘Recovery’?

RLW: I wanted to create a track that messed with sense of time, like time compressing and expanding, but retaining some general direction, this is basically the same technique as used in Bucephalus Bouncing Ball but instead of applying this to rhythm I apply it to harmony so I have repeating chords, which I drew into the computer as midi, which have complex timing and then I drew in huge curves of velocity which also opened the filter. And then basically the computer plays the analogue synth and I record it back into the computer, whilst slightly messing with other parameters like tape delay and pitch. It’s very simple as a process, it’s just very hard to write the right chord progression with the right pace and the right sense of direction. The rest of the track I played in live over the top of existing parts to get it more human. Apart from the drums which are just arranged like a collage.

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In terms of your live performance, I would love to know what is your live set-up? Is there a certain amount of live improvisation, Ryan? It must be a wonderful feeling when you witness a certain piece of music change or transform into new ways, depending on the moment in time the concerts are occurring?

RLW: I have run Ableton which plays back hundreds of stems, little loops, patterns, etc so I can construct tracks differently live, but as I play the prophet a lot, I tend to keep things stripped back live, for example, I have recently been finishing shows with just a contact microphone loop I make and then a improvised wall of synthesis. This is something I have been working on everyday for the past month or so, I have got to a stage where I could improvise a whole set, but the issue is that the musical ideas wouldn’t be as strong as my thought out work, so its about finding a balance between the two. I plan in the future to make it fully live, with other musicians, because that is where the magic happens.

Equipment list: laptop, prophet 8, copycat tape delay, boss dd3, midimurf, boss od3, contact mic, loop pedal, secret granular pedal* and 2 midi controllers.

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Lastly, please discuss the albums you’ve been listening to most these days?

RLW: I’ve been listening to Dawn of Midi, I was late getting round to them. But love some of the things they achieve.

Buke and Base – I heard/saw them at Halden Pop festival and was blown away! I love their 2 albums, incredible melodies and song writing and catchiness and technical moments.

 


 

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‘Sonne’ by Rival Consoles is available now on Erased Tapes.

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

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Written by markcarry

September 30, 2014 at 3:21 pm

Label Of Love: Erased Tapes

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2013 marked the fifth anniversary of the London-based record label Erased Tapes. For the last five years the label have introduced to the world some of the most innovative and original artists making music today. To mark their fifth anniversary, the label released a very special limited edition vinyl box-set last year – the ‘Erased Tapes V Collection’ – which includes previously unreleased recordings by it’s extensive roster of musicians.

Words: Mark Carry, Illustration: Craig Carry
With contributions by: Ólafur Arnalds, Peter Broderick, Nils Frahm

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Last year marked the fifth anniversary of the hugely influential record label Erased Tapes. It is amazing to think that in such a short space of time the label has released some of the most ground-breaking and vital music of recent times, with recordings by artists such as Peter Broderick, Nils Frahm, Ólafur Arnalds and A Winged Victory For The Sullen, amongst many others. Fittingly, on their anniversary year, the label released ‘Corollaries’, the new album by legendary pianist Lubomyr Melnyk, whose pioneering Continuous Music has inspired a generation of musicians. In the same year, Frahm’s highly-anticipated live record ‘Spaces’ documents and effectively captures the pulsating energy of the Berlin composer’s utterly transcendent live shows. 2013 also saw the release of London-based singer-songwriter Douglas Dare’s debut E.P. ‘Seven Hours’ and Peter Broderick’s ‘Float 2013’, newly remastered by Nils Frahm. The box set features exclusive, previously unreleased recordings made by the label’s incredible roster of artists. What makes it all the more exclusive is the fact that the compilation wouldn’t be digitally available until the end of the year (24th December, 2013 to be precise). A must have for music-lovers everywhere. The lovingly assembled and designed box-set (designed by Torsten Posselt at FELD Berlin) is dedicated to its beloved audience – the early Erased Tapes music explorer. I look forward immensely to the next five years as the roster of gifted talents continue to journey into new and unknown horizons of possibilities and wonderment.

