FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Lucrecia Dalt

Mixtape: Early Blue (A Fractured Air Mix)

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mixtape_earlyblue_front

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/early-blue-a-fractured-air-mix/

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Tracklisting:

01. Ed Askew – ‘Drum Song’ (Tin Angel)
02. Áine O’Dwyer – ‘Albion Awake/Lifeboy’ (Second Language)
03. Harold Budd – ‘Wanderer’ (All Saints)
04. Calexico – ‘No Doze’ (Quarterstick)
05. This Is How We Fly – ‘Pelargonens Död’ (Playing With Music)
06. Glenn Jones – ‘My Garden State’ (Thrill Jockey)
07. Karen Dalton – ‘Katie Cruel’ (Light In The Attic)
08. Caoimhín Ó Raghallaigh – ‘Fead an Iolar’ (State Of Chassis)
09. Sarah Neufeld – ‘You Are The Field’ (Constellation)
10. Julia Kent – ‘Tourbillon’ (Leaf)
11. Colleen – ‘Geometría Del Universo’ (Second Language)
12. Moondog – ‘Symphonique #6 (Good For Goodie)’ (Columbia)
13. Julia Holter – ‘In The Green Wild’ (Domino)
14. Lucrecia Dalt – ‘Mahán’ (Human Ear Music)
15. Yo La Tengo – ‘Green Arrow’ (Matador)
16. F.J. McMahon – ‘Early Blue’ (Rev-Ola / Sacred Bones)
17. Richmond Fontaine – ‘Valediction’ (El Cortez)
18. Gram Parsons – ‘Love Hurts’ (Reprise)
19. Lambchop – ‘The Book I Haven’t Read’ (City Slang / Merge)
20. Ludovico Einaudi – ‘Fuori Dal Mondo’ (‘This Is England’ OST / Warp)
21. Lou Reed & John Cale – ‘Hello It’s Me’ (Sire / Warner Bros.)

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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.

http://www.mixcloud.com/Fractured_Air

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Don’t Look Back: 2013

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‘Don’t Look Back’ is a retrospective of sorts, looking back on the year that was — 2013 — and reminiscing on some of the cherished memories from the year. Having had the great fortune of crossing paths with many wonderful musicians, artists and all-round music enthusiasts these past twelve months, we would like to share with you a snapshot of the year from the perspective of some of these wonderful people. 

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Adrian-Crowley

ADRIAN CROWLEY (Dublin, Ireland)

Across a rich body of work (comprising six solo albums culminating with 2012’s magnificent ‘I See Three Birds Flying’), the Irish singer-songwriter’s peerless baritone immerses you into a deeply contemplative listening experience. The prose and storytelling of the master poet’s songs heightens all that surrounds you. This December marked the long-awaited release of the collaboration between Crowley and James Yorkston, ‘My Yoke Is Heavy-The Songs of Daniel Johnston’ released on the Glasgow-based independent label, Chemikal Underground.

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Forgive in advance, if you will what is sure to be a rambling and disjointed part reflection of the year gone by.
When I cast my mind on 2013, scenes like this spring to mind:
I’m in Amsterdam Central Station… or Amsterdam Centraal.
Before heading to the platform for Gare Du Nord, Paris, I decide I need to take care of some business.
There are plywood partitions everywhere, the sound of drills and circular saws fill the air and workmen are milling around in hi-vis jackets and jack boots. It’s freezing as it is January and icy blasts pervade the corridors and hallways of the station. I follow temporary signs. It soon becomes clear that all elevator service has been suspended because of the works so I find a stairs and haul myself up with all my things ( A hard case containing my guitar, a faltering wheelie case and a small rucksack that feels like it is filled with hard back bibles). The stairs bring me to a platform and there at the other end of it I see a *massive* WC sign. Huge black Roman letters on a white plastic board background. I put 50 c in the slot and as I’m squeezing through the turnstile I notice an old vagrant madwoman has commandeered the toilet attendant’s booth. I hang back for a moment, all my things slung around my person, bags and instruments. Then she squalks and barks at me and with a twisted painted index finger, she waves me by screeching something that rhymes with ‘men’.
I walk into the Heern area there are no cubicles just a sad row of improvised urinals and no wash hand basins. I head for the ladies area instead as they have cubicles in there. The unkempt toilet attendant turns into a typhoon of fury and screams that the cubicles are for women only. I try and wedge all my things through the narrow door all the while yelling back to her asking how she expects a gentleman to take care of business. A petite girl with a head scarf and long grey coat timidly holds the door open for me, quiet as a mouse.
Later as the Eurostar pulls away bound for Gare du Nord I sit back in my seat with my things stowed and tucked away. I reach for my headphones and wonder if it’ll be snowing in Paris.

I may have fallen asleep to the strains of Seti The First or Colleen and I may have dreamed of the furious toilet attendant starting to slowly rotate and gather her dark tendrils from every corner of the train station causing scaffolding to shudder and papers to fly about in a vortex as she transforms into a typhoon or a tropical revolving storm and disappears down a dark tunnel leaving shards and splinters in her wake and decimated suitcases.

2013 has seen me travel alone across Europe, station to station, in a sometimes delirious state.
It’s been a dream though. And at the same time it’s funny how things are reduced to basic things, like time keeping, eating, sleeping etc. All these things take on extra weight and magnitude.
There is a sense of the epic with otherwise innocuous things. Things that you would take for granted if you weren’t a voyager. It’s in this state of transit and transition that music shows another side to me.
And books too when I can manage to read. I must say that my affliction of a sometimes crippling motion sickness precludes me from reading on trains. It’s something that is always there. Gets worse at night and especially if I lie on my left side. Then I am spun around in a vertiginous whorl and wake in a panic. But music soothes.
And after a concert when I wearily trundle down a hotel corridor relishing the thought of my waiting room I sling my things across the floor and armchair and turn on the television. Hungry for some stimulation of drama /plot / humour English language/ …an antidote to the adrenaline that comes to me each night. A distraction. My records and CDs in boxes stacked on the sideboard. Again I think of myself as a lone traveling salesman / preacher from the last century selling bibles in some erratic trajectory across the map. I don’t know why. There must be a parallel somewhere.
And many is the time, be it in Zwolle or Copenhagen, Zarautz or Barcelona….I’ve found myself flicking on my laptop and searching for unwatched and new episodes of my new favourite series.
And it has been that the only way I could fall asleep was to the sound of a zombie apocalypse as The Walkers (The Walking Dead) invade the compound of the last survivors on Earth somewhere in the former middle America.

I remember one evening back in Dublin I was meeting a friend for a pint on Wellington Quay and we got talking about Breaking Bad and I was telling her who my favourite characters were and why Hank was my hero and how I had seen every episode including the finale…when the barman suddenly materialised at our table (only two seconds previous he had been behind the bar unloading glasses from the steam washer).
And there he stood in silent fury shaking his head slowly and making a zip gesture across his lips and then pointing his finger in my face. My friend Julie looked on in utter surprise. Then he spoke.
‘I can’t believe you are actually talking about Breaking Bad when it’s clear that most people in this room may not have finished Season 5 yet. You’re barred’.

This year I found myself queueing for a ticket in the lobby of The Lighthouse Cinema, or The Screen or The IFI..
I think my favourite film of this year was ‘Ain’t Them Bodies Saints’. Oh my golly gosh.
Casey Affleck is amazing. One of my favourite ever actors.
I went to Oblivion with my son. We love science fiction and he is at the age now where if we go to the cinema together it doesn’t have to be some CGI of an annoying remake of a talking cat. It was pretty slick but still I think ‘Moon’ by Duncan Jones towers high…my favourite science fiction since Solaris by Andrei Tarkovsky.

I haven’t seen ‘Blue Is The Warmest Colour’ yet. Maybe I’ll go next week.
Oh there was another film I loved but I can’t for the life of me remember what it was called.
It was a new American independent shot in black and white and involved a girl going to Paris for the weekend. What the hell was it called again? It had half her name in the title…

This Summer was good for reading. I went away for a few weeks to France and go through a few novels and short stories. ‘Cathedral’ by Raymond Carver. ‘Miss Peregrine’s Home For Peculiar Children’ by Ransom Riggs…. ‘Shall We Gather At The River’ by Irish writer, Peter Murphy…
‘Kafka On The Shore’ by Haruki Murikami..‘True Tales Of American Life’ – edited by Paul Auster..
I have ‘Lights Out In Wonderland’ by DBC Pierre in my pocket at the moment.
And I bought a book of poetry at a reading in Ranelagh a couple of months ago. It’s beautiful.
It’s by Patrick Chapman and is called ‘A Promiscuity Of Spines’.

This Summer I went to The Galway Film Fleadh. There was the world premiere of an Irish directed feature film called Love Eternal. As I took my seat in The Town Hall..(with my folks and sister) I remembered this was where I saw my first ever film in the cinema. Directed by Brendan Muldowney and starring Pollyanna Mackintosh among others it prominently features a song of mine The Wishing Seat. At the risk of giving too much away, the songs occurs at the climax of the film. It’s uncanny how well the song fits. When the producer Conor Barry first approached me with the request to use the song, he gave me viewing copy to see what I thought. Like I said, it was uncanny how it fitted. I think that was my cinematic experience of the year when the opening chords of my song filled the cinema, accompanied by the beautiful cinematography. It’s still touring the festivals of the world and won’t be out for a while. It’s a fine, fine film.

2013 is also the year I rediscovered Blixa Bargeld. And the album he released last spring with Teho Teardo has got to be my favourite album of 2013.

Which lead me to discover for the first time a beautiful duet he recorded with Meret Becker called Stella Maris.
I asked two friends of mine in Cologne (Rita and Sabine) to teach me German.

Oh and this year I saw the Northern Lights for the first time in my life.
But that is another story.

Oh and how can I not mention:

playing with Emma and Vince from Geese to a full house Upstairs at The Grand Theatre in Groningen in January at Eurosonic…

seeing Kris Kristofferson play at Oosterpoort (also in Groningen ) in September while playing Take Root Festival…

Seeing Kevin Barry’s short film ‘Breakfast Wine’ at The Galway Film Fleadh – a gem.

The dream trip to Iceland with ‘Young Hearts Run Free’. A totally moving week and an honour to be invited and to share the adventure with such beautiful people. My heart is a flutter thinking about it.

Catching up with old friends in Reykjavik.

Fresh in my mind is the wonderful (three date travelling festival ) Stille Nacht which I joined in on in December…(a favourite of mine was the show in Lelystad – great atmosphere.)

Seeing Marissa Nadler play in Copenhagen while on tour there.

Crossing the bridge between Copenhagen and Malmo.

Sharing the bill with Efterklang, William Tyler, broeder Dieleman…in The Netherlands..

playing The Kevin Barry Room (not the same Kevin Barry as mentioned above!) in The National Concert Hall in Dublin with two cellists, Kevin Murphy and Mary Barnecutt … and a Steinway Grand Piano.

Playing my first concert in shorts and sunglasses (during a July heatwave) at The Iveagh Gardens, Dublin (opening for Beach House). My guitar pedals nearly melted.

Playing a very memorable show in Barcelona after the ceiling collapsed shortly before I was due to go onstage. No injuries…the show went on in an adjacent room. I still have a piece of plaster as a souvenir.

