FRACTURED AIR

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Posts Tagged ‘Mary Lattimore

Mixtape: Fractured Air – February 2019

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Our February mix features two tracks from Dublin-based singer-songwriter Maria Somerville’s eagerly awaited debut album “All My People” (released on 1st March). The album’s title-track is an enthralling post-punk exploration immersed in ethereal pop dimensions, while “Eyes Don’t Say It” unfolds a sublime, brooding and highly immersive sound world.

The cherished U.S. songwriter and multi-instrumentalist Heather Woods Broderick delivers her most captivating and innovative work to date with her highly anticipated third full-length solo studio album “Invitation” (pre-order available via Western Vinyl). The album’s lead single “Where I Lay” emits a fragile beauty amidst anguish and doubt but ultimately becomes a deeply cathartic experience from the depths of the human heart.

February’s mix also features new releases from Scottish composer Andrew Wasylyk’s exceptional third studio album “The Paralian” (via the ever dependable Athens Of The North imprint); New York-based cellist and composer Julia Kent’s newest sonic marvel “Temporal”; new Ghostly signing Khotin and Portand Oregon’s Dolphin Midwives.

 

Fractured Air – February 2019

01. Dolphin Midwives“Grass Grow” (Beacon Sound)
02. Mary Lattimore“Baltic Birch” (Paul Corley Remix) (Ghostly)
03. Margie Jean Lewis“Malamuut” (Soundcloud)
04. Maria Somerville“Eyes Don’t Say It” (Self-released)
05. Narwal“Track 01” (Ongehoord)
06. Stano“A Dead Rose” (AllChival)
07. Michael O’ Shea“Kerry” (AllChival)
08. Andrew Wasylyk“Journey to Inchcape” (Athens Of The North)
09. Rustin Man“Vanishing Heart” (Domino)
10. Oliver Coates“Norrin Radd Dreaming” (RVNG Intl)
11. Julia Kent“Conditional Futures” (Leaf Label)
12. Khotin“Dwellberry” (Ghostly)
13. Panda Bear“Master” (Domino)
14. Augustus Pablo“King Tubby Meets Rockers Uptown” (Yard Music)
15. Lee ‘Scratch’ Perry“The Upsetter” (Motion)
16. Helado Negro“Running” (RVNG Intl)
17. Deerhunter“What Happens To People?” (4AD)
18. Chasms“Shadow” (Felte)
19. 101 Beats Per Minute“I Cried And Cried And Cried” (Countersunk)
20. Maria Somerville“All My People” (Self-released)
21. Ela Orleans“Something Higher” (Night School)
22. Kali Malone“Bondage to Formula” (Hallow Ground)
23. Heather Woods Broderick“Where I Lay” (Western Vinyl)
24. Penelope Trappes“Burn On” (Houndstooth)
25. Nils Frahm“Sweet Little Lie” (Erased Tapes)
26. Landless“Lassie Lie Near Me” (Humble Serpent)

 

 

Chosen One: Mary Lattimore

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I think making music is just my way of capturing moments that otherwise might be fleeting. They’re little time capsules, the songs and the records.”

—Mary Lattimore

 Words: Mark Carry

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

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

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

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

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

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

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

rsz_mary_lattimore-press_4-photo_credit-rachael_pony_cassells

Interview with Mary Lattimore.

 

Congratulations Mary on the stunningly beautiful latest solo full length ‘Hundreds Of Days’. Firstly, please take me back to the record’s inception and particularly this redwood barn overlooking San Francisco’s Golden Gate Bridge. This must have been such an inspiring setting in which the compositions of ‘Hundreds Of Days’ emanated from? Please recount your memories of these colourful, creative days?

Mary Lattimore: I was awarded this artist’s residency at the Headlands Center for the Arts in a national park outside of San Francisco. I stayed there for almost two months, absorbing the rugged, romantic landscape and meeting other artists who were painters, poets, activists, dancers from all over the world. We shared dinner together and lived in these Victorian military houses surrounded by eucalyptus trees. During the day, we were each alone in our own zones, writing or hiking, with barely any cell phone service or internet. My studio was this large barn where I’d set out all of my instruments, some I didn’t know how to play. Walking back to my house late at night was very star-lit and felt a little dangerous, in a safe way. Mountain lions had been spotted there.The ocean was grey-blue and the beach was rocky. We were surrounded by redwood trees, lots of fog, coastal sage and tsunami warning signs. We each had total freedom and met up at the end of the day to eat delicious food cooked by a gourmet chef. It was a very blissful couple of months of total creative freedom, where no one could hear me experimenting with things I didn’t know how to use or trying out vocals, embarrassingly. That kind of space and freedom within a time constraint of a two month, once-in-a-lifetime residency is very intense and very special. I’m really grateful for it.

