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Posts Tagged ‘Penelope Trappes

Chosen One: Penelope Trappes

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“… a lot of it is just piecing the puzzle together of these array of sounds that I can just create the emotion with.”

—Penelope Trappes

 Words: Mark Carry

Penelope-Trappes-credit-Agnes-Haus

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/

We are delighted to welcome Penelope Trappes for a Cork show on Saturday 27th April 2019. The Australian-born artist’s sublime sophomore full-length ‘Penelope Two’ charted #3 on our best albums of 2018 list, so we are beyond thrilled to invite her to play a special live headline show in Cork, Ireland. All details are below.

Fractured Air & Plugd present:

Penelope Trappes & special guests
Saturday 27th April
Roundy (Upstairs)
1 Castle Street,
Cork

TICKETS: https://uticket.ie/event/fractured-air-present-penelope-trappes-special-guests

 

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Interview with Penelope Trappes.

 

Please take me back to the making of ‘Penelope Two’ and if you had a starting point in mind and how the album came to be?

Penelope Trappes: The initial start was not that long after ‘Penelope One’. It was triggered by a dear friend of mine – who lives in Dublin actually – his wife had just passed away, who was a good friend of mine. And it was a very tumultuous, sad state of affairs because she had just given birth to a little kid – and I’ve mentioned it in my press release – it was really tragic and I strangely started feeling incredibly empathetic to his cause and I just sat down and I started to write this song called ‘Maeve’ (which was her name). So, I basically just picked up a guitar and played some chords and sang one take and recorded it: I don’t think I even sat down and wrote lyrics – it just came out of me. I had a few other songs that I may have been working on that were around but that was the one thing that triggered the whole album.

The soundscapes and pristine instrumentation that you use is really striking and also, the intimacy of these songs and the rawness that can be felt throughout the album.

PT:  It’s wonderful that it gets received that way. I suppose you have to dive into the intimacy when you listen to it and people feel that because I was writing stuff and then there was another dear friend of mine who again the same thing: she lost family members in a tragic accident. And it was weird because you don’t ever want to feel like you’re capitalizing in any way shape or form of other people’s grief but I think the intimacy and the addressing of such feelings is something that just started to infiltrate the whole album; that it was important to discuss – whether it be in just sound or with words, to open up: discussing things that may not necessarily be always the most comfortable things to talk about and bearing witness to certain things. And by working as a solo artist on this stuff I was able to be very much ‘in the zone’ and try to put those feelings into sound.

How long was the process itself from – as you say – writing the song ‘Maeve’ to finding that you had the album done because it almost feels as if the songs are flooding out of you (and becomes almost like one long piece of music)?

PT: Well, it didn’t happen rapidly. I reckon it was probably around eight months, from beginning to end of compiling it all. But I guess that eight months became for me a very transformative time since it was inceptions about how I felt about things too.

The production element as well is another wonderful hallmark of ‘Penelope Two’, I’d love to gain an insight into your studio set-up?

PT: It started with ‘Maeve’ on the guitar and then I’ve explored and had on my first album [‘Penelope One’] using traditional upright piano. My first album I had done in like a small piano studio and I really hadn’t gone too far out of that realm (with piano and voice). I’ve always added lots of field recordings and usually just from my I-phone (things where I’ve been in places where I’ve heard things that just stand out). Three tracks were written in New York at a friend’s house using his piano that correlate to my other friend’s moments. And then obviously I doused it in reverb – I love lots of reverb – and a lot of it is just piecing the puzzle together of these array of sounds that I can just create the emotion with. I’m working in Logic software but I try to keep the actual instrumentation for the most part – apart from things like field recordings – to hardware. I have a little analog synth that I like for droning sounds and things like that.

I love the series of photographs that comes with the narrative of the album itself. I wonder was that happening in tandem with the music?

PT: Well I work as part of a collective called Agnes Haus; these photos had been co-directed and shot over a period of time – not necessarily in correlation to when I was writing the songs. But again on ‘Penelope One’ I did a photobook for that as well so the visuals have always been part of the mood and general aesthetic of what I have been working on. I always knew I was going to do a photobook for this album because I had done it before. So they didn’t exactly line up in the calendar of the months  being written and produced.

