FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘London Contemporary Orchestra

Mixtape: Fractured Air – December 2018

leave a comment »

fracturedair_dec18

As the dusk light begins to fade on the year, we have a chance to both reflect on these past twelve months and look forward to what awaits us in 2019…Needless to say, music shapes pretty much everything that has taken place – and what moments are about to occur – from memorable, transcendent live shows (Low, Julia Holter and Nils Frahm’s shows will forever stay with me); making new musical discoveries (for instance, first hearing the illuminating voice of Penelope Trappes’ latest record or the myriad of timbres and textures contained on the Actress & LCO collaborative release ‘LAGEOS’); revisiting bands from previous decades (This Mortal Coil’s discography immediately comes to mind) or just simply having a cherished record (or playlist) as the soundtrack to your day (as you walk around in the pools of your mind or take in a nice scenic road-trip).

The importance of music never fades and isn’t that the most amazing thing? There is a science behind it: the reaction as your ears first hears a note and how you feel as a result. And whatever year we find ourselves in (2019, 2020 or beyond), new discoveries will always await us. As a listener, there is some comfort in this simple fact…
Lots of our favourite albums from 2018 are dotted across this December mixtape (and so many left out, as always is the way). The fresh and dynamic ambient sounds of Kranky debut signees (Less Bells and Saloli); Mary Jane Leach’s incredible flute compositions; two tracks from Julia Holter’s epic masterwork ‘Aviary’ and a recent discovery of the incredible Carola Baer (a retrospective compilation is lovingly compiled by Concentric Circles).

Also present is one of the late great composer Jóhann Jóhannsson’s last recorded works: the deeply moving and transporting ‘Mandy’ score, such transformative guitar-based compositions. This year we lost a true voice in today’s music world. I can only imagine the unbearable loss it has been for all those close to this remarkable human being. I remember shaking Jóhann’s hand after a concert of his and just saying how amazing his music is. He smiled graciously and replied softly, “thank you”. Well, thank you Jóhann for the eternal gift your stunningly beautiful music forever brings.

 

Fractured Air – December 2018

01. Tom Waits“Alice” (Epitaph)
02. Actress & LCO“Voodoo Posse, Chronic Illusion” (Ninja Tune)
03. Phase II“Words From” (Definitive Jux)
04. Squarepusher“Lambic Poetry 5” (Warp)
05. Low“Fly” (Sub Pop)
06. Penelope Trappes“Connector” (Houndstooth)
07. Jóhann Jóhannsson“Mandy Love Theme” (Mandy OST, Lakeshore/Invada)
08. Tomita“Dawn Chorus” (RCA)
09. Julia Holter“Voce Simul” (Domino)
10. Alice Coltrane“Keshawa Murahara” (Luaka Bop)
11. Saloli“Anthem” (Kranky)
12. Carola Baer“Maker of Me” (Concentric Circles)
13. Mark Renner“It Might Have Been” (RVNG Intl)
14. Die Haut“Der Karbische Western” (Strut)
15. Paul de Jong“Johnny No Cash” (Temporary Residence)
16. Michele Mercure“A Little Piece” (Freedom To Spend)
17. Carla dal Forno“Blue Morning” (self-released)
18. Less Bells“Valentine” (Kranky)
19. Jessica Moss“Fractals (Truth 3)” (Constellation)
20. Villagers“A Trick of the Light” (Bibio Remix) (Domino)
21. Nils Frahm“A Place” (Erased Tapes)
22. The Gentleman Losers“Fish Roam in Winter Water” (Sound In Silence)
23. Mary Jane Leach“Downland’s Tears” (Modern Love)
24. Julia Holter“I Would Rather See” (Domino)
25. Mary Lattimore“Hello From the Edge of the Earth” (Ghostly)

Wishing our readers a very happy Christmas and best wishes for the new year.

 

 

Albums of the year: 2018

leave a comment »

Presented here is a list of our favourite (ten) albums from 2018. 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. 

 

10. Earl Sweatshirt – “Some Rap Songs” (Columbia Records)

somerap-correct

Thebe Neruda Kgositsile, otherwise known as Earl Sweatshirt is a rapper, producer and DJ whose third studio album ‘Some Rap Songs’ was released last month to universal acclaim. The sublime hip hop voyage deals – in part – with the loss of his father, poet laureate Keorapetse Kgositsile.

“Me and my dad had a relationship that’s not uncommon for people to have with their fathers, which is a non-perfect one,” Earl wrote. “Talking to him is symbolic and non-symbolic, but it’s literally closure for my childhood. Not getting to have that moment left me to figure out a lot with my damn self.”

On the opening verse of the seductive dub groove ‘Shattered Dreams’, Sweatshirt asks “Why ain’t nobody tell  me I was bleedin’?” Masterful production and sun-blissed harmonies serve the rich ebb and flow of the cut’s gradual flow. The rapper pleads “Please, nobody pinch me out this dream” beneath the dreamy, hypnotic beats on the following line.

Memories of his father permeates throughout the lucid ‘Red Water’: “Papa called me chief/Gotta keep it brief” beneath stunning soulful  pop hooks. On the R&B inflected rhymes of ‘Nowhere2go’, the Los Angeles rapper explains the need to “redefine himself” and ultimately ‘Some Rap Songs’ finds Kgositile do exactly that.