As a listener I’m always struck by how expansive your harp-based creations truly are, and how the rich tapestries of sumptuous sounds drift in the ether of unknown dimensions. Looking back over these six pieces, I wonder were some of these borne from the act of improvisation? Also, I’d love to gain an insight into your mindset when you perform your trusted harp instrument? It feels as if there is some liminal state forever orbited when your music ascends into the atmosphere.

ML: Wow, that’s a beautiful way to put it. In general, all of the pieces are borne from improvisation, where I’ll press record and start to make something, then if I like where it goes, I’ll add the extra layers and morph where those layers go by adding layers on top of that. So it’s just kind of stacks of improvised tracks. Part of that method might be because I don’t really know how to edit, technology-wise, so I just add until it sounds cool and sounds the way I want it to. I guess it’s the same way when I play live. There are always happy accidents and loops that I have to figure my way out of, so it remains thrilling because there’s so much improvisation woven in there around the themes.

One of the new directions here is the added instrumentation of keyboards, guitar and grand piano, intricately woven with the harp tapestries. Truly, these new layers further heightens the otherworldly and timeless quality of your musical works. I’d love for you to talk me through the gorgeous album opener ‘It Feels Like Floating’ (a title which perfectly encapsulates the entire record)? Did the various layering provide any challenges? How long was this particular melody simmering in the pools of your mind, Mary? It feels such an effortless process, it’s almost as if a piece of music just comes to you, like a raindrop falling from the sky….

ML: I mean, I have to say, it’s not effortless, but it did just come to me, where I was just messing around, came up with that little figure that starts the song, and then I hit record and that’s what came out. It’s not effortless but I’m basically just playing with a kernel of an idea and then just seeing where it goes if I add other things. As I’m bad at editing, I scrap the whole take if I don’t like it and then just make something else. But usually, I can get myself out of trouble if I just add more things or take away big chunks rather than going in there and dissecting the tiny bits. It Feels Like Floating came from a place in which I had a little heartbreak and was trying to digest that. The title is a quote from the conversation I had with the dude, and I thought it was a pretty thing to say. Making up songs is how I navigate myself out of those things, in a way, too, I guess. But I also love to swim and that feeling of floating is one of the best feelings in the world.

The artist residency at the Headlands Center for the Arts must have served a significant source of inspiration for you, and particularly spending time with an entire community of creative souls. It reminds me of the Loft in New York or the Big Pink house in Woodstock from different moments in time. I would love to read a diary entry (if you will) from this time you spent along the Northern Pacific Coast and the characters that filled these days? 

ML: I should’ve kept a diary! Instead, I wrote lots of letters to other people. I was really psyched to get so much mail and to generate so much mail while I was there. I read 14 books in 2 months, which is a lot for me. A lot of my favorite days were those spent not talking with anyone, just making a little breakfast, drinking coffee, walking to the studio, playing some, then taking a hike down to the beach or up to one of the abandoned military structures high on a hill, then coming back down for dinner, then walking up to the studio, playing a little more, drinking a little wine, walking back home under the stars, reading and going to bed. I think the simplicity, the simple options of what to do during the day, the lack of mental chatter/worry and general stability where you didn’t have to fret about driving anywhere or the news or anything outside of the little bubble was super unique and luxurious. I’ll remember it forever.

Can you discuss your set-up for the recording of ‘Hundreds Of Days’? I wonder did you try out and experiment with new processes and techniques on this latest record? 

ML: I want to keep moving forward and trying out new things. I had this beautiful Moog Mother 32 and the Theremini and some pedals and some cheap thrift store keyboards, electric guitar, there was a grand piano in the main building, I just wanted to make the palette as full of colors as I could, so that was the main difference in this record, expanded palette. I didn’t really try out new techniques but I also think that the hourglass of two months being turned over, the limited time, inspired me to get lots of work done.

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‘Hello From the Edge of the Earth’ is such an achingly beautiful lament with the graceful harp notes unfolding a quiet magic instantaneously. As the title suggests, this piece of music is an ode to mother nature. I’d love for you to discuss the narrative of this particular piece and your memories of writing ‘Hello From the Edge of the Earth’? Were you steeped in nature from your upbringing back home in Philadelphia?