I was introduced to your other projects – like the duo Golden Filter and your more electronic projects – after first discovering your solo album ‘Penelope One’. I suppose each one is independent of the other but would you find that it has its own set of challenges?

PT: Yeah I mean it’s interesting, The Golden Filter is vastly different to what I’m doing as solo. I tend to likening it to – like on an energy level – the Golden Filter stuff is very yang (it’s got very high energy and live it’s very intense) but this is the yin; both going solo and having my own time and being able to be introspective and more emotionally in touch with the yin side (which in Darwinism is more feminine and less energetic). It’s a tricky balance but I feel like that’s like life as you have low energy times and the high energy times and it’s all about for me to find the balance – I mean The Golden Filter still exists but not as busy; it’s out there and it’s doing its thing – between the two projects and it’s quite a nice way to be able to express all sides of yourself.

For the live setting, how do you find your solo songs translated into the live setting because as you say it’s deeply personal music? It must be an experience in itself to be able to perform these songs live?

PT: On the how to translate these deeply personal moments into the live thing, for example, I’ve been known to tear up a little when I do ‘Maeve’ but as far as the instrumentation of it all goes because there are these amorphous levels in the record (with all these sounds), I have to strip it back because it’s just me on stage. I mean in a perfect case – maybe in a year or so – I could have a few musicians onstage with me but I keep it pretty simple live. I have a keyboard, a sample – again it’s all hardware, I don’t bring a laptop up on stage with me – and then a loop pedal for vocals. I have done a couple of shows not with guitar but I’m thinking I’ll start bringing that along as well. So it’s more minimal but I feel like in that space I’m able to access the more emotional element because a lot of the whole project for me – being solo – is the minimal element so I suppose in the end my voice is the main instrument that is able to convey that. And then I have these spatial times in the set which is almost like meditation time [laughs] between these raw emotional moments.

As a listener I was immediately likening the music to Grouper whose like a kindred spirit in many ways.

PT: Grouper is wonderful, I suppose there are a lot of similarities there. In the beginning when I started the whole thing I was thinking a lot about early 4AD artists like This Mortal Coil and that sort of feel and acts like Grouper definitely feel like a kindred spirit. And then perhaps that’s just tying into what I was saying about the balance of energies in society – the very aggressive fast, full-on energy and the quiet, contemplative and more emotional stuff. And maybe it is just wonderful to know that there are other women – and men too, let’s not be sexist here [laughs] – there are people making this music you can have a very quiet contemplative and perhaps emotional reaction to. I saw her recently play in London and it was like being in church or something [laughs]: you could hear a pin drop; she didn’t say one word to anybody. She was even so humble when the people started arriving at the venue she was actually doing her own sound check still with people who were arriving and she was just sitting there and I mean she’s telling her story I guess – I think that’s what it’s about isn’t it; about finding a quiet place to be able to tell people a story.

Thinking back on growing up in Australia, would you have early musical memories, how soon did you realize how important music would be for you?

PT: I feel like music was always one of those things that was around my house growing up. I grew up in a rural town called Lismore, Australia – funnily enough it’s not far from you in County Waterford there’s a Lismore up there – which is near Byron Bay, it’s a very beautiful part of the world; I generally tell people Byron Bay because people when they travel to the Northern Rivers of Australia, they go there – they don’t go to the town where I grew up in [laughs] because it’s a boring town. And so I was quite isolated from the rest of the world, pre-Internet and Australia is always a bit behind the times due to location and definitely pre-Internet for sure. So I just used whatever I could get my hands on like whatever my parents had on around the house, so a bit of jazz and classical but not as much as I would have liked to have had (but I had to make do with what was around for listening). I studied piano between when I was seven and fourteen and then after that, by high school I was just trying to get my hands on as much music that I could. And then it continued after high school, I was actually studying folk and classical vocals and then I moved into opera for a bit – just to push my voice but I didn’t really resonate personally with the opera singing [laughs]; it wasn’t really my cup of tea, although I do like it now, more. So it started with piano and I taught myself how to play guitar and the vocals was always the thing but I guess as a child I always loved the concept of performing, in some way shape or form.

Would you have plans or future projects for the new year?