The poignant ‘December 24’ is a menacing, slow brooding gem that places Earl’s poetic prose beneath cinematic piano tapestries. ‘On The Way!’ contains a sumptuous soul/funk groove. The tempo is slowed on the transcendent single ‘The Mint’ (featuring Navy Blue), another slice of pristine hip hop that serves a parallel alongside the likes of Madvillain and J Dilla such is its divine spell.

This compelling fifteen-track album reflects a hip hop artist that has further evolved and continually develops his unique and immense talents.

‘Some Rap Songs’ is out now on Columbia.

http://earlsweatshirt.com/
https://www.facebook.com/EarlSweatshirtMusic/

9. Marissa Nadler – “For My Crimes” (Bella Union/Sacred Bones)

for my crimes correct

Marissa Nadler, one of the most cherished songwriters of our time, returned with her captivating eighth studio album ‘For My Crimes’ last Autumn. The Massachusetts-based singer-songwriter has carved out eleven deeply affecting and soul-stirring sparse laments whose immediacy and emotional depth resonates powerfully throughout.

It feels as if the essence of the song is captured magnificently to tape wherein each beautiful folk noir exploration navigates the depth of the human heart with naturalness and ease. In contrast to the more polished and layered records that came previously (the magnificent ‘Strangers’ and ‘July’ LPs), Nadler’s intimate song cycles contain quite minimal instrumentation that crafts a hypnotic spell and striking intimacy (intersecting the sound worlds of Townes Van Zandt and Stina Nordenstam).

Nadler co-produced For My Crimes with Lawrence Rothman and Justin Raisen at Rothman’s Laurel Canyon studio, House of Lux. A stellar cast of incredible female musicians joined the recording sessions,  including vocals from Angel Olsen, Sharon Van Etten and Kristin Kontrol, Patty Schemel (Hole, Juliette and the Licks) on drums, Mary Lattimore on harp, and the great experimental multi-instrumentalist Janel Leppin on strings.

Some of the finest, most empowering songs of Nadler’s career is dotted across ‘For My Crime’s intense narrative. Emotive strings and meditative acoustic guitar drift beneath Nadler’s majestic vocal delivery on the windswept beauty of the album’s glorious title-track (and fitting opener). Nadler asks “Please don’t remember me/For my crimes” on the deeply moving, dusk-lit chorus.

The swell of electric guitar and drums create a post-rock grandeur on the sublime ‘Blue Vapour’: a raw energy is unleashed with each and every pulse. The hard-hitting impact of Nadler’s supreme songwriting gifts is distilled on the heartfelt lament ‘Dream Dream Big In The Sky’ which feels as if the words and music are somehow encapsulated in the faded dreams of the clouds above.

‘For My Crimes’ is out now on Bella Union/Sacred Bones.

https://www.marissanadler.com/
https://www.facebook.com/MarissaNadlerMusic/

8. Tirzah – “Devotion” (Domino)

tirzah-devotion.jpg

The year’s finest debut album undeniably comes from London-based songstress and producer Tirzah. The immense talents of this young artist can be felt throughout the album’s utterly contemporary and unique eleven songs. Steeped in R&B, soul and pop spheres, Tirzah’s fresh and alluring compositions very much belong to the here and now whose beguiling song structures forever push the sonic envelope. ‘Devotion’ is written and produced with composer and childhood friend Micachu with gorgeous pop sensibility and minimal production at the heart of the album’s gripping heart and soul.

The striking immediacy – and directness – of these songs makes a profound impact. The deeply affecting downbeat-soul of ‘Gladly’ is a delightful, heart-warming love song with hypnotic vocals and gradual beat. “All I want is you/I love you/Gladly, gladly, gladly” sings Tirzah on the breathtaking chorus. There is simplicity in the song (so it seems) but a complexity in the emotional connection. A gospel, R&B lament. ‘Holding On’ contains a quiet confidence and strength as the 80’s synth pop feel radiates throughout. Again, the minimal nature of these songs forges such deep emotions and colour.

The album’s towering title-track features guest vocalist Coby Sey with his soulful falsetto serving the perfect counterpoint to Tirzah’s understated voice and pristine beats. “So listen to me” is repeated like a mantra; reminiscent of James Blake’s downtempo creations. Tirzah sings “I want your arms” on a later verse, sung with such emotion and sincerity. This duet forms the vital heart of the album’s second half.

The guitar funk groove of the following cut ‘Go Now’ packs significant weight: “Don’t raise your voice to me” is sung in a delicate, near-hushed falsetto on the opening verse. Vulnerability is inherent in this breath-taking soulful lament. Acoustic piano patterns serve the sonic backdrop to the sparse ‘Say When’, brimming with melancholic shades of loss, “I felt you gone and now I am lost”.

Devotion’ heralds a significant new voice in contemporary music.

‘Devotion’ is out now on Domino Recordings.

https://tirzah.net/
https://www.facebook.com/TirzahMusic

7. Mary Lattimore – “Hundreds Of Days” (Ghostly)

Mary-Lattimore-Hundreds-of-Days

Having first discovered Los Angeles-based harpist and composer Mary Lattimore’s 2013 debut ‘The Withdrawing Room’ (released on Desire Path Recordings), each new release has been a hugely exciting discovery. On this year’s ‘Hundreds Of Days’ – and third release for the prestigious Ghostly label – Lattimore’s ethereal, dream-wave bliss of her harp-based compositions casts a spacious, luminescent and captivating sound world of unknown dimensions.