The first 7″ contains the electronic wizardry of Rival Consoles (‘Daddy’ feat. Peter Broderick) and Kiasmos’ euphoric minimal techno soundscapes (‘Driven’). Ryan Lee West AKA Rival Consoles creates beguiling electronic creations that encloses an organic sound within the artist’s minimal analogue framework. ‘Daddy’ is a haven of electronic bleeps and glitches that conjures up the sound of German electronic music and the indie-electronic sounds of B. Fleichsmann’s Morr Music output. The opening notes of lazer-guided synths drives the moonlight ballad into a late-night tale of inner-contemplation and reflection. The addition of Broderick’s vocals heightens the track’s exploratory dimension. The vocal shifts in register and loops in layers across West’s similarly evolving synth melodies. Towards the song’s close, Broderick’s fragile voice asks “Daddy, can I call myself a man now?” where the organic and synthetic are combined that traverses directly into the human space.

Kiasmos is the brainchild of Ólafur Arnalds and Bloodgroup mastermind Janus Rasmussen from the Faroe Islands. The starting point usually is an electronic beat supplied by Rasmussen, that would, in turn be dissected by Arnalds and before long, a timeless melody is constructed that perfectly compliments the electronic voyage. ‘Driven’ is a killer-track that loops forever and is allowed to live and breathe, as the layers float majestically into the atmosphere. Think Holden’s ‘The Inheritors’ record as a reference point. The latest release, ‘Thrown’ E.P. contains the two stunning tracks ‘Thrown’ and ‘Wrecked’ with exclusive remixes by FaltyDL and 65daysofstatic.

Berlin composer and cellist Anne Müller’s enchanting ‘Walzer für Robert’ opens up a whole new world of joyous sound that is nothing short of captivating. The intricate arrangements of cello strings is blended effortlessly with Frahm’s healing piano notes. The dancing melodies is reminiscent of Leonard Cohen’s ‘Take This Waltz’ where the listener is taken to the streets of Vienna and left to “yield to the flood” of the composition’s beauty. This piece of music represents the first glimpses of sunlight as a new day slowly unfolds with the promises of hopes, dreams and happiness. An essential record to own (and one of Erased Tapes many hidden treasures) is ‘7 fingers’ – the collaboration between the like-minded souls of Nils Frahm and Anne Müller. Having seen both artists live in various incarnations – Müller’s central presence to singer-songwriter Agnes Obel’s deeply affecting songbook, and Frahm’s solo shows – I long to witness both artists on stage together. With a new record currently being worked on in the trusted surrounds of Frahm’s Durton Studios, a follow-up will soon see the light of day.

On the flip-side is new signing New World’s End Girlfriend. Hailing from Nagasaki, Kyushu, Japan, the Japanese composer creates music that seems to contain all myriads of samples and fascinating sounds. The cut ‘Bohemian Purgatory Part 2’ (N.S.K.G. version) moves between house, techno and mish-mash of doo-wop/funk, breakbeat free-jazz and classical. It’s unlike anything you have heard ever before. The Erased Tapes album ‘Seven Idiots’ represents a new and unique voice in avant-garde/contemporary music that defies categorization. World’s End Girlfriend further highlights the label’s continual strive to push the sonic envelope and explore vast plains of sound.

The third 7″ represents the centerpiece to the Erased Tapes V collection. An exclusive new track by Portland-Oregon born artist, songwriter and composer, Peter Broderick is a joy to behold. ‘Give Me A Smile In 5’ offers a snapshot of Broderick’s beguiling songbook that has graced us with its presence these past several years. The opening lyrics evokes a foreboding mood, sung beneath swirling piano notes: “A fight was fought off the battlefield / Oh where is my brother, where is my brother?” The poignancy of Broderick’s songcraft and sheer emotional depth thus created leaves me endlessly dumbfounded. ‘Give Me A Smile In 5’ evolves into a dub-infused odyssey of vintage Burning Spear that adds a new dimension to the Mark Hollis-esque soundscapes (affecting harmonies, layered strings and subtle electronics) that creates an utterly timeless artistic creation. A profound sadness and openness of honesty permeates throughout the achingly beautiful lament.