PT: I have already started formulating ideas for ‘Penelope Three’ like lyrical ideas, singing and things that I feel like are happening around me – I’ve already started documenting it and this time of the year is a great time with the close of the year and that time of the year where you get contemplative. I’m hoping that this winter – once I get through the madness of christmas – that January, February, March I’ll hole myself up and really start coming up with actually releasing these ideas into music. So that’s definitely going to be for the first half of the year and I’m not entirely sure where it will exist but hopefully I’ve got a few things up my sleeve where it will come out into the world.

‘Penelope Two’ is out now on Houndstooth.

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

Fractured Air & Plugd present:

Penelope Trappes & special guests
Saturday 27th April
Roundy (Upstairs)
1 Castle Street,
Cork

TICKETS: https://uticket.ie/event/fractured-air-present-penelope-trappes-special-guests

Written by admin

March 12, 2019 at 4:49 pm

ANNOUNCEMENT: Penelope Trappes (AUS, Houndstooth/Optimo Music) / Roundy (Upstairs), Cork / Sat. 27th April 2019

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We are honoured to welcome London-based songwriter and musician Penelope Trappes for a Cork show on Saturday 27th April 2019. The Australian-born artist’s sublime sophomore full-length ‘Penelope Two’ charted #3 on our best albums of 2018 list, so we are beyond thrilled to invite her to play a special live headline show in Cork, Ireland. All details are below.

Fractured Air & Plugd present:

Penelope Trappes & special guests
Saturday 27th April
Roundy (Upstairs)
1 Castle Street,
Cork

TICKETS: https://uticket.ie/event/fractured-air-present-penelope-trappes-special-guests

Penelope-Trappes-credit-Agnes-Haus

Following her debut album ‘Penelope One’ for Optimo Music, antipodean vocalist, musician and soundscaper Penelope Trappes presents sophomore longplayer ‘Penelope Two’, for Houndstooth.

Elements from multiple sources are subsumed by Trappes’ sonic presence; one hears Badalamenti and Julee Cruise’s work for ‘Blue Velvet’ and ‘Twin Peaks’, Slowdive’s dreampop, the scorched comedowns of early Primal Scream, Colin Newman’s dark melancholia, plus contemporaries like Tropic Of Cancer and Sky H1.

These distilled, rarefied creations take echoes as their starting point, with Trappes summoning swathes of tones, textures and emotions into something ethereal but also powerful, like an evocation of spirits. It’s also deeply melodic, with her intimate, maternally-tender voice floating in the middle of each three dimensional, womb-like sonic space.

Originally from the Northern Rivers of NSW, Australia before moving to New York and developing experimental electronic projects Locke and Priscilla Sharp, plus her best-known incarnation with partner Stephen –The Golden Filter.

Referencing Scott Walker and This Mortal Coil, Trappes uses a minimal palette to frame her spellbinding, spectral songs in a starkly beautiful sound, suggesting a collaboration between Mazzy Star and Leyland Kirby, or Felicia Atkinson writing for Lynch. Truly remarkable” BOOMKAT

A shiver inducing introspective work, drawing influence from Nick Cave and Grouper” The FADER

Sounds like Scott Walker collaborating with Julee Cruise” FACT Magazine

penel

 

 

 

 

Fractured Air & Plugd present:

Penelope Trappes & special guests
Saturday 27th April
Roundy (Upstairs)
1 Castle Street,
Cork

TICKETS: https://uticket.ie/event/fractured-air-present-penelope-trappes-special-guests

https://penelopetrappes.bandcamp.com/

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

Written by admin

March 5, 2019 at 6:19 pm

Mixtape: Fractured Air – February 2019

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fracturedair_feb19

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)

 

 

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)

somerap-correct

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

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

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

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

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

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

‘Some Rap Songs’ is out now on Columbia.

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

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

for my crimes correct

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

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

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

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

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

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

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

8. Tirzah – “Devotion” (Domino)

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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)

Mary-Lattimore-Hundreds-of-Days

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

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

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

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

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

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

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

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

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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)

low_doublenegative

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

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

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

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

‘Double Negative’ is out now on Sub Pop.

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

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

djrum portrait

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

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

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

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

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

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

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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)

nilsfrahm-allmelody

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

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

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

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

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

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

‘All Melody’ is out now on Erased Tapes.

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