The gorgeous album opener ‘It Feels Like Floating’ feels just like that: the sacred harp tapestries drift in the ether of faded dreams amidst swathes of celestial harmonies. Utterly timeless. Jonsi’s Healing Fields remix is a fascinating re-interpretation that conveys the inspirational quality of Lattimore’s hugely unique and shape shifting compositions.

Guitar, keyboard and percussion is added on the poignant folk gem ‘Never Saw Him Again’: forging a dreamy pop opus from a past we have not yet quite arrived upon. The soundscapes and intricate layers continually build, as if reawakening some once-vivid memories of a loved one. The sparse ‘Hello From the Edge of the Earth’ maps the human heart and Lattimore’s love of the natural world. The lyrical quality of this piece is quite something to behold.

Baltic Birch’ blossomed from Lattimore’s trip to Latvia where she was struck by the abandoned resort towns along the Baltic Sea.  A desolate landscape is etched across the ambient soundscapes with the electric guitar haze recalling Lattimore’s collaborations with Jeff Ziegler.

The LA-based harpist – in much the same way as fellow contemporaries Julianna Barwick, Kaitlyn Aurelia Smith and so on – possesses the ability to transport you to an entirely new realm wherein the music becomes beautifully buried in the pools of one’s mind. ‘Hundreds Of Days’ is yet another gleaming treasure in the composer’s storied career.

‘Hundreds Of Days’ is out now on Ghostly International.

https://marylattimoreharpist.bandcamp.com/
https://www.facebook.com/harpistmarylattimore/

6. Actress & London Contemporary OrchestraLAGEOS” (Ninja Tune)

lageos-main

‘LAGEOS’ is the utterly compelling, shape shifting debut full length release from renowned electronic producer Darren Cunningham (aka Actress) and the London Contemporary Orchestra. At the heart of this captivating record is both artists’ ceaseless fascination with sound wherein new pathways of discovery are forever attained.

The first traces – committed to tape at least – was last year’s beguiling ‘Audio Track 5’ EP. The divine title-track (which is also found halfway through the record’s second half) comprises of beautifully drifting strings that float amidst crunching percussive rhythms and piano patterns. The splicing of the various components creates a shimmering odyssey of rapturous, luminous soundscapes, where the abstract techno sphere is masterfully blended with modern classical elements. Importantly, lines become blurred throughout ‘LAGEOS’, one cannot pinpoint to any one musical landscape, for it is a far-reaching kaleidoscope of timbres, textures and tones.

LCO’s Hugh Brunt has described the collaboration as being “about exploring an ambiguity of sound that sits between electronic and acoustic spaces.”

It is a joy to discover new contexts and insights into the cherished Actress discography as classics such as ‘Hubble’, ‘N.E.W’ and ‘Voodoo PosseChronic Illusion’ become a deep stream of consciousness and energy flow. The meditative bliss of ‘N.E.W’ with an endless array of enchanting instrumentation, supplied by the LCO, flows deep into your veins. The irresistible cosmic groove of ‘Voodoo Posse’ serves the record’s fitting penultimate track before the joyously empowering ‘Hubble’s techno fueled odyssey maps one’s innermost fears and dreams.

‘LAGEOS’ is out now on Ninja Tune.

https://www.ninjatune.net/artist/actress
https://www.lcorchestra.co.uk/

5. Low – “Double Negative” (Sub Pop)

low_doublenegative

The much beloved Minnesota trio sculpted one of their finest, most empowering works to date with ‘Double Negative’, released earlier this year on the Seattle label Sub Pop. In similar fashion to 2015’s ‘Ones and Sixes’, the band enlisted B.J. Burton (James Blake, The Tallest Man on Earth) for production duties but here, the dazzling experiments are developed much further, forging deeply moving collages of cinematic, charged rock odysseys that seep into one’s very own consciousness. Abrasive beats and dazzling electronic components melt alongside Mimi Parker and Alan Sparhawk’s heavenly – soul searching – harmonies and Neil Young-esque guitar echo and reverb.

A dark undercurrent permeates throughout the record, reflecting these dark, uncertain times we find ourselves in. The brooding and hypnotic ‘Trying To Work It Out’ is classic Low with the slowcore bliss of Sparhawk’s highly emotive vocal delivery: “I saw you at the grocery store/I know I should have walked over and say hello/It seemed like you were in a hurry/I didn’t want to slow you down/So I figured out I should let you go.” Dissonance abounds. In many ways, the record serves a parallel with Nick Cave’s latest ‘Skeleton Tree’ – both records are borne out of a sea of darkness and despair but both records ultimately possess an incalculable empowering capability.

The delicate beauty of the meditative ‘Always Up’ is a precious ballad that depicts the frustration dispelled by the world today. The chorus refrain of Mimi Parker’s angelic vocal delivery “I believe I believe I believe I believe/Can’t you see Can’t you see Can’t you see?” emits a cathartic energy flow that is steeped in an unfathomable beauty. Rawest of emotions flood out of these recordings, feeling both vital and colossal in equal measure.

How the songs fade into one another is another marvel of ‘Double Negative’: the multi-layered textures and static that envelopes the space; creating something considerably larger than the sum of its parts. ‘Fly’ is one of the album’s most stunning moments with its Mimi Parker-led soulful dimension “Leave my weary bones and fly” is the deeply affecting chorus that reduces you to tears upon each visit. How the infectious bass groove melds with Parker’s falsetto leaves you dumbfounded such is its unwavering beauty. Uncertainty breathes heavily throughout. But there is hope buried deep in its gorgeous soulful strut.