“But when I face my loving mother
I feel ashamed, I feel the shame
I think about the end of thinking
With a smile, with a smile”

The gorgeous piano music of Nils Frahm is next. The previously unreleased ‘Little Boy In A Space Suit’ is delicately beautiful like a flower blooming in spring. Listen closely and you hear many found sounds hidden deep beneath. The soft touch of fallen leaves, sunlight pouring through a forest of trees. I’m transported to Virgina Astley’s first studio album ‘In The Gardens Where We Feel Secure’ such is the composition’s powerful magic to seep into the pools of one’s mind, and linger there, now and forever-more. One of my favourite Erased Tapes release comes from Oliveray – the collaboration between Nils and Peter – with the appropriately titled, ‘Wonder’. Released in 2011, the record has become a trusted companion and daily soundtrack for me. A wonderful sense of magic fills the space as the instrumentation of piano, violin, celeste, pump organ, guitar, voice and whistles unleashes heart-warming emotion into the surrounding stratosphere. I remember Nils one time telling me how his favourite thing in the world is the Bill Wells and Tape 12″ collaboration, entitled ‘Fugue’ (that I think was introduced to him by Peter!) It’s clearly evident upon listening to ‘Wonder’ that a similarly breathtaking sense of journey is attained here. A couple of glorious cover versions are dotted across the album; an acoustic guitar-based version of Efterklang’s ‘Harmonics’, and the Tiny Vipers song ‘Dreamer’ (written by Jesy Fortino). ‘Wonder’ is a sonic marvel that ceaselessly reveals hidden details of divine beauty.

The fourth 7″ comprises ‘Hanau Bridge’ by Codes In The Clouds and The British Expeditionary Force’s ‘End Of The New End’. Hailing from Dartford, England, Codes In The Cloud create enthralling guitar-based post-rock creations, reminiscent of Scotland’s Mogwai and Texans Explosions In The Sky. The intensity of the band’s guitar instrumentals stops you immediately in your tracks. On the flip-side, The British Expeditionary Force’s ‘End Of The New End’ is a piano-based heartfelt pop voyage that recalls the experimental pop of Why? and Casiotone For The Painfully Alone. “I try to swim out the mess I’m in, I try to swim but I’m wading further in” is a lyric of the final verse that brings the indie-electronica infused ballad to a delicate close.

The closing 7″ is a timeless exploration into the heart of contemporary neoclassical music. Icelandic composer Ólafur Arnalds provides a formidable creation in the form of ‘Happiness Does Not Wait’. The piano-based melody forms the central theme that soon is joined by an uplifting string section that forms the ideal counterpoint. Having released a plethora of shape-shifting records on the London-based label (much like Peter Broderick), Arnalds represents one of the most compelling and distinctive voices in modern-classical music today. Arnalds’ debut album ‘Euology For Evolution’ was released back in 2007 and since then an array of indispensable efforts have seen the light of day, from ‘Found Songs’ and ‘Living Room Songs’ to 2010’s   ‘…And They Have Escaped The Weight Of Darkness’ and ‘Another Happy Day’ O.S.T.

The enriching Erased Tapes V collection culminates in a live performance of ‘String Quartet No. 2: III’ by A Winged Victory For The Sullen Chamber Orchestra. The Michael Nyman piece (originally taken from his recordings with The Balanescu Quartet) is wonderfully interpreted here as a gorgeous haven of windswept strings float to the surface. This performance was taken from the band’s concert in Brussels’ Ancienne Belgique as part of the label’s anniversary tour. Certainly, a piece of music as moving as this is a joyous celebration of the Erased Tapes journey so far. A Winged Victory For The Sullen is the stunning collaborative project between Stars Of The Lid founder Adam Wiltzie and L.A. composer Dustin O’Halloran. The band’s current self-titled album is one of the label’s crowning jewels and later this year will see the long-awaited follow-up.