ML: I’m actually from North Carolina, so I did grow up amidst a lot of nature, in the mountains in the western part of the state. I figured out pretty early on that I love cities, the culture and the anonymity and the possibilities that come with living in a big city. I moved to Rochester, NY when I was 17, which is a larger city than the town where I grew up. My life in Philly didn’t have that much nature except for a park overlooking the river at the end of my block. I think being at the Headlands was the closest to immersion in nature that I’d felt for a while and it really lined up with my need to make something that encompassed heartache and a general sadness about leaving Philadelphia, where I’d lived for thirteen years. The record and this song are both a love letter to the wildness and jewel box beauty of the California coast and a postcard back to Philadelphia from my new location. I see this song as a postcard. It’s a little musical transmission from my new planet.

The act of travelling and road-trips across America has provided you with many stories, I’m sure which get captured beautifully into your deeply affecting music. As a musician and artist, I’d love to gain an insight into the ways by which your creative mind becomes unlocked (and the flood gates open, so to speak) when you’re in motion and witnessing different places along a continent spanning trip? For example, the seeds were for sewn for the predecessor ‘At The Dam’ LP from a U.S. road trip?

ML: Yeah, it’s true. I think making music is just my way of capturing moments that otherwise might be fleeting. They’re little time capsules, the songs and the records. My memory is pretty shot and it’s my way of recording the places and the feelings and it’s my way of communicating with other people, albeit wordlessly. Being on the road or being in a strange new place really flips a switch on in your brain, where you’re more aware and alert and awake, more present in your own body. I watch a lot of tv and I drink a lot of cocktails and mess around on my phone a lot and just hang out kind of duuuuhhhhhh, so being in motion really makes me right again, where I have to revive things that have fallen asleep, if that makes sense. So residencies and road trips feel important to the music because that’s when my ears and hands and brain and way of looking at the world and assessing situations are most alert. I want to go to Copenhagen in the summer to make a new record and to get to know that place, so that’s the next escape route.

Please describe for me your trusted 47-string Lyon and Healy harp. When did you first play this instrument and in what way do you feel you have developed this special relationship with the harp instrument? After first discovering your music in the form of ‘The Withdrawing Room’, it feels as if you are continually evolving with each new release. The possibilities are endless, perhaps the essence of your harp-based creations.

ML: Thanks so much! Yes, I want to keep evolving and seeing what the instrument has to offer, sound and personality-wise. I started playing the harp when I was 11 but didn’t really have such a personal relationship with it until I went to college (music conservatory) and had to spend solitary hours and hours in a practice room focusing on one piece at a time. I got close to my harp in a love/hate kind of way that felt like an important war we went through together. Now, it’s only love, though, because I have to protect it so much, taking it with me places. It’s like a sister to me.

Lastly, can you shed some light on your compositional approach when it comes to your harp playing, Mary? For instance, the myriad of sublime moments dotted across pieces such as ‘Never Saw Him Again’ and ‘Baltic Birch’ could never have been as a result of solely improvising? I love how transporting these pieces are, and these masterfully sculpted sonic creations feel like a sprawling abstract canvas of deep, resonating meaning.

ML: Baltic Birch was one where I had the main melody line in my mind beforehand in a singular melodic voice, so I thought of how I could build it. I thought I couldn’t loop that melody line because it was too long, so I looped the accompaniment, but then I realized that the melody actually could also be looped if it became kind of a round. Never Saw Him Again was definitely all improvisation and experimenting and I definitely thought it sounded kinda cheesy when I first made it. I also don’t really like my voice, so I put it through some Garage Band filter reverb stuff and had Jeff, who mixed it, kinda tweak the pitchiness of it when he was mixing just to make it not horrendous. I definitely just use vocals as texture and don’t claim to be a singer at all. Haha. I was just going with it. Everything comes with just messing around. I’ve never made a (solo) song in a real studio, only on my own with flexibility and an empty room and Garage Band on a laptop, so maybe it’s time to see what would happen if there was a little more pressure, with somebody a little more experienced controlling the actual recording and actual songs that are thought about more in advance. Who knows. Gotta keep trying things out! Thanks so much for the thoughtful questions! I always love to read your take on things!

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

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

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January 9, 2019 at 2:55 pm

Mixtape: Fractured Air – December 2018

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fracturedair_dec18

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

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

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

 

Fractured Air – December 2018

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

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

 

 

Albums of the year: 2018

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Presented here is a list of our favourite (ten) albums from 2018. As difficult a task as this proved, we decided ultimately to choose the albums that we found ourselves turning back to time and again over the last twelve months. 

 

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

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

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

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

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

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

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

‘Some Rap Songs’ is out now on Columbia.

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

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

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

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

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

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

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

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

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

8. Tirzah – “Devotion” (Domino)

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

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

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

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

Devotion’ heralds a significant new voice in contemporary music.

‘Devotion’ is out now on Domino Recordings.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

‘LAGEOS’ is out now on Ninja Tune.