‘Double Negative’ is out now on Sub Pop.

https://www.chairkickers.com/
https://www.facebook.com/lowmusic/

4. Djrum – “Portrait with Firewood” (R&S Records)

djrum portrait

UK producer Felix Manuel (AKA Djrum) is responsible for one of the most poignant, soul-stirring electronic records of the year with his R&S debut full-length ‘Portrait with Firewood’. The wide range of sounds – everything from modern classical and ambient soundscapes to gripping techno and dubstep flourishes – is one of the hallmarks of this remarkable tour-de-force. The emotional depth of Manuel’s electronic works is perhaps the most alluring trademark of Djrum’s scintillating sonic voyage. For example, the intoxicating electronic-infused classical opus ‘Blue Violet’ (one of the most mind-bending tracks of 2018) unleashes a timelessness that is all too rare in today’s dance music. Analog synths and strings are masterfully woven together amidst beautifully cinematic spoken word segments. “Do you remember how you told me about lightning striking? All of those things you told me to wait for?” is softly uttered by a female voice, beneath meditative piano notes. ‘Blue Violet’ details love, passion, obsession and all points of the human condition – the spirit of Nils Frahm and Jon Hopkins radiates throughout this towering composition.

Waters Rising’ sees Manuel collaborate with vocalist Lola Empire, crafting a beguiling soulful R&B techno gem. Several of Djrum’s piano improvisations serve the initial sketches of these compelling explorations. Techno bliss is etched across the album’s central tracks ‘Creature Pt 2’ and ‘Sex’; the latter fusing introspective piano and violin motifs and intoxicating techno/jungle beats (further highlighting the boundless nature of Djrum’s enveloping sound).

Describe by Djrum as a “confessional record”; the melancholic shades come to the fore on the record’s final third. The highly immersive ‘Sparrow’ is one of the record’s defining moments wherein a spoken word segment floats majestically beneath intricate layers of jazz inflections: “I’ll show you my scars/You show me the stars”. A rich poignancy is inherent in each of ‘Portrait with Firewood’s luminous musical works.

‘Portrait with Firewood’ is out now on R&S Records.

https://djrum.bandcamp.com/
https://www.facebook.com/DjrumMusic/

3. Penelope Trappes – “Penelope Two” (Houndstooth)

penelopetwo

London-based artist Penelope Trappes’ sophomore full-length ‘Penelope Two’ – and follow-up to her essential debut ‘Penelope One’ for Optimo Music – casts a hypnotic, luminous spell through its stunningly beautiful song cycles: drenched in reverb that somehow drift into the ether of our innermost fears. The stark intimacy of the Australian-born composer’s compositions is what strikes you immediately; evoking the timeless spirit of early 4AD artists (This Mortal Coil, Cocteau Twins) and kindred spirits of Grouper’s Liz Harris and Tropic Of Cancer.

On the album’s gripping centrepiece ‘Maeve’, the chorus refrain of “let go” is repeated beneath delicate piano chords and lucid guitar haze. I feel ‘Penelope Two’ becomes a process of letting go: to allow the waves of anguish and pain wash over you and, in  turn, to wrap your troubles up in dreams. The raw emotion distilled in Trappes’ soaring vocals casts infinite rays of solace and hope as light flickers from within the depths of darkness.

The way in which the drone infused ambient instrumentals (‘Silence’; ‘Kismet’; ‘Exodus’) are masterfully interwoven with the vocal-based song structures (‘Connector’; ‘Burn On’; ‘Maeve’) creates one cohesive whole of staggering beauty and emotional depth. The ethereal dream pop gem of ‘Connector’ possesses endurance to overcome the darkness. The immaculate production and divine soundscapes immerses the listener inside a wholly other realm. The chorus refrain “I am the connector” epitomizes the magical, far-reaching qualities of Trappes’ immense songwriting prowess.

‘Penelope Two’ is out now on Houndstooth.

https://penelopetrappes.bandcamp.com/
https://www.facebook.com/penelopetrappes/

2. Julia Holter – “Aviary” (Domino)

aviary

The peerless Los Angeles songwriter and composer Julia Holter has long been carving out the most ground breaking and breath-taking avant pop masterworks and this year’s ‘Aviary’ reveals an artist at the peak of her powers. The album’s enthralling fifteen compositions explore further into bewitching experimental terrain as an abstract canvas of vivid textures, colour and timbres ascend into the forefront of one’s heart and mind.

The immaculate instrumentation and mesmerizing arrangements – a constant throughout Holter’s cherished songbook – lies at the heart of these stunning song cycles. The epic ‘Chaitius’ opens with gorgeous orchestration of strings, brass and choral lines that conveys the kaleidoscopic vision of the American composer’s newest musical venture. These sprawling, vast pieces feel as if the soundscapes could glide forever into infinity (and beyond). Holter sings “Open my wings with joy” on the opening verse; conveying the artist’s search for love and solace “amidst all the internal and external babble we experience daily”. The way the composition evolves and develops is akin to a process of self-discovery or acceptance. The vocoder/spoken word segments emits such rich imagery that reflects “the melting world” of today’s chaotic world we find ourselves in. Euphoria and an awakening sensation abounds on the glorious crescendo of Holter’s trusted ensemble (double bass as ever adding seductive rhythmic pulses to the sacred sound worlds effortlessly created). The continual striving for direction never feels far away: “Who will tell me what to do? Don’t say to feel so alove.”