The closing note on the inner sleeve of the ‘Erased Tapes V Collection’ reads: “At the end of all music happiness will be erased.” Over these past five years, the listener and early Erased Tapes music explorer alike, are blessed to have come across such a gifted family of music-makers that have served a trusted companion to each of our endless numbered days.

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The limited edition box-set ‘Erased Tapes V Collection’ is available now on Erased Tapes.

http://www.erasedtapes.com

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Quotations.

“I can still remember the first song I ever wrote. My fingers were so small I could only do one chord on the guitar and I had to lay it on the floor to be able to play it because I couldn’t reach around it. I made a song out of that one chord and played it for hours on end, driving my whole family crazy. I guess from that point on I just kept exploring.”

—Ólafur Arnalds (taken from our interview in April 2013)

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“In Continuous Music, the piano is your lover, the piano is your slave, the piano is your glorious friend, it is your angelic friend. The piano is sort of like your breathing and it is a beautiful thing. I want every pianist to know that every piano on the face of this earth is their friend, so they do not fear the piano, but come to it with joy and say: “My dear friend, let’s make this music.”

—Lubomyr Melnyk (taken from our interview in March 2013)

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“That’s all I want to do, it’s not really about the musical concept but what it does to the listener. So throughout the album, it’s mostly about that, it’s a little bit like translating music into psychology and the other way around and to see how to structure that where people feel they can’t escape the experience, they want to be part of it and really want to know what’s coming next. They feel like anything’s possible. I’m working on that basically.”

—Nils Frahm (taken from our interview in January 2014)

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“When me and Nils play music together something magical happens. There is this energy in the air … a kind of energy that makes you think that anything is possible.”

—Peter Broderick (taken from our interview in October 2012)

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Five Questions with Ólafur Arnalds.

(i) Favourite moment from the last 5 years?
OA: It’s hard to pick one. But I think premiering ‘For Now I am Winter’ for a sold out Barbican Hall earlier this year was pretty close to the top! Not just because how great the show was for me but also because my family traveled to London for the show and it was an emotional moment for us.

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(ii) Most proud work to date?
OA: Must not one always be proudest of his latest work? I am pretty proud of the new album anyway!

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(iii) A dream collaboration for you?
OA: Jon Hopkins, Imogen Heap.

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(iv) An ambition for next 5 years?
OA: Balance life and music. Or combine the two better in a way that can provide for a healthy lifestyle. And of course to make like 7 more albums and 10 more soundtracks!

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(v) Five words to describe Erased Tapes?
OA: Love, compassion, ambition, selection and friends!

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Five Questions with Peter Broderick.

(i) Favourite moment from the last 5 years?
PB: There are too many to pick one! My tour in europe with Nils Frahm in 2009 was a special one …

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(ii) Most proud work to date?
PB: An unreleased collection of songs based on some very vivid dreams I had in 2009-2010.

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(iii) A dream collaboration for you?
PB: Scoring Miranda July’s next film.

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(iv) An ambition for next 5 years?
PB: Spreading the love through music! Practicing my instruments, working hard to become a better musician and person.

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(v) Five words to describe Erased Tapes?
PB: dedicated, organized, visionary, passionate, loving.

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Five Questions with Nils Frahm.

(i) Favourite moment from the last 5 years?
NF: My first big tour with Peter Broderick in 2009.

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(ii) Most proud work to date?
NF: It is always an artists recent work, so: ‘Spaces’.

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(iii) A dream collaboration for you?
NF: Put me in a room with these ladies: http://www.youtube.com/watch?v=IZ4LCejQg8o

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(iv) An ambition for next 5 years?
NF: I will work hard on keep surprising myself.

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(v) Five words to describe Erased Tapes?
NF: All tapes will be erased.

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The limited edition box-set ‘Erased Tapes V Collection’ is available now on Erased Tapes.

http://www.erasedtapes.com

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