Recording with Seti The First. A mighty band.

Seeing Katie Kim play several times.

Playing in an old cinema in Zarautz, the Basque Country.

Touring, touring and more touring.

Starting a new album in November…(going to finish it soon)

Going to ‘The House Presents’ monthly club in North Strand, Dublin.

Releasing ‘My Yoke Is Heavy’ on Chemikal Underground.

Working on the ‘Age Of Not Believing’ project in London with Ben Eshmade, Harry Escott and loads and loads of others (album coming out soon).

Playing in the very beautiful Triskel Christchurch in Cork in November.
A very special place.

Oh and did I mention I saw the Northern Lights…?

—Adrian Crowley

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‘My Yoke Is Heavy: The Songs of Daniel Johnston’ by Adrian Crowley and James Yorkston is available now on Chemikal Underground.

http://www.chemikal.co.uk/artists/adrian-crowley
http://www.chemikal.co.uk

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goat

MR. STONEGOAT, GOAT (Korpilombolo, Sweden)

Hailing from Korpilombolo in Northern Sweden, Goat are responsible for some of the most transcendental rock ‘n’ roll creations for quite some time. The band’s universally-acclaimed debut record ‘World Music’ (released last year on Rocket Recordings) sees a spectrum of sounds and styles that are effortlessly combined: from psychedelia, afro beat, African, funk and soul to disco, rock, garage, blues. This December marked the release of the double-album ‘Live Ballroom Ritual’  which captures Goat’s live performance at Camden’s Electric Ballroom in London. 

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This year I haven’t read a book or seen a film. I never keep track with new releases of music. I have been listening to a lot of Beach Boys this year. There is just to much going on in popular culture. For me it’s always been like that. I have to shut off. Otherwise I can’t make music. And I haven’t seen a show either. Just fragments of bands playing at the festivals we’ve been playing on. No, that is not true. I loved seeing Holy Wave every night while we where touring in the US in march. Fantastic band. For the rock-group Goat it has been an interesting year for sure, learning how to play live and doing it on big stages. But more than that it has been like any other year. The commune has had it’s problems with tourism which has forced us to keep a low profile with our origin from now on. Other than that many children have been born and we have celebrated and rejoiced as normal. 2014 I look forward to play and travel with the Goat band some more and also finishing of our next album. I’m also gonna have my seventh child and I will become 25 in January, so I’m gonna have a couple of good reasons to party next year. What I wish more is that the world 2014 comes a little bit closer to acknowledge that individualism is our enemy, spirituality is our guide, and togetherness is happiness. We are all one. There is no boundaries. Peace out!

—Mr. Stonegoat

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‘Goat – Live Ballroom Ritual’ double album is available now on Rocket Recordings.

http://goatsweden.blogspot.ie
http://rocketrecordings.blogspot.ie

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laurelhalo

Cian Ó Cíobháin, An Taobh Tuathail (Galway, Ireland)

Cian Ó Cíobháin is the presenter of An Taobh Tuathail, a music show dedicated to promoting the very best in independent music. Cian’s show is broadcasted on RTÉ Raidió Na Gaeltachta on weeknights from 9 to 11pm, Monday to Friday. Cian also compiles a series of compilations which are made available for free download, at present the An Taobh Tuathail series is at volume 6. Additionally, Cian DJ’s at 110th Street, Galway, with Cyril Briscoe.

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In 2013 I LOVED…
LPs by My Bloody Valentine, Jessy Lanza, Laurel Halo, Oneohtrix Point Never & Chequerboard; surprise LP of the year was from These New Puritans, well worth spending time marinating in it; spending a magical break with my truelove in south Kerry last May, that lovely time of year as summer is slowly getting into her groove; successfully having laser eye surgery in mid-summer after a serious injury which resulted in six months of corneal pain made a huge change — for the positive — to my mood and sense of wellbeing; Thurston Moore live in Róisín Dubh, Galway accompanied by John Fahy simply confirmed that the former Sonic Youth frontman might still be the coolest man on the planet; continuing to meet great new people in clubs and at after-hours sessions; The Great Heatwave of July 2013; resurrecting old club night The Hive (a club for music lovers, by music lovers); being in Croke Park for Kerry V Dublin, possibly the greatest game of football I ever saw in the stadium, the superlative display from both teams numbed the pain of defeat; wonderful nights playing records in the Blue Note, Galway with my good friend Cyril Briscoe to people who truly know how to get down; genuinely amazing & unexpected fun DJ-ing at weddings in Co. Down and Co. Mayo (with a Funktion1 soundsystem), a whole new experience for me, I’m already taking bookings for weddings in 2014; the last season of ‘Breaking Bad’ was the most perfectly written season of TV I’ve ever had the privilege of seeing; having only made two pods/mixes during the first ten months of the year, I hit a November purple-patch with 4 new expressions of my musical interests VIA mixes & pods for The Hive, 110th Street, ATT & Shock; immersing myself in the books of Carl Sagan, what a wonderful & wondrous human being he was, indeed I read a great number of books this year … aside from immersing myself in music, reading is my sanctuary; those wonderful and inspiring mails I get from listeners of my show, from the most personal to the most flippant, I love each and every one of you, keep them coming, they are my Ready Brek during these dark winter mornings.

—Cian Ó Cíobháin

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‘An Taobh Tuathail VOL 6’, compiled by Cian Ó Cíobháin, can be downloaded for free HERE.

http://www.rte.ie/rnag/an-taobh-tuathail/

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Moonface

Siobhán Kane, Young Hearts Run Free (Dublin, Ireland)

Siobhán Kane runs Dublin-based collective Young Hearts Run Free, which (since 2008) organizes music and literary events in unusual spaces across Dublin, in aid of the Simon Community. The next event being organized by Young Hearts will be a very special concert at Dublin’s Christ Church on New Year’s Eve. The gala concert comprises an extensive lineup featuring the wonderful talents of Moonface (Jagjaguwar) and Alasdair Roberts (Drag City). Siobhán Kane’s journalistic and literary talents can be seen in many musical and cultural sections of the press, and has written in the past for The Wire, Thumped, The Irish Times and The Quietus. 

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In a way, looking back on the year feels like remembering light, as it has been a year full of unexpected, heartening experiences.

One of my favourite things this year has been some of the experiences running Young Hearts Run Free. I have been doing it since 2008, and it has been a real labour of love. I have about three jobs that are quite time-consuming, and didn’t realise that Young Hearts was also going to take up so much time, but it is worth it. It kind of places everything out of a fuzzy focus, and distills so much of what I love about living in Dublin; particularly people’s open-heartedness, and sense of adventure, which is good, as I am always thinking of unusual venues, and odd ideas to carry out.

This year saw some real highlights of the project so far; Andy Irvine singing The Blacksmith (among other things) in the House of the Dead on Ushers Island, providing a very emotional evening for many of us, or our pub skip around the city with an intimate, willing audience with musicians like Alasdair Roberts, and Lisa O’Neill, or taking the project to Iceland Airwaves, with Dónal Lunny, Adrian Crowley, Katie Kim, The Spook of the Thirteenth Lock, and Conor O’Brien.

That whole experience in Reykjavik now resembles a misty dream I feel I had once. I felt like my teenage self had burst through the pages of my novel as an adult and made it happen. We raised a good amount for Konukot, the homeless women’s shelter there, and had two brilliant showcases; one in Lucky Records, and the second in the Volcano Museum. Before the musicians had gone to Iceland, they had been in touch with each other about potentially collaborating on some songs together, and they eventually landed on Cúnla, A Pair of Brown Eyes, and On Raglan Road.

It’s hard to describe the feeling when those collaborations eventually happened live, and the tender excitement and enthusiasm shown by each musician was humbling, and the experience rejuvenated my fatigued self, because it reminded me of partly why I wanted to set up Young Hearts in the first place, in the hope that some kind of magic might happen. I couldn’t have imagined going with a better group of people, we had so much fun, and even now, writing about it, reminds me of how lucky I am to know such lovely, generous people, who have become friends.

We are now getting ready for our New Year’s Eve concert in Christ Church Cathedral, which to be honest, doesn’t really seem real. From the days of doing crazy events in the basement space of Clarendon House to this, has been an unexpectedly emotional journey, and at times severely anxiety-inducing, but ultimately it has meant so much, not least because of the money we raise for the Simon Community, but how it raises hearts, and brings out some really great people, and that has been something of an anchor in really difficult times the last few years.

It also reminds me of one of my favourite records of the year, because we are bringing over Moonface/Spencer Krug to play, who has always been an intriguing musician, whether when playing as part of Wolf Parade, or Sunset Rubdown, or his collaborations with Dan Bejar, I am always interested! And I really fell in love with his new record on Jagjaguwar, Julia with Blue Jeans On – it is possibly my favourite record of the whole year; elegant, epic, and emotional music – just his voice and the piano, everything is stripped right back to reveal something so true – anguish, pain, and love, it’s all there.

Some of my other favourite records of the year come from Alasdair Roberts, with his A Wonder Working Stone (Drag City) and his recent collaboration with the poet Robin Robertson Hirta Songs (Stone Tape Recordings) – both are very different, but they  harness an unusual tone of storytelling, it is so singular, and with Hirta Songs, the two singular artists totally transport you into a different world filled with sea imagery and sad farewells.

In a slightly different sense, this could also be said of Adrian Crowley and James Yorkston’s record – a loveletter to Daniel Johnston’s work – My Yoke is Heavy (Chemikal Underground) – this came as quite a late gem in the year, and has kept me quietly moving company ever since; sad and brilliant.

It does seem like so many of my favourite records tend to be sad ones – so I need to jazz this up a little by hurtling through some other, more rather upbeat compositions. I was very excited by Beyoncé’s record, and am enjoying that at the moment, Fuck Buttons’ Slow Focus is excellent, as was Colin Stetson’s New History Warfare Vol. 3: To See More Light – he is such an exceptional musician, and his work on the saxophone is so subtle, and fascinating, and when experienced live honestly provides goosebumps – as for him, the work is almost an athletic endeavour as well as creative. I loved Villagers {Awayland} – particularly songs like My Lighthouse and The Waves, and Julia Holter’s dreamy Loud City Song, and Laurel Halo’s Chance of Rain.

There have been so many good records this year, like John Grant’s Pale Green Ghosts, and Pusha T’s My Name is My Name – he is just so good, and I have always been a fan of his from his Clipse days. M.I.A.’s Matangi has some mind-bending production, as does Jon Hopkins’ Immunity, and the atmosphere on Forest Swords’ Engravings is slow-burning and immersive – off-kilter brilliance. And I am also now thinking about El-P’s and Killer Mike’s collaboration Run the Jewel’s because I have always been slightly obsessed with El-Producto, and think him a wonder, and was a willing lemming for most Def Jux releases – as I was for Rawkus – it’s nice when you have a fidelity to a label, I still check in with Stones Throw, but there are so many great independent labels trying to make wonderful things happen – I am a devotee of Light in the Attic Records in particular, they bear witness on so much good unheralded or out of print work, as well as underrated and unusual artists. Goodness, if I start writing about record labels I won’t stop.