It is clear with ‘Aviary’ that Holter effortlessly delves deeper into experimentation with sound; perhaps the first cue for the song’s inception was a sonic idea during the music-making process. The hypnotic, meditative lament ‘Voce Simul’ begins with a cosmic jazz bassline groove beneath Holter’s hushed vocal delivery and ethereal trumpet lines. The spoken word passages are masterfully blended with this cinematic backdrop: “I was just about to go outside” utters Holter on a later verse – inviting the listener on a wholly unique journey. As ever, the past and future become masterfully placed together – at once akin to “a distant mirror” of “a hundred minds” as Holter asks “How did I forget I’m part of the dust?”

The lead single ‘I Shall Love 2’ combined with its sister song – and symphonic rejoice – ‘I Shall Love 1’ form integral components of each half of ‘Aviary’s striking narrative. The former is yet another pristine pop oeuvre with gorgeous melodic flourishes and an awakening of the senses. The song’s deeply empowering rise “That is all that is all/There is nothing else” is a joy to savour; I visualize the moving scenes of the guiding angels in Wim Wender’s ‘Wings of Desire’ who listen to the thoughts of its human inhabitants. In a similar fashion, ‘I Shall Love’ (both movements) offers comfort and warmth.

The soaring beauty of ‘Words I Heard’ is steeped in 60s pop grandeur and Laurel Canyon pop perfection. How Holter’s achingly beautiful voice blends with the strings evokes a dream within a dream; a labyrinth of ancient and modern times – transposed to one sprawling, poignant canvas. The creative process is beautifully articulated on the fitting album closer ‘Why Sad Song’: “Oh ideas, Idea – oh why the words are made of?” But it is the dazzling, contemporary pop tour-de-force ‘Les Jeux To You’ that illustrates just how far ‘Aviary’s journey takes you on. The playful use – and richness – of words combined with the futuristic pop backdrop carves out something wholly unique and otherworldly. The deeply moving quality of Holter’s sacred artistic works is forever etched in the song’s gripping foundations: “I can hope for it today/I wonder though, if my heart tells me everything I need.”

‘Aviary’ is out now on Domino Recordings.

https://juliaholter.com/
https://www.facebook.com/juliashammasholter/

1. Nils Frahm – “All Melody” (Erased Tapes)

nilsfrahm-allmelody

Our most cherished record of the year undoubtedly comes from world-renowned, Berlin-based composer Nils Frahm’s latest masterpiece ‘All Melody’.

The immense beauty – and immensity – of the far-reaching soundscapes dotted across “All Melody’s musical landscape is a joy to savour. A myriad of sacred tones are effortlessly spliced together like that of the double helix pattern of each DNA molecule found inside our cells. It is as if a towering composition like “Sunson” unfolds, mutates, and transforms before your very eyes: the soaring juno synthesizer is melded gorgeously with the otherworldly sounds of the handmade pipe organ. The seamless array of colours and textures creates an empowering ripple flow of emotions. Choral odysseys dissolve into this vast sea of forgotten dreams. As the piece continually builds, the interlinked rhythms are forever over-lapping; magical moments within moments are captured at each and every pulse.

Modern-classical, dub and avant pop spheres are masterfully blended together on ‘A Place’. The inner dialogue between the components (choir, strings, percussion, synthesizer, and rhodes) creates a deeply bewitching symphony of celestial sounds. How the female voice is mixed with the luminescent juno synthesizer provides a significant milestone in “All Melody’s mind-bending oeuvre. Gripping dub beats awash with soul-stirring strings. The sonic terrain has expanded, almost exponentially. It feels as if a deep symbiosis exists between all of its vital elements; each one inter-dependent of one another, reacting, breathing and growing as the loop drifts forever into the ether of unknown dimensions.

The possibilities are endless. “#2” fades in – almost subliminally – as the embers of “All Melody” gradually dissolve. Techno bliss is masterfully etched across the sprawling canvas of synthesizer arrangements, creating, in turn, psychedelic dreams orbiting the furthest reaches of one’s inner consciousness.

The album’s penultimate track “Kaleidoscope” conveys the visionary nature of Frahm’s music: the pattern of the interwoven elements (choir, organ and synthesizer) is constantly changing; forever in motion and altering in sequence (in turn, generating endless possibilities). The immaculate exploration feels at once ancient and utterly contemporary; a joyously uplifting creation with its dazzling ebb and flow akin to a river finding its sea.

All Melody” is a defining record for the ages. This is a journey into sound.

‘All Melody’ is out now on Erased Tapes.

http://www.nilsfrahm.com/
https://www.facebook.com/nilsfrahm

Guest Mixtape: Galya Bisengalieva (London Contemporary Orchestra)

leave a comment »

To coincide with the release of the gifted composer Galya Bisengalieva’s debut “EP ONE”, Kazakh/British violinist Galya Bisengalieva (also leads the London Contemporary Orchestra) compiles a stunning hour-long mix merging modern classical with electronic spheres and world music, comprising many artists Bisengalieva has collaborated with in recent years. The stunning “EP ONE” features three compositions performed by Bisengalieva on violin and electronics, written by Bisengalieva, Claire M Singer and Emilie Levienaise-Farrouch. The stunning vinyl-edition of “EP ONE” can be ordered now via NOMAD Music Productions HERE.

galya_mixtape

Galya Bisengalieva is an award-winning Kazakh/British violinist making her own work as a soloist, improviser and collaborator with artists and composers of varied genres.