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

5. Low – “Double Negative” (Sub Pop)

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

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

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

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

‘Double Negative’ is out now on Sub Pop.

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

djrum portrait

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

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

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

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

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

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

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

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

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

‘Penelope Two’ is out now on Houndstooth.

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

2. Julia Holter – “Aviary” (Domino)

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

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

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

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

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

‘Aviary’ is out now on Domino Recordings.

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

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

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

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

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

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

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

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

‘All Melody’ is out now on Erased Tapes.

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

Fractured Air x Blogothèque – S02E04 | April mix

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fracturedair_april17April’s mixtape opens with “I Can’t Find Water”, album opener for Hauschka’s latest full-length “What If”, yet another monumental and sprawling opus courtesy of the Dusseldorf-based artist Volker Bertelmann. Recorded mainly in Berlin with Francesco Donadello, “What If” gloriously mirrors Hauschka’s own transcendental live performances, where worlds of both analogue and digital (a mixture of various synthesisers, grand pianos, player pianos and percussive instruments) effortlessly interweave in scintillating long-form compositions. “What If” is the sound of a producer as much as a pianist, confirming Hauschka as one of brightest burning jewels in independent music today.

Berlin-based and Stockholm-born songwriter Molly Nilsson releases her much-anticipated new full-length “Imaginations” this May, the follow-up to 2015’s stunning “Zenith” LP. Night School Records have also been busy re-issuing Nilsson’s back catalogue in recent times, most recently with the re-issue of her breakthrough second LP “Follow The Light”.

One of the year’s most staggering releases comes (once again) courtesy of James Leyland Kirkby’s The Caretaker project. “Everywhere at the end of time” is the epic six-album odyssey (April saw the release of “stage two”) which will take three years to conclude. The series draws upon the conceptual framework of dementia, and how the disease impacts the mind and memory. In the words of Kirkby: “The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.”
April’s mixtape also features a selection of new releases from: Clark’s “Death Peak” (Warp); Forest Swords’ “Compassion” (Ninja Tune); Nan Kolè’s “Malumz” EP (Black Acre); Mary Lattimore’s “Collected Pieces” (Ghostly International); Homeboy Sandman’s “Veins” (Stones Throw) and Mount Eerie’s “A Crow Looked At Me” (P.W. Elverum & Sun).

Fractured Air x Blogothèque – S02E04 | April mix

 

To listen on La Blogothèque:

http://www.blogotheque.net/2017/04/27/fractured-air-x-blogotheque-s02e04-april-mix/

 

01. Hauschka“I Can’t Find Water” (City Slang / Temporary Residence)
02. Forest Swords“Arms Out” (Ninja Tune)
03. John Hassell“Miracle Steps” (Optimo Music)
04. Clark“Catastrophe Anthem” (Warp)
05. The xx“A Violent Noise” (Four Tet Remix) (Young Turks)
06. Talaboman“Samsa” (R&S)
07. Nan Kolè“Bayefal” (Black Acre)
08. Vex Ruffin“Front” (Stones Throw)
09. Homeboy Sandman“Bamboo” (Stones Throw)
10. Chromatics“Circled Sun” (Italians Do It Better)
11. Bibio“Feeling” (Knx Remix) (Warp)
12. Dunkelziffer“Colours and Soul” (Emotional Rescue)
13. Lewis Furey“Lewis is Crazy” (Aquarius)
14. Scott Walker“Montague Terrace (In Blue)” (Philips)
15. Angelo Badalamenti“Love Theme” (Mulholland Drive OST, Milan)
16. Mount Eerie“Toothbrush / Trash” (P.W. Elverum & Sun)
17. Dinah Washington & Max Richter“This Bitter Earth / On the Nature of Daylight” (La French OST, Gaumont, Légende Films)
18. Vashti Bunyan“If I Were” (FatCat)
19. Mary Lattimore“We Just Found Out She Died” (Ghostly International)
20. Leandro Fresco and Rafael Anton Irisarri“Cuando El Misterio Es Demasiado Impresionante, Es Imposible Desobedecer” (A Strangely Isolated Place)
21. Orcas (with Martyn Heyne)“Into the Night” (Soundcloud)
22. Molly Nilsson“A Song They Won’t Be Playing On the Radio” (Dark Skies Association / Night School)
23. Helado Negro“Runaround” (Alternate Mix) (RVNG Intl)
24. Julia Holter“Lucette Stranded On the Island” (Live at RAK) (Domino)
25. The Caretaker“The way ahead feels lonely” (History Always Favours The Winners)

Compiled by Fractured Air, April 2017. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

http://www.blogotheque.net/
https://fracturedair.com/