Bill Callahan’s Dream River is one of my favourite records of the year. I used to have quite a fractious relationship with some of Callahan’s earlier work, but I genuinely love it now, there is so much poetry in it, and his voice just knocks me over into a swoon. His new record is pared back beauty, and his imagery is so evocative, he always returns back to the idea that though acute ecstacy can be achieved, you must always fall back to earth, but need to continue to pursue true happiness, continue getting back up. The record possesses a calm that I have really responded to. He has recently said that he knows what his next record is going to be, and it is going to be his “best yet”, so I am giddy in anticipation. The National’s Trouble Will Find Me has also kept me good company, with its interesting lyrics, and Matt Berninger’s yearning, crumpled vocal that captures such true feeling. Mark Kozelek & Jimmy Lavelle’s Perils from the Sea is a great meeting of minds, as Lavelle’s subtle electronica is a perfect foil for Kozelek’s heavy load, and Deerhunter’s Monomania was all delightfully creaky dream pop bric-a-brac. I thought Arcade Fire’s Reflektor contained a strange joy, and then there were people that came back that I had missed, such as Paddy McAloon – one of my favourite ever musicians, and I really enjoyed Prefab Sprout’s Crimson/Red – it’s so much about love, maybe, and McAloon does it so elegantly, cleverly, and always from the heart. I also liked Boards of Canada’s Tomorrow’s Harvest a lot, and Oneohtrix Point Never’s R Plus Seven, Low’s Invisible Way, Charles Bradley’s Victim of Love, and it was nice to have Nick Cave & The Bad Seeds go away from Grinderman work and towards Push the Sky Away – I just really liked the luscious composition and erudite lyrics. The same could be said of David Bowie’s The Next Day, I was so glad that he just popped up with such understated elegance.

There are so many other great records, but this is getting too long and this is without writing about the books I have lived with, concerts gone to, and films and television watched, so I will whittle down as best I can to a semblance of other things from the past year.

Music and books are probably the things I love most, so it’s hard to go back on the year, but I just got round to reading Grant Morrison’s excellent Supergods: Our World in the Age of the Superhero,and Eimear McBride’s surreal and gripping A Girl is a Half-Formed Thing. Morrissey’s Autobiography was a delight, as was Tracey Thorn’s Bedsit Disco Queen, it was so well-written and revealing, and she zaps you right into the period, the politics, and the cultural references. In a weird way, her book, and Morrissey’s, greatly complemented each other, although Morrissey’s book often made me laugh out loud, he has such a gift with language, that I was often quite dazzled by it. I always have some John McGahern on the go, and am re-reading some of his earlier short stories at the moment in the collection Nightlines. I am also reading Lockout by Padraig Yeates – it has been so inspiring, all this work around the Lockout, and so topical. Alex Ferguson’s autobiography was illuminating and David Peace’s Red or Dead was an epic achievement. I also re-read Mary Robinson’s autobiography Everybody Matters, as she is a great beacon, and there are so many other things! I also liked the children’s book Heap House, by Edward Carey, it is so funny and imaginative. and James Salter’s All That Is, and also the really sad, but completely engaging Woody Guthrie’s Wardy Forty: Greystone Park State Hospital, about the five years Woody spent as a patient at the Greystone Park State Hospital – it’s really moving, and I read the reissued Stoner by John Williams, which just floored me – it made perfect sense that John McGahern did the introduction to it – there is a definite sympathy between those two writers, somewhere – perhaps in the examination of a quiet tragedy, which are almost always the worst.

Concert-wise it is so hard to write highlights, because there have been so many, but some that come to mind would be The National in the Marquee in Cork, The Walkmen at La Maroquinerie, Paris, and The Walkmen at the End of the Road festival in Dorset, and there they dedicated a song “to the late, great Seamus Heaney” as he had passed away only a few days before, little did I know that would be the last time I saw The Walkmen together – live – as a band (for now, hopefully). One of my other highlights was seeing Grizzly Bear in Iveagh Gardens in Dublin. Iveagh Gardens is very special to me, and I never thought I would see one of my favourite bands there – it was very magical, very surreal, and very moving. There were a few lovely evenings there, including the dreamy Beach House, but really all my heart was full of for so long was Grizzly Bear in Iveagh, they spin a magic that is hard to describe, it transports and means so much (to me).

Dan Deacon in Whelans in the earlier part of the year was just brilliant but he always somehow lifts, no matter what is going on in your life, he radiates so much warmth and fun and love, also Winged Victory for the Sullen at the National Concert Hall was genuinely beautiful, Angel Olsen in Whelans was another highlight, just her and her guitar, she was mesmerising, and kind of resembled a lovely cat singing, and then Thee Oh Sees in Whelans were another highlight, they make you feel like you are 14 and you are going to take on the world and win. That was how I felt also with Konono No.1 in Whelans. Looking back there were so many great concerts, how lucky I was to have gone to so many; Public Enemy in the Button Factory, Egyptian Lover in the Sugar Club was hilarious and great, Why? in Whelans, Colleen in the Unitarian Church supported by Seti the First was shimmering, subtle beauty, Immortal Technique in the Sugar Club was raw, indignant and great, Chromatics/Glass Candy in the Village. Lee Fields in the Sugar Club was one of the best things I have ever been to, experiencing Ennio Morricone at IMMA was a really special thing, and The Music Tapes in the Workmans Club were so charming, and had a little game for the audience to play at the end. I really loved Low in Whelans, and the day after Tame Impala in the Olympia – I felt quite delirious about those two days. Also, Charles Bradley in The Sugar Club was fizzing with energy, and he had a costume change or two, which I admired, and I also enjoyed Villagers Christmas homecoming with Stargaze in Vicar Street.

There were many other things too, like experiencing comics such as Reggie Watts, Stewart Lee, Eddie Pepitone and David O’Doherty, and recently I got to see Harry Shearer in London do a Christmas revue of sorts, with his wife and several guests, and on the same trip, I caught Dan Bejar at Bush Hall doing a solo set, it was around the release of his latest EP, but he also revisited so much of his work from Destroyer’s Rubies, Kaputt and other records – it was such a delight to experience – particularly as he said he won’t be playing again until 2015. My memory is quite scattered at present, and I am sure that I will have forgotten experiences that have made my year, but I know it means that there have been lots – I look to mainly experiences shared with people, such as festivals like Primavera, or End of the Road, or Iceland Airwaves – I think of the feeling of being glad to be alive when David Byrne and St. Vincent performed on the Friday night at End of the Road, or when Belle & Sebastian took to the stage at the very same festival, or when John Grant and Conor O’Brien duetted on Glacier at Wiltons Music Hall in London, or feeling devastated in Croke Park with my Dad when Mayo lost the All-Ireland (again), but happy for Dublin to win, if someone else had to. On the other end of the spectrum, there are all those things you might experience alone sometimes – and for me, this year, it has been cackling at Louis CK on his perfect show Louie, or anything Larry David has done or will ever do, or being freaked out by the most violent bits of Homeland, revisiting one of my favourite shows Northern Exposure, feeling genuinely bereft when Breaking Bad finished, being immersed in Eileen Gray’s show at IMMA, and just all those simple times spent reading, walking by the sea and cycling – those things are great things to look back on with fondness in 2013, and all the cosy times spent with family and friends.

Lastly, all the films that have come out this year – there have been so many good ones – I really loved Philomena, and Good Vibrations, and Woody Allen’s Blue Jasmine elicited an astonishing performance by Cate Blanchett, Before Midnight was charming and sad and true, and hopeful (hopefully), and made me want to take off for Greece, Blue is the Warmest Colour was so affecting, and I got to see the Coen Brother’s new film Inside Llewyn Davis, which is beautiful and has such an odd atmosphere, and the documentary Big Star: Nothing Can Hurt Me – was good, and sad (a common theme!), and another interesting music documentary Beware of Mr Baker – about drummer Ginger Baker was excellent, though he is quite scary, and The Selfish Giant was lovely.

It’s strange to look back on the year, I know I will have forgotten so much, but it is a great exercise, because it reminds me of all that is good in the world, when things are so often difficult. The arts, like Laurie Lee once wrote (although it was about love) are like “the oil that plumps us up, dilates the eyes, puts a glow on the skin, lifts us free from the weight of time”. I hope that 2014 provides more of the same, where we can all live in the “private grip” of such beauty and inspiration. It helps us to understand ourselves more.

Siobhán Kane

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Young Hearts Run Free present: Moonface, Alasdair Roberts, Dónal Lunny (and more) at Christ Church, Dublin, this New Year’s Eve. Doors 8pm, tickets in aid of the Simon Community.

http://youngheartsrunfree.ie

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Benoît Pioulard (Seattle, USA)

Benoît Pioulard is the alias for Seattle-based composer Thomas Meluch, who has to date released a string of formidable albums on Chicago-based independent label Kranky, culminating with this year’s stunning ‘Hymnal’. A very special compilation ‘Hymnal Remixes’ will be available on 21 January 2014, featuring remixes by Brambles, Fieldhead, Loscil, The Remote Viewer and many more. Pre-orders can be made now (including exclusive immediate download of 5 tracks) HERE.

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My favorites of the year:

Book : ‘Tenth of December’ by George Saunders
Film : ‘Leviathan’
Album : ‘Tomorrow’s Harvest’ by Boards of Canada

—Thomas Meluch

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‘Hymnal’ by Benoît Pioulard is available now on Kranky.

http://pioulard.com
http://www.kranky.net

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marylattimore

MARY LATTIMORE (North Carolina, USA)

Mary Lattimore is a Philadelphia-based harpist whose name has become synonymous in independent music circles as both a gifted solo composer as well as a versatile and accomplished collaborator. ‘The Withdrawing Room’ is the debut solo album by Mary Lattimore, released earlier this year on Desire Path Recordings. Limited to three hundred copies on black vinyl, the album draws from drone, ambient, folk and world music traditions. Lattimore’s harp compositions can be compared with Julianna Barwick’s choral-based harmonies, where both artists loop their chosen instrument to magnificent effect. Mary Lattimore has collaborated with a vast array of musicians to date, including Thurston Moore, Ed Askew, and Sharon Van Etten.

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Hi from North Carolina, here on my parents’ farm.

Favorite Things of 2013 List

Favorite Records (in no order)
Grouper – The Man Who Died In His Boat
Julianna Barwick – Nepenthe
Nils Frahm – Spaces
Daniel Bachman – Jesus I Am A Sinner
Sarah Neufeld – Hero Brother
Kurt Vile – Wakin on a Pretty Daze
True Widow – Circumambulation
Brent Arnold – Night, Exquisite
I Am The Center: Private Issue New Age In America compilation
Chris Forsyth – Solar Motel
Purling Hiss – Water on Mars
Emerald Web – The Stargate Tapes (Reissue)
Neil Young – Live at the Cellar Door
My Bloody Valentine – MBV
Steve Gunn – Time Off
William Tyler – Impossible Truth
Body/Head – Coming Apart
Mark Kozelek and Jimmy LaValle – Perils From the Sea
Michael Chapman – Wrecked Again (Reissue)
Chance – In Search (Reissue)
William Onyeabor – Who is William Onyeabor? (Reissue)

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Favorite song of 2014
https://www.youtube.com/watch?v=bsoqmFL1vlU

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Favorite new place
Asbury Park, NJ

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Favorite shows of 2013
Body/Head at Union Pool (NYC)
War on Drugs New Year’s Eve at Johnny Brenda’s (Philly)
Cass McCombs at Boot and Saddle (Philly)
Ed Askew Band (Philly and NYC)
Sun Ra Arkestra at Union Transfer (Philly)
Spiritualized at Union Transfer
Julianna Barwick at Mann Music Center (Philly)
Sarah Neufeld and Colin Stetson at World Cafe (Philly)
Chris Forsyth and the Solar Motel Band residency at Ortlieb’s (Philly)
Spacin at the Philly Record Exchange
Animal Collective Halloween at Union Transfer
Belle and Sebastian at Mann Music Center (Philly)
Woods/Parquet Courts at Morgan’s Pier (Philly)

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Favorite performance experiences of 2013
Playing in Grand Central Station (NYC) accompanying 60 dancers wearing visual artist Nick Cave’s Soundsuits twice a day for a week. Was truly an amazing experience.