She has performed solo shows throughout Europe, USA, India, Turkey, Brazil, and made her sell out debut in Teatro Colón, Buenos Aires, where Galya received the Revelación Award by the Music Critics Association of Argentina.

Galya toured Brahms’ Violin Concerto as part of ‘There Will Be Blood: Live’, premiered Edmund Finnis’ ‘Shades Lengthen’ on BBC Radio 3 and recently co-wrote ‘Galya Beat’ with electronic producer Actress and percussionist Sam Wilson which was released on Ninja Tune. She has collaborated with composers Steve Reich, Laurie Spiegel, Suzanne Ciani, Terry Riley, Pauline Oliveros as well as commissioning and performing new works by Hildur Guðnadóttir, Sarah Davachi, Shiva Feshareki, Claire M Singer, Emilie Levienaise-Farrouch, Mica Levi, and CHAINES.

Galya leads the London Contemporary Orchestra and can be heard on Radiohead’s ‘A Moon Shaped Pool’, Lynne Ramsay’s Cannes Film Festival Winner ‘You Were Never Really Here’, Thom Yorke’s film score for the remake of ‘Suspiria’, Frank Ocean’s ‘Blonde’ and Oscar nominated ‘Phantom Thread’.

Debut release EP ONE is out now, featuring new works for solo violin and electronics.

Galya Bisengalieva – Fractured Air Mix – December 2018

01. Claire M Singer“tùs” (NOMAD Music Productions)
02. Galya Bisengalieva“Tulpar” (NOMAD Music Productions)
03. Emilie Levienaise-Farrouch“Oparin” (NOMAD Music Productions)
04. Mika Vainio & Ø“Otava” (Sähkö Recordings)
05. İpek Gorgun“Neroli” (Touch)
06. Sarah Davachi“Wood Green” (Students Of Decay)
07. The Paradise Bangkok Molam International Band“Sao Sakit Mae” (Studio Lam)
08. Edil Huseinov“Tulpar Shabyty” (Topic Records)
09. Laurie Spiegel“Clockworks” (Unseen Worlds)

https://galyabisengalieva.com/
https://galyabisengalieva.bandcamp.com/

Chosen One: Actress & London Contemporary Orchestra

leave a comment »

“…but I do love the meshing of beautiful sound ideas, textures and tones. I like the idea of running them through a computerised process without it seeming as if it’s been touched.”

 Darren Cunningham (Actress)

Words: Mark Carry

Actress-x-LCO-Press-Shot-v2

‘LAGEOS’ is the utterly compelling, shape shifting debut full length release from renowned electronic producer Darren Cunningham (aka Actress) and the London Contemporary Orchestra. At the heart of this captivating record is both artists’ ceaseless fascination with sound wherein new pathways of discovery are forever attained.

The first traces – committed to tape at least – was last year’s beguiling ‘Audio Track 5’ EP. The divine title-track (which is also found halfway through the record’s second half) comprises of beautifully drifting strings that float amidst crunching percussive rhythms and piano patterns. The splicing of the various components creates a shimmering odyssey of rapturous, luminous soundscapes, where the abstract techno sphere is masterfully blended with modern classical elements. Importantly, lines become blurred throughout ‘LAGEOS’, one cannot pinpoint to any one musical landscape, for it is a far-reaching kaleidoscope of timbres, textures and tones.

LCO’s Hugh Brunt has described the collaboration as being “about exploring an ambiguity of sound that sits between electronic and acoustic spaces.” The new co-write ‘Galya Beat’ embodies just that as majestic violin lines are blended with rippling percussion and intense electronic passages: a rich new musical language is formed before your very eyes.

The gorgeous opener – and title-track – ‘LAGEOS’ opens with a gentle crackle of electronics which feels akin to a magical fireworks display dancing across a night’s skyline. Chaotic string patterns ascend into the mix like shooting stars with glorious illuminations of mind bending sounds. The near-choral bliss of ‘Momentum’ follows next with dazzling pulses of achingly beautiful sound waves (precisely orbiting the ether of unknown dimensions).

It is a joy to discover new contexts and insights into the cherished Actress discography as classics such as ‘Hubble’, ‘N.E.W’ and ‘Voodoo Posse, Chronic Illusion’ become a deep stream of consciousness and energy flow. The meditative bliss of ‘N.E.W’ with an endless array of enchanting instrumentation, supplied by the LCO, flows deep into your veins. The irresistible cosmic groove of ‘Voodoo Posse’ serves the record’s fitting penultimate track before the joyously empowering ‘Hubble’s techno fuelled odyssey maps one’s innermost fears and dreams.

Alice Coltrane once said “I just go within” and this echoes powerfully throughout this incredibly inspiring collaboration between Actress and LCO, the sumptuously layered tracks come from deep within one’s soul, heart and spirit.

‘LAGEOS’ is out now on Ninja Tune.

https://ninjatune.net/artist/actress

 

Actress2013_PiotrNiepsuj

Interview with Darren Cunningham (Actress).

 

Congratulations Darren on the utterly captivating new full length ‘LAGEOS’; a glorious collaboration with LCO. Please take me back to the process by which you received the individual LCO recorded instrumental parts and, in turn, your manipulation of these sounds? It feels like such a fascinating sound experiment, and I wonder how your approach varied depending on the nature of the music you got hold of?

Darren Cunningham: Tar thanks 🙂 It was a split process of sorts really. The process of recording the instrumental parts were organised separately in a different acoustical sound environment in the UK. This process layer was then moved to another sound environment in Berlin. It was at this point that I started to receive stems from the first process, and from that point created a demo of what the album could soon like based on what id heard from outside of the recording process, so at each point there’s a flow of information that can be reorganised and captured in the studio.

At the final point I receive the stems created for each instrument and begin the electronics process in my studio. Dipping sounds through chromdioxid super II at different frequencies and layering sound oscillations via subtle modular relays. Some were layered chaotically within the framework of orchestration, or in some cases specifically mapped to expression.

The classical world combined with the electronic sphere conjures up such a shape shifting, mind bending experience. Can you discuss your desires and hopes for this project (from the outset) and your love of classical music (I believe your first musical instrument was the clarinet, so ‘LAGEOS’ is almost like the completion of a full circle for you)?

DC: Hmmm “love of classical music” I  wouldn’t technically describe myself as someone who “loves” classical music, but I do love the meshing of beautiful sound ideas, textures and tones. I like the idea of running them through a computerised process without it seeming as if its been touched.

I came across and begun to appreciate classical music by chance, having heard Gabriel Faure’s – Requiem, but I was exposed to a classical instrument when i was about 10 and that was the clarinet. I committed to the ritual of practice for a reasonable amount of time (2)years. Brief stint in orchestra (2hrs), and that was it. So definitely the clarinet forms some sort of symbolic reference, but ultimately for me this was just an exercise to learn more about music.

This project began with the live show in the Barbican back in 2016. I’d love for you to discuss the source of inspiration that this space and its architecture has had on the music making process and the resultant recorded output?

DC: I’d say the Barbican is a great space for capturing a sort of introspective analysis.

Amped up isolation

An exchange of communication

Like a friendly council estate for the arts

Enriching lives

community

and waterfalls

‘LAGEOS’ gives beautiful new insights into several classic cuts from the cherished Actress back catalog. In what ways do you feel these tracks (such as N.E.W. or ‘Voodoo Posse, Chronic Illusion’) have metamorphosed given this new classical context?

DC: They’re just so weirdly inverted its endlessly fascinating to me.

Lastly, the immense detail and intricate layers – forever colliding particles that feel a distillation of endless moments within moments – of the vastly compelling Actress sound unleashes such a timeless, far-reaching state. Please shed some light into your compositional approach and your fascination with sound? Are there certain musical philosophies that you feel have been central to your artistic creations

DC: DISCOVERY

 

Photography by Tom D Morgan - www.tomdmorgan.com

 

Interview with Robert Ames (co-Artistic Director of LCO).

 

The forthcoming Actress & London Contemporary Orchestra ‘LAGEOS’ record is really quite special. Firstly, I’d be very curious to learn how this particular collaboration was conceived and to bring me back to the original live Barbican show in 2016?

Robert Ames: So about a year before we did that show at the Barbican, we sat down to have a think about who in that world we’d really love to work with (it came out of the meetings that we had with Boiler Room; there was a bunch of us there) and we all agreed that Actress would be amazing for it because he’s got such an incredible ear for the detail in the music and there’s so many layers of interest as well. So it would be really interesting to give him orchestral instruments as a palette to play with – just like he works when he’s creating his tracks with a load of found sounds to create his music before; it would be interesting for him to treat out orchestral instruments in the same way. So, that was about a year before the Barbican show. We had a long process of introducing instruments to him; we were all hitting ideas off each other and then we got the Barbican show.

The classical world and the techno/electronic world really complement each other, it just combines so well.

RA: Yeah, it’s a really interesting time at the moment where – I’m trying not to use the label contemporary classical music because it doesn’t make so much sense – there seems to be a really interesting natural cross-over that’s happening quite a lot between genres and particularly electronic music producers and composers in the world we work in more it seems to be a lot more fluid now and ideas seem to be flowing between each other and it’s hard to pigeon-hole the music in a specific genre so much. And I think that’s something that really exciting about the LCO is finding those ambiguous spaces where it’s really exciting in to make it happen and try to facilitate that and facilitate recording and the live shows. Actress is one of the most exciting examples doing that and we’re really looking forward to the Barbican show that’s coming up and for everybody to hear that album.

I was very curious to hear how much a source of inspiration the Barbican itself was in terms of the space and the architecture?

RA: That’s right, the architecture – especially for Darren more than anybody else – was a big influence in his thought process for the initial show: that brutalist, concrete architecture I think you can definitely hear that in some of the music.

‘Audio Track 5’ was the first taste of this collaboration when it came out last year. Again, it’s the organic feel to it and very distinctive timbres happening like these found sounds etched in the detail somewhere. You presumably had good fun putting a track like this together?

RA: It’s an interesting one that one (I’m just trying to remember off the top of my head). Of the specific instrument or sounds you hear on that; you hear that kind of low crunching sound and that’s a prepared piano and  stuff that is going on high up, you get a lot of plucked harp sounds that have obviously been treated by Darren as well as violin lines (which are played by our lead violinist Galya Bisengalieva).