Playing a few covers with Jeff Zeigler, Sharon Van Etten, and Adam Granduciel (War on Drugs) for a benefit for the Rail Park in Philly. We played a Big Star song, a Lou Reed song, and one of Sharon’s. Sooo much fun with those guys.

Little tour with Jeff Zeigler and Daniel Bachman, sleeping in this beautiful room in the incredible Coward Shoe in Baltimore.

Opening for Jeff Mangum with my great Tall Firs friends Aaron and Dave.

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Favorite Art I Saw in 2013
Mike Kelley at MoMA P.S.1 (NYC)
James Turrell at Guggenheim
Outsider Art exhibit at Philadelphia Museum of Art
Wharton Esherick House in Malvern, PA
Anthony Campuzano: Local Color
Psychedelic poster exhibit at Smith College in Northampton, Mass

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Favorite Day
Greatest birthday this year, thanks to my friends Gary O, Adam, Faryal, Dana and Jan. Yogurt with fruit, the beach, recording with the War on Drugs, tarot reading, Eric Copeland/Kid Millions/J Spaceman show, going down late at night to get close to those towers of light that they project to represent the World Trade Center, with all of the hundreds of white birds spinning and swirling in the light, so unreal. Was a perfect day. 

—Mary Lattimore

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‘The Withdrawing Room’ by Mary Lattimore is available now on Desire Path Recordings.

http://marylattimore.net
http://www.desirepathrecordings.com

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mctaylorphoto-by-Harlan-Campbell

M.C. TAYLOR, HISS GOLDEN MESSENGER (North Carolina, USA)

Hiss Golden Messenger comprises the Durham, North Carolina songwriter M.C. Taylor and multi-instrumentalist Scott Hirsch, who resides in Brooklyn, New York. Additionally, Terry Lonergan plays drums and percussion and – together with Hirsch and Taylor – combine to form one of the finest rhythm sections around. Hiss Golden Messenger’s four studio albums to date – culminating in 2013’s magnificent ‘Haw’ (available now on the North Carolina-based label Paradise Of Bachelors) – confirm Hiss Golden Messenger’s place to the forefront of the Americana music tradition, like Whiskeytown and Uncle Tupelo before them.

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Your personal favorite album from the year?

As far as new records, I’d probably say William Tyler’s Impossible Truth. I spent a lot of time on the road with William and heard those songs in various iterations. I think what William is doing — his whole process and aesthetic — is really beautiful and singular, very thoughtful and inspirational. There’s nobody else making music like he is.

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The music you found yourself listening to the most during the year?

Anytime anyone asks me what I’ve been listening to, I suddenly can’t remember. But I just looked at my phone, and was reminded how much I love Steve Gunn’s Time Off . Also, Lal Waterson’s Teach Me to Be a Summer Morning was a gorgeous set of recordings; she later made Bright Phoebus with her brother Mike, which drew on some of this material, and is a pretty foundational album for me. Gal Costa’s India is something I’ve spent a lot of time with lately, as is African Songbird, by Sathima Bea Benjamin. Oh, and the Cocteau Twins’ Heaven or Las Vegas is something I’ve been revisiting. What a great, great album. Anything by Ann Peebles too, I really like her music — Straight From the Heart is the album of hers that I’ve listened to most recently.

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Fondest memories of touring ‘Haw’ in US and EU?

It’s rare for me to not have a good time playing music anywhere, but my 2013 was bookended by some very special shows. In February of 2013, I was honored to take part in a round robin performance with my pals Heather McEntire (of Mount Moriah), Phil Cook (of Megafaun) and Amy Ray (of the Indigo Girls) in my hometown of Durham, North Carolina. Then, at the end of October, I played my last show of the year at the Haw River Ballroom in the rural town of Saxapahaw, NC, with friends The A’s (Amelia and Alexandra from Mountain Man) and Brad and Phil Cook (from Megafaun). The Haw River Ballroom is, in my opinion, among the most beautiful performance venues in the Western Hemisphere, and it was a real gift to play there.

William Tyler and I also toured the UK by train for the second time in May, which presented its own unique set of challenges but is a pretty incredible way to see that part of the world. Our last show of that trip was recorded and is available to hear as London Exodus.

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Most special moments from 2013?

My wife and I had a baby girl, Ione Clare, on July 1st, 2013. Everything about this year was centered around her arrival. Now we’re learning about life with two kids!

I’ve been very lucky to continue to make music with my longtime friend and musical partner Scott Hirsch (who also had a baby girl, Issa, this year). We just completed the recording for the next HGM album, which will come out sometime this fall, and we were so fortunate to involve many of our friends, including Brad and Phil Cook, Terry Lonergan, Matt McCaughan, Alexandra Sauser-Monnig, Chris Boerner, William Tyler, Matt Douglas and others.

—M.C. Taylor

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‘Haw’ by Hiss Golden Messenger is available now on Paradise Of Bachelors.

http://hissgoldenmessenger.blogspot.ie
http://www.paradiseofbachelors.com

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Sorcha-Richardson

SORCHA RICHARDSON (New York, USA / Dublin, Ireland)

Born in Dublin, Ireland, Sorcha Richardson is a New York-based songwriter. 2013 saw the release of Sorcha Richardson’s latest EP ‘Last Train’ on Paris-based independent label Crosswalk Records. An earlier EP  ‘Sleep Will Set Me Free’ from 2012 (featuring ‘I Heart NYC’ and ‘Birds Of Summer’) would establish recurring themes in Richardson’s songwriting — longing, connection, and a deep sense of place — where the surroundings of New York would have a growing impact on her musical output. To date, Richardson has also collaborated with numerous acts, including New York electronic outfit Colossal Mantis and the hip hop-infused project CON VOS, who release their debut EP ‘Cocoon Bloom’ in January 2014. 

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I rang in 2013 at a New Years party in a cottage in Wicklow. I was home from New York at the time, with a five-week Christmas break from college, so I packed as much music into those winter weeks as I could. By the end of January I had played at Whelan’s Ones To Watch Festival, travelled to London to meet with some music folk, played a sold out show Upstairs in Whelan’s (with a beautiful set from Little Rivers to open the night), travelled to Kaiserslautnern, Germany with my two bandmates, where we stayed in a hotel that had just been renovated from a prison (the hotel rooms kept all of the features of the prison cells), did some German radio promo, played to a packed out venue and then went on a bar crawl with the locals before flying home and going straight to the studio from Dublin airport to finish recording some songs for my EP. While at the studio I received an email from a hip-hop duo in New Jersey, interested in starting an indie-pop group and recording an EP. That was not an email I was expecting to get or a project I thought I’d become involved with, but within three weeks CON VOS was formed and our debut EP was complete.

Music took a bit of a backseat from February to May while I was busy finishing college. I majored in fiction writing and minored in film studies the nature of my degree meant that my final projects consumed a huge amount of creative energy. It feels like I spent every spare minute either reading or writing for those four months. But before I graduated, I skipped out of New York for a few days to visit some friends in LA. Then we drove down to Southern California for Cochaella, a festival I have wanted to visit for years, long before living I had any idea of living in America in my late teens and early twenties. That was one of the most fun weekends of the year.

I graduated college in May and then flew home to Dublin for a string of Irish shows. I played a headline show at The Workman’s Club with the super talented Liza Flume supporting, as well as festival sets at Knockanstockan, Castlepalooza and Indiependence and a really enjoyable show at Roasted Brown Café in Temple Bar with I Have a Tribe and Kinds & Cavaliers.

When I flew back to New York at the end of August, I had no idea what I would do when I arrived. It was the first time I was coming into the city with no plan in place. Since returning, some of the highlights have been moving to Brooklyn, spending a weekend at the Toronto Film Festival, releasing my EP, Last Train via Paris indie label Crosswalk Records, seeing Stevie Wonder play a show in Central Park, seeing Drake and Kanye West play at the Barclay’s center, seeing Laura play in a little church in Borough Hill, introducing CON VOS to the world in the form of Coast and Central Park, two tracks taken from our forthcoming EP, and have a very quintessential Thanksgiving with college friends in New Jersey and Philadelphia.
I’m really looking forward to getting home for Christmas and to be finishing out the year with a gig at Whelan’s on Dec 30th. Sails and Fears, two of my favourite Irish bands of the year, are supporting, so I’m really happy to have them on the bill. I’ve had both bands on repeat since discovering their music. Some other musicians that have soundtracked my year include Daughter, Wilsen, Foals, Jessie Ware, Haim, Lorde, Sampha, Drake, Kendrick Lamar, Kanye, Kyson, Volcano Choir Polica, FKA Twigs, Villagers, Blood Orange, Winter Aid, Slow Skies, I Have a Tribe, Rae Morris, Lovelier Other, Pale Seas and London Grammar. American Hustle, Behind the Candelabra and Enough Said were all films that I enjoyed a lot and Breaking Bad, VEEP, Modern Family and Friends were most commonly played on TV.

—Sorcha Richardson

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‘Last Train EP’ by Sorcha Richardson is available now on Crosswalk Records.

http://sorcharichardson.com
http://crosswalkrecords.com

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James-Murphy

YVONNE MCGUINNESS (London, UK / Cork, Ireland)

Yvonne McGuinness is an Irish artist who is currently living and working in London. McGuinness’s practice encompasses performance, video, photography and writing. Her work often takes the form of video works, which are sometimes a documentation of a performance or a stand alone film. Recent works such as ‘Procession’ (2012) where she staged a procession on the island of Inis Oírr off the West Coast of Ireland which was documented and made into film. Another recent work the film ‘This is between us’ (2011), was about the artists relationship with her mother. 

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2013. It was a good one for me. I got out more, I saw more things, I heard more things. I went to Body and Soul for the first time and never wanted to leave. Apart from the the bigger gigs (Jon Hopkins and James LCD Soundsystem my favs) I never wanted to leave the ‘our house’ tent. Every night it rocked with unpretentious hands in the air songs and I haven’t danced liked that since 1999. I try to be an artist but most of the time I lament on not being one but then I see certain shows and I think there’s a place for me and desperately want to make things. Laure Prouvost and her show at the Whitechapel, London was one of those catalyst moments. She’s French, she’s just won the Turner Prize — a bit too prematurely I think — so you’re going to know a lot more about her. She makes films that are funny, odd and brilliant and they stay with you despite their constant shift in register with sound and image. Place and event and all time good community festival and just a really positive weekend was Feile Na Bealtaine in Dingle. This is run by the community which is what we Irish are good at. It was heartfelt and uncommercial and I met some amazing people. Every night there was something great on, one of my best gigs of the year was This Is How We Fly at the St James Chapel, home of Other Voices, get their new album it’s stunning. On a closing note I’m reading ‘The Golden Notebook’ again, by Doris Lessing. She just died, she was a fierce lady, a Nobel Lauriet and she’s off somewhere now with Seamus Heaney, Lou Reed, Nelson Mandela and Peter O’Toole doing the do.

—Yvonne McGuinness

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http://yvonnemcguinness.com

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jon-Hopkins-Immunity

MARY NALLY, DROP EVERYTHING (Galway, Ireland)

Mary Nally is the creative force behind Drop Everything, a free contemporary cultural event which takes place in the picturesque surroundings of Inis Oírr, Galway. Designed to encourage and inspire creative exchange between artists and audience alike, 2013’s programme included No Way Back featuring Frank B, John Daly & Ger Z, Bande Apartment, February & Mars, White Collar Boy — among others — and a live set from Steffi & Virginia on Inis Oírr in July. Drop Everything’s 2014 festival will take place on Inis Oírr, Galway from 23rd to 25th May 2014.

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I’ve been asked for my highlights in everything. Now there’s been quite a few from breaking in the backdoor of the Nicolas Jaar party at some palazzo during the Venice Biennale to having the chats and super lolz with Richard James at Pleasure Principle.

Between 15 festivals, at least 7 significant parties, 5 live shows, a fair few art exhibits, one or two clubnights, a few random mad ones and all else in between… these, in no particular order but sort of chronologically are my top memories, highlights and magic moments from 2013.

1. –Lightshow at my absolute favourite Gallery ever the Hayward, David BatchelorCerith Wyn Evans and Jim Campbell’s pieces were particularly captivating and class in this group show.

2. –Beirut, one of the most interesting places I have ever been. I now am on first name terms with half of the publicans there, enjoyed more than one world class lunch at the restaurant Tawlet and can’t wait to go back and take up smoking and hang with the aul lads in the deadliest fucking record shop on earth.

3. -Dublin City’s most interesting festival (in my opinion) OFFSET, three days of not stop design talk brilliance. Kate Moross won with this line, “If you can’t do it. Learn how.”

4. -A roadtrip to Carrick-On-Shannon to the Phase One festival with the gent that is Cian Ó Cíobháin, the tunes & sandwiches he made us for said roadtrip definitely get a “the highlight of the year” award.

5. –Pleasure Principle in Cornwall. Not one bad set all weekend but TNGHT took the overall gold from me.

6. –Ballymaloe Lit Fest for some random foods, drinks and garden walks.  Alys Fowler is definitely one of my hero’s of the year.  Check out her column in the Guardian and have a go at planting things.

7. -VENICE,  The Venice Biennale, the highlight of my every two years. It needs no introduction and there’s no point in an explanation. It’s just everything. Art overload. Party overload. Prosecco overload. 2013 included moments like James Lavelle giving me his phone number, losing the phone ten minutes later and missing the flight home. Time of my life!

8. – Boris Festival of Writing and Ideas where PJ Harvey was the main draw but Michael Craig-Martin was the main event. What a legend.

9. – Body&Soul Festival, a given. JON HOPKINS was beyond a doubt the superstar of this show, although Mother’s rave in the woods under the stars and the sparkle of a discoball did hit all the magical notes.

10. – Inis Oírr, particularly the sunset on our impromptu party with Steffi & Virginia, a super special one that one will last long after the sun goes down on this year.

11. – John Gerrard’s show and lecture for this years Galway Arts Festival. Mindblowingly good.

12. – Inis Turk, lolled out there with a new crew of keepers, midnight swims and falling stars make for yearly highlights but our charted boat to Inishark to find the 4Bothies Gallery is stand out sensational.

13. – No Way Back – a party myself and my lil friends threw. I can safely say the John Daly/Ger Z combo dropping this track at 5am is the stuff that highlights are made from. But following nights lolz and stories with the bff crew on a rollover in a hotel called The Rio are the extra special moments that really count.

14. -The Electric Picnic gets a shout out, not for it’s messy site but for sets from BjorkThe Knife and the David Byrne/St.Vincent duo. Perfection at its best.

15. -Dinner and a Show with Neil Watkins and Co. Exceptional night at Dublin Fringe.

16. –Leonard Cohen one week and Fleetwood Mac another.

17. -Without a doubt the ultimate highlight of my year has nothing to do with music or lolz or amazing food, mind blowing art or a Rick Owens fashion show. It was October 1st, when a man named Herman Wallace was freed from prison. He spent over 40 years in solitary confinement for a crime he didn’t commit and finally his conviction was overturned. A bitter sweet victory. Know this mans story. A true, true hero.

18. -Watching a Saints game in a bar that is really more like a garage called Little’s People Place in New Orelans is major memorable as is the polar opposite tour of NeueHouse in Manhattan, incredible set up for the creative elite.

19.- October turning to November in Iceland. The Aurora Borealis lighting up the sky as I stepped out of Keflavík Aiport and waited for a bus to Reykjavík. There for Iceland Airwaves and it’s stars were Jon HopkinsSin FangMúm and Omar Souleyman. Also Sóley’s secret gig in her garage and the party we threw in a bar called Dolly with Clareman Daithí.

20. – The last weekend of November spent in a country manor somewhere in Meath surrounded by deadly pals when this tune dropped.

21. – The Dingle Peninsula. There for some Other Voices lolz – Alice Maher talking about life at Banter and scoring a ticket to see John Grant close the show in St James’ are up there in highlight territory… but looking out at the Blaskets on an overcast Monday afternoon and a drive over the Conor Pass seeing the December sun begin to set over Dingle Bay in the rear view mirror is how I’ll remember this trip.

And so it goes 2013. All that’s left now are a few debauched Christmas parties, reading all the newspapers ‘A Year in Pictures’, brandy & baileys with the bffs on Christmas Eve and dancing from 23.59 New Year’s Eve until the sun rises on 2014.

2013, done.
2014, let’s do this.
*update – oh and meeting this lad.

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Drop Everything will take place May 23-25, 2014 at Inis Oírr, Co. Galway, Ireland.

http://www.dropeverything.net

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Lucurecia_Dalt_by_Catalina_Perez_2

LUCRECIA DALT (Berlin, Germany)

Colombian-born and Berlin-based artist Lucrecia Dalt released her latest album — ‘Syzygy’ — this October on Berlin-based independent label Human Ear Music. The album (follow-up to the wonderful ‘Commotus’) confirms Dalt’s status as one of the most intriguing composers making music today. Whereas previous album ‘Commotus’ stemmed from bass-driven compositions, ‘Syzygy’ finds Dalt shifting the sonic palette to a more dreamy, ambient-textured palette (she could not use the bass notes as her apartment was in close proximity to the metro line). Film provides much inspiration for Dalt’s practice as a musician, and cites the film work of John Cassavettes, Michelangelo Antonioni and Ingmar Bergman as influences for ‘Syzygy’. 

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List of favorite things from 2013

I have a top 2 records of the year: Jerusalem in my heart – Mo7it Al-Mo7it and Connan Mockasin – Caramel.
but,
there are random things I enjoyed a lot this 2013 like (just as they appear in my memory):

Mac Demarco – Rock and roll night club (the first song of this album)
the concert that “Don The Tiger” gave at Miscelanea in Barcelona
the concert that “za!” gave at Apolo in Barcelona
the concert that Stephan Mathieu gave at KW in Berlin
Julia Holter performing “try to make yourself a work of art”, Corey (the drummer) suggested once to do an extended version of it, I couldn’t agree more!
Touring with Suuns
I hate absinthe
Touring with Julia Holter
I love German wine
I also love Catalan wine
moving to Berlin
I miss the fruits in Colombia
there’s this track by Holden called ‘Seven Stars’
Playing darts with Jason Grier and Ekkerhard Ehlers.
I love Landjäger
Strangely, I stopped liking coffee this year, but I still like to smell it, prepare it, watching people enjoying a cup of coffee.
Realising that a group of people a la “Savage detectives” of Bolaño, existed in Berlin (and they are friends of mine)
Realising that Gena Rowlands is my favorite actress after seeing ‘Opening Night’ by John Cassavetes (and ‘Gloria’ and ‘A Woman Under The Influence’)
I think I saw ‘Deserto Rosso’ around 8 times this year, it was the movie that guided ‘Syzygy’ along with ‘Daydream’ (pink film from 1964), and ‘The Hour Of The Wolf’
I watched ‘Wild Blue Yonder’ by Herzog on a train.
I realised I love to make music on trains, I can say that I could make an album only on trains but that won’t happen.
Working in the production of a series of podcasts called “the utopia is possible: ICSID Ibiza, 1971” for the Radio Web Macba.
I like this Tirzah – Micachu song, a lot!
Best discoveries: Lauren Fairon, Camino al desván “581”, Krzysztof Komeda – “Alfred Behind Sledge”, Tools you can trust.
Most played song in November: Ween – “I play it off legit”
I’m not a library music geek, but there are two library music records that changed my life: Alessandro Alessandroni – Romance and Drama and Eric Vann – Bass Moods.
I realised that the music I like the most have a sixtisomething Italian touch to it.
I’m happy that the “meridian brothers” exist.
I still haven’t finished ‘Glass Bead Game’ by Herman Hesse.
I started to read ‘The House Of Leaves’ by Mark Z. Danielewski yesterday.
I made “inframince” on the 8th of January of 2013.
I tried to get lost in Barcelona but I couldn’t, it’s easier to get lost in Berlin.
I’m learning German, and trying not to forget Catalan.
I like Mirage Hall and Elli by Dirty Beaches.
Something important: I became a Spanish Citizen in 2013.
I became a better cook, it’s a bit scary because I could see myself being only a cook and…. ok ok, I will keep up with my music, promise!
but, maybe I could just do mixtapes? oh nein.
My dearest (experienced) filmmakers: I wish I was working more in music for films, give me a call.
I liked doing shows on banana scent fog, light engineers always got a shiny eye look when I requested the fog machine.

—Lucrecia Dalt

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‘Syzygy’ by Lucrecia Dalt is available now on Human Ear Music.

http://www.lucreciadalt.com
http://www.humanearmusic.de

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directorsound

NICHOLAS PALMER, DIRECTORSOUND (Dorset, UK)

Directorsound is the moniker for Dorset-based musician Nicholas Palmer. As well as comprising one half of the musical duo The A. Lords (who collaborated with Mark Fry on 2012’s ‘I Lived In Trees’ album), Palmer’s Directorsound project has thus far created a string of gorgeous pastoral folk, jazz and exotica-inspired albums, culminating this year with the release of current studio album ‘I Hunt Alone’ (Second Language) and ‘Other Rivers’, a collection of fourteen previously unreleased Directorsound tracks (available now on Directorsound’s Bandcamp Page). 

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I’ll confess that fairly typically I’ve been largely ignorant of new musical releases this year. From what I have heard though the obvious standout was Áine O’Dwyer’s ‘Anything Bright Or Startling?’, a triumphant studio recorded culmination of the vast talents of its maker. Otherwise it’s been a year of boxsets. So, the 10 disc complete works of Mahler dominated my listening for several months. Then, partly for research for a record I’m due to make next summer I exploited the 50 year expiration of copyright of a whole load of classic Blue Note records by picking up a whole load of reissues for next to nothing. Art Blakey’s ‘Orgy in Rhythm Volume 2’ and Stan Getz’s ‘Cool Velvet’ being the standouts. I also finally completed my purchasing of all of Pharoah Sanders Impulse album’s with the superb ‘Elevation’.