For these live shows, is it a case of rehearsing a lot in advance or is it an intense short burst of a period?

RA: It’s a fairly intense process. The really nice thing about these shows – we’ve played a couple now and have more planned and obviously they’re all happening in different places but they happen in very different atmospheres as well. So for example we played the Barbican in London last year, we did a show in Moscow that was more of a club venue and it was a standing capacity. We haven’t had a set-list (like bands would have a set-list): we go into the space, we see how we all feel and how the musicians feel and think what audience we’re going to get and we chop and change the set-list depending on that so it’s got a nice programming behind it depending on the space, the atmosphere, the audience and the musicians.

Thinking about your other collaborations, Mica Levi is another person who really typifies this sort of uncategorizable sound and someone who is so unique in the current music world.

RA: That’s really interesting; we’ve just been working on something new with her at the moment. So, Mica Levi and another musician called Koby Sey and a visual artist called Hannah Perry and some musicians from LCO. And so far that’s been four days: very open, work shopping and improvisation and throwing ideas out. So the work we do with her ranges from that all the way to a very specific commission to write a string quartet and we just performed that at the opening of the Queen Elizabeth Hall, we performed it at the Roundhouse as part of Ron Arad’s Curtain Call. And we’re just about to fly off to Salzburg to perform that and that’s a much more standard process where she writes a piece of music, she comes and she presents it to us; we work on it a bit with her, share some thoughts and then we enjoy performing her work.

Does the LCO change or alter in size depending on the nature of the project or time and other constraints?

RA: Yeah it does. I started the orchestra with co-founder Hugh Brunt in 2008 and it started off being large orchestral but we’d like to think of the orchestra as a collective of musicians as opposed to something that’s really inflexible. So, in one concert we could have like a solo piece of music all the way up to a ninety piece orchestra all the way down to a string quartet; so we do a massive array of different types of concerts and different line-ups of ensembles. We record a lot of stuff as well, so something like ‘Alien: Covenant’ which we recorded with Jed Kurzel (and that was a 90-piece orchestra) and we just did a string quartet concert at the Queen Elizabeth Hall and we’re going to be doing a massive orchestral show in October at the Barbican called Other World which is the amazing batch of shows, eight of our core musicians that we work with a lot. So it’s really changing all the time and it’s nice to be able to do that; it means instead of going to a composer and saying ‘this is what we’ve got, you’ve got to write this’, we can say ‘this is what we’ve got, enjoy it and we can be flexible to what you want.’

There is a wide range of found sounds on ‘LAGEOS’. So, as a listener you’d be asking ‘what is this sound?’ and I just love how all these elements are spliced together so brilliantly.

RA: Yeah, that’s right. A lot of the sounds on there are devised by the musicians themselves so instead of being standard classical sounds, there is a lot of extended techniques on there you especially hear that on the violin, viola and cello. Then you hear a lot of great, interesting percussion techniques like the Marimba’s with blankets thrown over them; plastic bags being used; the clarinet being used more of a percussive instrument. So it’s these very well-known instruments that are being explored throughout their whole sound world. So that’s coming from Darren first or wanting to find out exactly what more instruments can do, the musician having the technical ability to create all these sounds and show them to him.

The studio itself that you record in, is this a space that you all would be familiar with?

RA: This was a slightly different recording process to what we’d usually do. So, although we perform and rehearse together, we actually recorded the stem – the stem being we recorded every single instrument independently and built them up so we could give Darren control over the individual lines and so Hugh and I would have control as well. And the mixing stage we did with our friends at Spitfire Audio Studio: they are a really amazing company; they make sound library store for composers so we recorded in their studio which we recorded our sound library we did with them and we had a great engineer called Harry Wilson.

Was the process itself a short intense period or more lengthy, gradual stages?

RA: It was quite intense, it happened over two very, very long days of each musician independently and obviously each track has a different amount of musicians; some of them have scores and some of them don’t so some were quicker to record than others. So I think safely to say by far my favourite track on the album is a track called ‘Galya Beat’ and that’s not scored at all and that’s written by Galya (the violinist), Sam Wilson (the percussionist) and Darren, so that’s a pure co-write between those three guys and for me is what the collaboration is al about. And there’s elements of improvisation in the writing of that, so something like that was really quick and fresh to record because they performed it so much. The other ones which are a little bit more notated took a bit more time.

One of my favourites at the moment – and it’s where it’s placed as well – is ‘Voodoo Posse, Chronic Illusion’and that groove that goes on throughout.

RA: Yeah it’s a great one, I mean it’s one of his classic tunes, it’s really amazing. It’s fun exploring that groove and it’s fun exploring the darker sound worlds of that piece. And the nice thing about that is the way we perform and the way the music is notated it doesn’t have a set duration, so if we see the audience is enjoying the groove we’ll keep it going for longer.

I gather it’s these live performances would be the most fulfilling or rewarding parts of it all? You’re so deeply involved with everything from composing and writing to arranging, recording and so on, is the live performance the ultimate part of it?

RA: Yeah, the live performance is the really, really fun bit. But it’s actually just being in a room with Darren and just working through sounds has been an incredibly rewarding experience because we’ve learned so much from him and his process; the way he works so it’s been really fulfilling the whole thing.

‘LAGEOS’ is out now on Ninja Tune.

https://ninjatune.net/artist/actress

 

 

 

 

Written by admin

June 5, 2018 at 1:58 pm