Live highlights included the two-day Gamelanathon festival at the Southbank and catching the Diamond Family Archive a couple of times over the year. A little like watching Crazy Horse fronted by Robert Wyatt in the backroom of a London pub. I also had the great honour of playing the Second Language night at Café Oto on a superb bill with Colleen and Áine O’Dwyer who I had to dauntingly follow.

But mainly it’s been a year of staying in watching far too many films to mention. I had a period where I re-watched the entire filmography of Dario Argento films over successive nights. Only this time I finally bothered with Phenomena and was amazed by what I’d been missing. It could quite possibly have the most gloriously absurd end set-piece of any film I’ve watched in 2013 or indeed any other year. Then the Herzog season at the BFI gave me the wonderful and rare opportunity to see some of his films on the big screen. Worth noting too is John Pilger’s ‘Utopia’, that saw him return to the issues of his 1985 film ‘The Secret Country’ concerning Australia’s historical and contemporary treatment of its indigenous population.

This year’s reading has been somewhat dominated by academic musings and policy documents of which I won’t bore the reader with. But Steinbeck’s ‘East Of Eden’ perfectly accompanied me on a week’s rare unmusical holiday to Kerry at the end of a fine summer. Profound and ambitious family sagas are a wonderful traveling companion it would seem.

—Nicholas Palmer

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‘I Hunt Alone’ by Directorsound is available now on Second Language.

http://directorsound.bandcamp.com
http://www.secondlanguagemusic.com

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jamesmcvinnie

James McVinnie (London, UK)

James McVinnie is a highly prolific organist and keyboardist who released ‘Cycles’ – an album comprising organ pieces written by his Bedroom Community labelmate Nico Muhly – and also features Nadia Sirota, Chris Thompson and Simon Wall. McVinnie’s musical career to date has been a fascinating one; he was Assistant Organist of Westminster Abbey between 2008 and 2011 and he previously held Organ Scholarships at St Albans Cathedral, and at Clare College, Cambridge. McVinnie has also collaborated with many contemporary musicians – including Valgeir Sigurðsson, Sufjan Stevens, Sam Amidon and Beth Orton – demonstrating his immense musicianship and impressive versatility as a composer. ‘Cycles’ is available now on Icelandic independent label Bedroom Community. 

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One of the highlights of my 2013 was playing in Irene Buckley’s new score for Carl Dreyer’s iconic early film The Passion of Joan of Arc. Dreyer’s direction together with Renée Jeanne Falconetti’s astonishing portrayal of Joan of Arc has given this film cult status and is widely accepted as one of the most outstanding, harrowing and emotionally charged films of all time. If you haven’t seen it, then get on to it. Tragically, two separate fires destroyed two original versions of the film in quick succession soon after it was made, and for decades it was impossible to find an authentic version of what Dreyer had originally intended. In 1981 an employee of a Oslo mental hospital found several film canisters in a closet that were labelled as being The Passion of Joan of Arc. Miraculously, this version was found to be a copy of Dreyer’s original film prior to censorship by the church and state, and so in recent years this film has been in widespread circulation. We don’t know what music would have accompanied this film when it was premiered in 1928. Irene Buckley’s score was commissioned by the Cork International Film Festival and premiered in 2012 and is for organ, electronics and soprano. For me it is hard to imagine this film without this music. Irene’s skill at moulding and melding plainsong-like vocal melodies with ambient soaked electronics, punctuated and coloured by the organ adds another dimension to this harrowing piece of cinema. The bass frequencies of a pipe organ in a large acoustic are largely impossible to recreate successfully using even the best of sound systems. At several points throughout the film, Irene’s score calls for the lowest notes of the organ (made by sending air through pipes which are up to 32 feet in length) to be played simultaneously, creating throbbing, visceral sounds which are felt in the pit of the stomach rather than heard by the ear. We had three wonderful and highly charged showings of the film in Glasgow, Cork and in London’s Union Chapel and we drank buckets of Chablis after each one in order to recover.

Midsummer for me this year, as in previous years, was spent in Iceland. There is something wildly exhilarating about being there during the month of June. With nearly 24 hours of sunshine, everyone buzzes around on cloud nine. [There was a bizarre moment when Nico Muhly and I flew back to England for 48 hours to play at the St John’s May Ball in Cambridge – bizarre because it was suddenly dark at 11pm and people went to bed.] Whilst in Iceland I celebrated the wedding of two dear friends with many other dear friends on Viðey Island and then I got a tiny plane to the North West Fjords to play Bach for a week. I’ve been going to Iceland for years to holiday or to play in various music festivals, but it is wonderful to now be an official part of the diverse and inspiring group of artists at Bedroom Community. You can read about Cycles, my debut release of music by Nico Muhly here and you can buy it here. I’m really pleased with how this recording has turned out, both in terms of its sound but also how the physical CD looks. I returned to Iceland in August via concerts in Sweden to give a concert at the HallgrÍmskirkja, Reykjavik’s landmark church on top of the hill. It houses a spectacular Klais organ which is stunning both to look at and to listen to. Later in the year, in late October Bedroom Community offered an off-venue concert in the same church at the start of the 2013 Iceland Airwaves Festival. For me, this was one of the most memorable concerts of the year. It was wonderful to have played to a huge appreciative capacity crowd, many of whom were lying in the aisles gazing up at the church’s vaulted ceiling, and who would not necessarily have even considered the pipe organ as an instrument worth listening to. I also played a little concert in Kaffibarinn on the Yamaha home organ (think 1980s bossa nova, but expect much more), much of which you can hear on Yule 2013, Bedroom Community’s Christmas special album (get it here). There is a fun little clip of Bedroom Community’s Airwaves contributions here.

December has been busy with the usual round of Christmas carol services and concerts including appearances with various groups including the Royal Philharmonic Orchestra the choir of St James’s Palace. I’m looking forward to a busy start to 2014 with a couple of weeks of swimming and intensive music-learning in Iceland in preparation for a concert I’m giving in the Royal Festival Hall at London’s Southbank Centre on March 30th. Everyone should come – I’m playing works by Bach and a new piece specially composed for me by Martin Creed, artist and composer. I’m also planning recordings of Bach and another featuring more new music for the organ.

James McVinnie

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‘Cycles’ by James McVinnie is available now on Bedroom Community.

http://www.jamesmcvinnie.co.uk
http://www.bedroomcommunity.net

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Julia Kent by Fionn Reilly 06

JULIA KENT (New York, USA)

Vancouver-born and New York-based cellist Julia Kent released her third full-length solo album, ‘Character’, this year on the Leaf label. Alongside previous solo works ‘Delay’ and ‘Green and Grey’, Julia Kent has produced an immensely innovative and highly distinctive body of work to date. Kent had previously collaborated with numerous bands including Antony and the Johnsons’ ‘I Am A Bird Now’ album, where Kent’s cello playing provides the perfect counterpoint to Antony Hegarty’s distinctive vocals. 2013 saw Julia Kent tour extensively both in the US and Europe promoting her current solo album ‘Character’.

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For me, 2013 was a year filled with glorious music: records by The Necks, Helen Money, Teho Teardo, Lubomyr Melnyk, Lori Goldston, and many other artists were essential accompaniment to what felt like a lot of time spent in transit. Music is always a fascinating travel companion: it can take you on a parallel journey to the actual journey you are undertaking, creating a soundtrack to wherever you might find yourself. Different environments inflect what you are listening to, and vice versa. The records that I loved this year brought their own atmospheres to wherever I listened to them, whether a subway in New York City, a train somewhere in Europe, or an airport in that limbo territory that is unique to airports.

In terms of live shows: this year I had the joy of playing with Teho Teardo live for the first time: He’s a multifaceted composer whose music I have admired for a long time; he has a really special energy and it was wonderful to have the experience of playing with him and his fabulous cellist Martina Bertoni in Ferrara. Also in Italy, over the past year, I have been lucky enough to play in some spectacularly beautiful venues: churches, theatres, palaces, mountain towers and magical gardens. In Italy the venues and the audiences are always special, and I feel fortunate to have the chance to play there often.

This past year I also encountered the amazing pianist and composer Lubomyr Melnyk live for the first time, in a church, at the Reeperbahn festival in Hamburg. His performance was completely transcendent: an incredible flow of music like a waterfall, or some other natural phenomenon. And just last week here in New York I saw an equally transportative concert by Stars of the Lid (also in a church…churches are always such wonderful environments to hear music—but also chilly!).

Jordi Savall’s concert at the White Lights festival at Alice Tully Hall was another high point of the past year. It traced the relationships between various ethnic musics in the Balkan regions and was both conceptually and historically fascinating while, at the same time, immensely moving in a very elemental way. It demonstrated that, however trite it may sound, music is, indeed a universal language; a way of communication that I am very grateful to be able to share. I hope that this new year brings more opportunities to do that…

—Julia Kent

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‘Character’ by Julia Kent is available now on Leaf.

http://www.juliakent.com
http://www.theleaflabel.com

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happy holidays from nyc!

‘Happy Holidays from NYC!’, Julia Kent, December 2013.

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colleen_theweighingoftheheart

To conclude, we’d like to add our own list of our favourite albums (in no order) from 2013:

Nils Frahm – Spaces (Erased Tapes)
Julia Holter – Loud City Song (Domino)
William Tyler – Impossible Truth (Merge)
Holden – The Inheritors (Border Community)
Colleen – The Weighing Of The Heart (Second Language)
Julia Kent – Character (Leaf)
Hiss Golden Messenger – Haw (Paradise Of Bachelors)
Lucrecia Dalt – Syzygy (Human Ear Music)
The National – Trouble Will Find Me (4AD)
Jon Hopkins – Immunity (Domino)
William Onyeabor – Who is William Onyeabor? (Luaka Bop)
Laraaji – Celestial Music 1978-2011 (All Saints)
Eden Ahbez – Eden’s Island [Re-Issue] (Righteous/Cherry Red)

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We’d like to give our heartfelt thanks to everyone who has contributed their words, shared their wisdom, reflected on their music and — most importantly — given their time over the last twelve months. Most of all, we would like to say a very special thank you to each and every person for reading. We feel really fortunate to be able to do this and we hope to feature many more musicians and albums in the coming year.
Happy New Year.

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Ten Mile Stereo

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Howe Gelb ‘The Coincidentalist’ (New West)
“The Coincidentalist is someone who can read the coincidences but who doesn’t try to figure out their meaning. For if one tries to figure out the meaning it will be lost. The coincidences aren’t there to figure out but to point the way.” (Howe Gelb)
Since last year’s excellent Giant Giant Sand LP ‘Tucson’ – where Gelb draws from his beloved hometown for inspiration – legendary Giant Sand leader Howe Gelb will return this November with has latest solo work ‘The Coincidentalist’. The album is Gelb’s first release for New West Records. Over the last three decades Gelb has produced a mightily sprawling body of work – whether as Giant Sand or under his “solo” guise – and has peerlessly fused myriad genres and traditions into his own dusty, earthy trademark sound. Highlights are too numerous to list but personal favorites include Giant Sand’s ‘Center of the Universe’, ‘Glum’ and ‘Chore of Enchantment’, as well as Gelb’s ‘The Listener’ and ‘Sno Angel Like You’. ‘The Coincidentalist’ proves to be yet another career peak for Gelb, and is available on 5 November via New West Records. 

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Rachel’s ‘Systems/Layers’ (Quarterstick)
Rachel’s wonderful “System/Layers” sounds as immaculate today as it did a decade ago on its release on US independent label Quarterstick Records. Recently, Rachel’s – formed in Louisville, Kentucky in 1991 – can be heard on the soundtrack to the visually immaculate Paolo Sorrentino film “The Great Beauty”, a film set in present-day Rome. The song used by Sorrentino is ‘Water From The Same Source’, a heavenly ballad and a timeless piece of music. Rachel’s are responsible for some of the most breathtaking and ambitious music over the last couple of decades. Tragically, founding member Jason Noble passed away in 2012 but has left behind a truly remarkable musical legacy in the form of Rachel’s beloved chamber music output. Also essential is the fabulous ‘The Sea And The Bells’. For all information on Rachel’s please see here.

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Zola Jesus ‘Versions’ (Sacred Bones)
Nika Roza Danilova returned this year with ‘Versions’, her fourth Zola Jesus studio album, released at the end of August by the Brooklyn-based independent label Sacred Bones Records. The album’s genesis began when Danilova was asked to perform at New York’s Guggenheim and, on accepting the invitation, she requested her wish to work with a classical composer who could arrange her songs for a quartet. The pioneering and versatile JG Thirlwell (Foetus) who is best known in industrial music circles, was recruited for this purpose and to fulfill Danilova’s artistic vision. According to Danilova: “Versions is about the bone of the music; taking approximations from past records and turning them inside out. With all framework exposed, the songs are given a new medium in which to evolve and bloom into their own tiny worlds.”

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Lucrecia Dalt ‘Syzygy’ (Human Ear Music)
Hugely talented Colombian-born artist Lucrecia Dalt – now based in Berlin – returns this year with the mesmerizing ‘Syzygy’, the much-anticipated follow-up to her second full length ‘Commotus.’ The record took shape quite by accident. When Dalt moved to a new place located in close proximity to a metro station, she soon discovered that the magnetic field of the metro affected the sound of the bass. Whereas her previous album ‘Commotus’ was largely centered on bass-driven melodies, ‘Syzygy’ sees a shift to a more dreamy, ambient-textured palette, as Dalt could only record the songs in the dead of the night, as she recounts: “I could only record at 4:30 am when the metro wasn’t working. So I love these kinds of accidents. I’m not sure if the new record would have shaped the way it did if I wan’t under that circumstance.” ‘Syzygy’ is available now on Human Ear Music.

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Chequerboard ‘The Unfolding’ (Lazybird)
Chequerboard is the moniker for Dublin-based composer John Lambert who released ‘The Unfolding’ – Lambert’s third LP – this year on independent label Lazybird Records. It has been five years since Chequerboard’s previous album, ‘Penny Black’, and ‘The Unfolding’ sees Lambert expanding on a more complex and panoramic sound than before. Collaborations on the record feature Seti The First’s Kevin Murphy and Crash Ensemble’s Kate Ellis (both on cello) as well as guest vocals from Eileen Carpio. Much like the beautifully textured and multi-layered sonic palette of Thrill Jockey’s Mountains, Chequerboard’s music is stunningly complex, mixing soft focus ambient vignettes with highly detailed, intricate guitar patterns. An album which reveals more upon every listen, ‘The Unfolding’ is a true delight.

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Lisa O’Neill ‘Same Cloth Or Not’
‘Same Cloth Or Not’ is Lisa O’Neill’s second album and follow-up to her 2009 debut ‘Has An Album.’ ‘Same Cloth Or Not’ confirms County Cavan-born O’Neill as one of Ireland’s finest and most unique young songwriters and was recorded with Dublin-based songwriter (and occasional Tindersticks contributor) David Kitt as producer with Karl Oldum on engineering duties. In the past O’Neill’s name has become better known with support slots with the likes of David Gray and Glen Hansard. A tour with the wonderful Scottish musician James Yorkston this November should be particularly special occasion for music audiences across the UK. O’Neill supports Glen Hansard on his solo Irish tour this October. ‘Same Cloth Or Not’ is released on 18th October.

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Joni Mitchell ‘The Studio Albums 1968 – 1979’ (Warner Music / Reprise / Asylum)
Since last year’s Joni Mitchell boxset release – comprising Mitchell’s studio albums from her most prolific and creative period of the late sixties and seventies – the astonishing music and artistry of Mitchell’s can be explored by a whole new generation of music-lovers. The set contains Mitchell’s best-loved and most revered albums including the timeless string of albums at the turn of the seventies – 1971’s ‘Blue’, ’74’s ‘Court and Spark’ and ‘The Hissing Of Summer Lawns’ from 1975. The set also features such slightly less known gems as ‘Hejira’, ‘Ladies Of The Canyon’ and ‘Mingus’, Mitchell’s beautiful Asylum Records album from 1979 dedicated to the life and memory of Charles Mingus who passed away in January of the same year.

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Peter Jefferies ‘The Last Great Challenge In A Dull World’ (De Stijl)
Originally released on tape cassette by Xpressway, a label based in Port Chalmers, New Zealand, in 1990, the mystery and allure surrounding Jefferies’ debut solo album has only grown since. Hence, this year’s reissue of the New Zealander’s ‘The Last Great Challenge In A Dull World’ via De Stijl Records (the first time that the vinyl has been repressed since the LP version of the album on Chicago’s Ajax label was out of print some twenty years ago). The collection itself is an engrossing set of songs highlighting the raw talents of Jefferies as a songwriter whose songs reveal much pain, sadness and indifference to a world which seems at complete odds to it’s author, while ultimately the album conveys a sense of fragile hope and soft light which diffuses Jefferies’ stark shadows with soft edges. A redeeming and life-affirming record.

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Kwes ‘ilp.’ (Warp)
‘ilp.’ is the debut album by Warp’s hugely talented London-based producer Kwesi Sey (who has worked with the likes of Bobby Womack and Damon Albarn in the past). The album’s ten tracks cut through every conceivable genre and style so effortlessly, fusing pop, electronic, hip hop, found sounds and ambient traditions to a mesmerizing effect (at times recalling Warp’s Bibio at his most expansive). The album’s hallmark is Sey’s vocal work, adding heart and soul to the beguiling, multilayered soundscapes beneath. Sey’s journey in music began when he was given a present of a keyboard from his grandmother (an instrument he still uses), and from the evidence of the hugely promising ‘ilp.’ expect a very bright future indeed for Kwes.

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Pharaoh Sanders ‘Elevation’ (Soul Jazz, Re-Issue 2013)
Soul Jazz Records’ Universal Sound recently re-issued Pharaoh Sanders’ classic ‘Elevation’ which was originally released on Impulse Records back in 1973. This was a golden era for Impulse when such jazz greats as Pharaoh Sanders, Alice Coltrane, Sam Rivers and Marion Brown were making records for the label. Sanders was one of the greatest saxophonists of all time, and worked with both John Coltrane in the sixties as well as Alice Coltrane in the following decade. Beginning with the album’s majestic title-track, ‘Elevation’ is a key cornerstone to the spiritual jazz genre and highlights Sanders as one of the greatest tenor saxophonists there ever was.

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Chosen One: Lucrecia Dalt

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Interview with Lucrecia Dalt.

This Autumn Barcelona-based (recently relocated to Berlin) artist Lucrecia Dalt will release “Syzygy”, the much-anticipated follow-up to the mesmerizing “Commotus”, released in 2012 on Human Ear Music.

Words: Mark Carry, Illustration: Craig Carry

lucreciadalt_poster

Berlin-based label Human Ear Music has recently announced the release of Colombia-born artist, Lucrecia Dalt’s forthcoming new record, entitled ‘Syzygy’, to be released on 15 October. For those already familiar with the Barcelona-based artist (who has recently moved to Berlin), a true work of art awaits. Last year’s sophomore release, ‘Commotus’ was one of 2012’s finest records, representing one of the most innovative and compelling artists making music today, very much in line with the roster of talent championed by groundbreaking independent label, Human Ear Music.

‘Commotus’ is one of those very special records that reveals more and more, on every visit. Dalt’s meticulous attention to detail and sheer devotion to her art radiates from the sonic creations. “Commotus” is a latin word which means ‘agitated’, ‘moved’. As a whole, the record captures this mood so perfectly that serves one of the reasons why the album is such a tour de force. In the words of Dalt: “As far as the music goes, my motivation comes from the necessity to create specific sensations, moods and from there sometimes pictures or a specific situation.” Indeed, the album cover artwork – depicting a cloud of dust looming onto the earth’s surface – evokes an eerie atmosphere of impending doom. Similarly, I feel Dalt’s shape-shifting creations conjures up the mood contained in Jeff Nichols’s drama ‘Take Shelter’, where the central character (played by Michael Shannon) is plagued by a series of apocalyptic visions. Furthermore, a parallel exists between the ethereal dimension that permeates the world of ‘Commotus’ and in turn, becomes a study of the human condition – unfolding unto itself – something intense and deeply profound. The plethora of visionary ideas and sonic radiance unleashed by ‘Commotus’, forms an everlasting imprint that never ceases to amaze and inspire.

The song-cycles contained on ‘Commotus’ are built around the bass guitar, with Dalt’s preoccupation at the time, being the ability to perform the record live. An instrument Dalt is comfortable with, the hypnotic bass sound – dispelling a vast array of possibilities through processing – forms the foundation to ‘Commotus”s sonic journey. A huge discovery for Dalt was the moogerfooger midi murf, a pedal Dalt formed a deep fascination with, that would form the genesis of ‘Commotus’. Layers of bass would be processed through the moogerfooger that would create a multi-layered haven of enchanting sound, generating endless possibilities. My first introduction to Dalt’s music was the meditative track ‘Silencio’, one of the record’s stunning highlights, where Julia Holter adds harmonium. Across the album’s divine twelve tracks, a unique artistic vision and breathtaking imagination envelops the space. Similar in style to such labels as RVNG Intl (Holter, Herndon) and luminaries such as Eno, Moondog and films of Bergman and Antonioni, Dalt forever pushes the sonic envelope, and creates a unique tapestry of beguiling soundscapes.

Following the release of ‘Commotus’, a 24-bit edition was made available, which reveals Dalt’s sound palette in fine detail, while adding six new remixes by Gudrun Gut, Ekkehard Ehlers, :papercutz, PePePe, and Jason Grier. A lucid rework of the ambient album closer ‘Batholith is performed by Grier, but the standout is :papercutz’ re-interpretation of the glorious ‘Escopolamina’, where the liquid dance music of Caribou’s ‘Swim’ record comes into full focus. Interestingly, Dalt has remixed Caribou’s ‘Sun’ – among many other compelling remix treatments – that demands a close listen.

The experimental pop of debut album, ‘Congost’, released in 2010, was a fine showcase of Dalt’s masterful songcraft and pop sensibilities. ‘Commotus’ sees an evolution of the artist’s musical world, and follow-up ‘Syzygy’ will undoubtedly reveal a further metamorphosis of sound.

“While I am making a new record, work becomes a compulsion. My routine changes completely, dreams and thoughts become louder and more intense, conversations more enjoyable and graspable, ordinary walks become remarkable, I’m able to materialize what besets consiousness, self-estrangement rises, as does my affectation.”

—Lucrecia Dalt

A recent album trailer for ‘Syzygy’ has been released, offering first glimpses of the latest chapter of Dalt’s experimentation with sound. A definition appeared next to the title of ‘Syzygy’: “A state of total oscillation that effervesces from the sand and levitates like a mirage.” Like the album cover of ‘Commotus’, perhaps ‘Syzygy’ is the aftermath, the world that remains after such destruction and decay. Recorded in less than sixty restless days and nights in Barcelona – having to begin at 4AM due to the noise bleed of the nearby metro station – Dalt composed spontaneously, creating a continuous cinematic movement.
The magnetic field of the metro station interfered with the sound of the bass, making the sound unbearable, resulting in minimal use of bass on ‘Syzgy’. Inspired both by the theorists Walter Benjamin and Italo Calvino, and by the oeuvre of filmmakers such as Ingmar Bergman and Michelangelo Antonioni, nine tracks were born that would become Dalt’s scintillating new work. The album was recorded by Dalt in Barcelona between November 2012 and March 2013, and mastered by Alain at One Million Mangos in Berlin.

Much like Antonioni’s stunning visuals, ambiguous narratives and focus on modern alienation, the music of Lucrecia Dalt carves out a similarly unique universe that few others could summon to create.

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‘Commotus’ (and the 24-bit edition) is out now on Human Ear Music. ‘Syzygy’ will be released by Human Ear Music on 15 October.

http://www.lucreciadalt.com/
http://humanearmusic.de/

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Interview with Lucrecia Dalt.

Firstly, congratulations on your latest record ‘Commotus’. One of those very special albums that has a terrific hold and resonance on me, the listener. Please tell me a bit about the recording of the album itself. The bass guitar is central to all the sonic creations and it works so wonderfully.

Thank you! Well, it all started cause I wanted to be able to perform this record, that was my preoccupation at that time, i still believe in the solo performance, so I was trying to find a way to do it with just one instrument. It happened to be the bass I guess kind of randomly, i was feeling comfortable with this instrument, it has a presence, and possibilities to expand its register through processing.

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The sound is immaculate. It reminds me in places of Portishead. My favourite song at the moment is the album closer ‘Batholith’. A gorgeous ambient song cycle. Can you talk me through this particular piece please?

Sonically, ‘Batholith’ is built with a few layers of the bass processed with the moogerfooger midi murf which is a process that I used the most on the record, so all these eerie, ethereal sounds come from it. In terms of the lyrics, I still believe this is the piece that resumes the whole concept of the record I wanted to use the geologic form of the batholith to talk about unexpected change in our narrative.

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And this ties seamlessly into the title of the record, ‘Commotus’; meaning ‘agitated’, ‘moved’. As a whole, the record captures this mood so perfectly. This is one of the reasons why the album is such a tour-de-force. Tell me some more about the title and the space and time ‘Commotus’ was born out of?

Commotus was born while I was living in Barcelona in 2011, this is the year where the crisis in spain started to have real impact on the everyday life, the mood on the streets was changing, the conversations you could hear at the bars, the new preoccupations, this of course influenced the decisions of the record not to decide to talk about the crisis specifically, or try to give an answer to it, or sympathize with those affected by it, the circumstances just led me to start questioning about the possible consequences of the change imposed by others, a slow change, that gives us space to react, reconfigure our present in a way, or just let us be affected by it.

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Musically, an ethereal dimension inhabits the space. As you mentioned, the mooger fooger midi murf instrument is a process you utilize throughout ‘Commotus’. This particular sound shares the cosmic spirit of luminaries such as Laurie Spiegel. Discuss this process please and when did you discover this instrument?

I was obsessed with this record by Woo, called ‘It’s Cozy Inside’ which is full of sounds processed with resonating filters so then I discovered that moog was releasing all these processes part of their synthesizers as single pieces to process instruments. So I started to try them all at a store once, but this one stood out. It’s a very special piece. I say that this is the longest relationship i’ve ever had with an “instrument”, I still find surprises everyday with it but it’s just a pedal, you know?

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That’s amazing! You obviously have found limitless inspiration from this pedal. I wonder what direction will the follow-up to ‘Commotus’ take? Do you have certain ideas in your head how your music will evolve? It has already evolved so much through the course of your first two albums.

Well, I know because my new album is ready!!

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Wow! Wonderful.

And yeah it’s very different. I barely used the bass on it, but kinds of accidentally because when I made it I moved to a new place which was located really close to the metro station, so the magnetic field of the metro affected the sound of the bass and it was unbearable. I could only record like at 4:30 am when the metro wasn’t working. So I love these kind of accidents. I’m not sure if the new record would have shaped the way it did if I wan’t under that circumstance.

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That sounds beautiful. Recording music at the ‘in-between’ time between late-night and early morning disruptions. The sound of silence must have been huge inspiration, during those quiet hours of night.

Yeah, in a way but also the city. That room was in one loud corner in Barcelona. I’m glad I’m not there anymore because the summer would have been too crazy.

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I recently was listening to a mixtape of yours that features film excerpts of ‘Night On Earth’ and ‘Faces’. Those directors must be big sources of inspiration.

Yeah, absolutely, as I was saying in that text that comes with the mixtape, I don’t know if you read it, I chose certain movies to play along while i was making the new album, so they were like my “bandmates” in a way, suggesting things to happen, not really sampling them.

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What records are you listening to most lately?

Fondation ‎– Le Vaisseau Blanc
Alessandro Alessandroni ‎– Romance And Drama
Lena Platonos – Gkalop
The Flux Quartet by Morton Feldman
I recently discovered this record by Philip Glass called ‘North Star’, so gorgeous. There are some on that mixtape.

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‘Commotus’ (and the 24-bit edition) is out now on Human Ear Music. ‘Syzygy’ will be released by Human Ear Music on 15 October.

http://www.lucreciadalt.com/
http://humanearmusic.de/

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August 26, 2013 at 10:33 am

Ten Mile Stereo

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A selection of some of the albums we’ve been listening to lately. 


Boards Of Canada “Tomorrow’s Harvest” (Warp)
In today’s day and age you may be forgiven for thinking the days of the “eagerly awaited” album is a thing of the past. However, Warp’s legendary Boards of Canada’s “Tomorrow’s Harvest” has easily been the most hotly-anticipated album in a long time. The resulting seventeen tracks presented on the “Tomorrow’s Harvest” cut confirms the legendary status of Mike Sandison and Marcus Eoin’s Boards Of Canada, the Scottish electronic duo who have become a genre onto themselves at this stage.

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Justin Walter “Lullabies & Nightmares” (kranky)
One of the true musical treasures this year so far has been Brooklyn-based (born in Michigan) composer Justin Walter’s debut LP “Lullabies & Nightmares”. An album which has all the hallmarks of a work of art which has been painstakingly created over many years. In Walter’s words: “”I set out to record an album of completely improvised music that fused my experiments with the Electronic Valve Instrument and my love of held sounds on the trumpet.”

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John Lemke “People Do” (Denovali)
This July marks the release of John Lemke’s debut album “People Do”, a stunning selection crossing genres at will – encompassing all the beauty and artistry of the neoclassical realm while embodying the cool charm and electronic textures of the best in the ambient/electronic scene. Born in Berlin, Lemke currently resides in Glasgow. The album is mastered by Germany’s Nils Frahm at his Durton Studio. Also essential is Lemke’s “Walizka” EP, a digital only release to anticipate the debut full length which will be issued by the constantly innovative German-based Denovali Records.

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amiina “The Lighthouse Project” (Sound Of A Handshake)
If someone wished to find a single album to demonstrate the magical quality only music can capture (and impart) look no further than Icelandic sextet amiina’s current collection “The Lighthouse Project.” Recorded live, the album recalls the inimitable charm of early Tiersen compositions. Also features a beautiful cover of Lee Hazelwood’s “Leather and Lace”. Available on Morr Music’s Sound Of A Handshake imprint.

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Áine O’ Dwyer ” Anything bright or startling?” (Second Language)
Released by London-based Second Language at the beginning of June, “Anything bright or startling?” comprises a song cycle of fragile beauty and ambitious scope recalling the likes of Joanna Newsom and Nico. O’ Dwyer is a firmly established harpist and collaborator (Mark Fry & The A Lords, Cloisters, Piano Magic) while a collection of church organ études, “Music For Church Cleaners”, comprised O’ Dwyer’s first solo recording.

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Anika “EP” (Stones Throw)
Follow-up to much talked about debut self-titled album by Anika, produced By Portishead/Beak’s Geoff Barrow. The EP comprises an array of incredible covers (featuring The Kinks’ ‘I Go To Sleep’ and The Crystals/Phil Spector classic ‘He Hit Me (It Felt Like A Kiss’). Aesthetically, Anika’s music takes much influence from the vintage past where the spirit of Nico particularly haunts. The highlight for me is Anika’s bold take on the Chromatics classic “In The City”, where Johnny Jewel’s über cool hit gets wonderfully deconstructed.

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Lucrecia Dalt “Commotus” (Human Ear Music)
I first came across Barcelona’s Lucrecia Dalt from her track “Silencio” where Julia Holter adds harmonium. Released by Berlin’s Human Ear Music label, “Commotus” is an album of breathtaking imagination which reveals more and more on every visit. Similar in style to such labels as RVNG INTL (Holter, Herndon) and free spirits as Dirty Beaches and Nicolas Jaar, the album reveals such diverse influences as Enio Morricone, Brian Eno, Moondog and Julianna Barwick.

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I Am The Cosmos “Monochrome” (Self-Relelased)
“Monochrome” is the debut LP from Dublin dance/electronic duo I Am The Cosmos. The album comprises an irresistibly cool, New Wave inspired late night collection recalling the many delights on the Italians Do It Better label (Chromatics, Symmetry, Desire) plus such acts as New Order and Junior Boys. A fine array of synths, drum machines and groove-heavy bass lines combine with an effortless pop sensibility and a keen penchant for melody.

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Date Palms “The Dusted Sessions” (Thrill Jockey)
Chicago’s Thrill Jockey label (home to such artists as Mountains, Stygian Stride, The Sea And Cake) issued “The Dusted Sessions” at the beginning of June. Comprising principally the duo of Kranky ambient man Gregg Kowalsky (keys, electronics) and Marielle Jacobsons (violin, flute, electronics), Date Palms effortlessly navigate a dust-swept American West across its seven pieces – recalling such luminaries as Laurie Spiegel, Ry Cooder and Alice Coltrane in the process.

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Money “The Shadow Of Heaven” (Bella Union)
Money’s debut full-length album won’t be out until August 26th, so in the meantime we can still marvel at the Manchester four-piece’s debut single release for Bella Union – “Bluebell Fields” – an irresistible gem overflowing at the brim with effortless hooks and timeless melody. Prior to the Bella Union LP “The Shadow Of Heaven” comes the single “Hold Me Forever”.

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Written by admin

June 12, 2013 at 10:20 am