FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Plugd Records

Announcement: Benoît Pioulard (Kranky) + Wry Myrrh @ Gupld, Triskel Arts Centre, Cork SAT 4th March 2017

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We are very pleased to announce the following concert:

Fractured Air & Plugd Records present:

Benoît Pioulard (Kranky) + Wry Myrrh @ Gupld, Triskel Arts Centre, Cork SAT 4th March 2017

Tickets: €12.50 (excluding booking fee)

Purchase tickets HERE

 

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Benoît Pioulard (USA/Kranky)

Listening Matter’ is the sixth Kranky album by Thomas Meluch under his musical alias Benoît Pioulard, following the 2006 debut full-length ‘Précis’, ‘Temper’ (2008), ‘Lasted’ (2010), 2013’s ‘Hymnal’ and ‘Sonnet’ (2015). The American sound sculptor – in a similar fashion to his label-mates Loscil, Grouper and Pan American – has amassed a rich body of empowering work, seamlessly creating some of the most affecting and captivating ambient-based compositions of the past decade.

In addition to Meluch’s universally praised solo work, collaborative projects include Perils-duo with Kyle Bobby Dunn (whose debut LP was issued by Desire Path Recordings) and Orcas- alongside The Sight Below’s Rafael Anton Irisarri released on Morr Music.

The Seattle-based composer and songwriter has continually forged utterly captivating folk-infused-ambient song cycles that are rooted in the examination of the self, of questioning of the universe and reconciling the two.

Praise for ‘The Benoit Pioulard Listening Matter’:

“Utterly perfect warmhearted lo-fi pop.”

Norman Records

“8/10 — A baker’s dozen of future-past pop songs etched onto water-warped tape… Euphoric.”
PopMatters

“Imbued with a sense of how fleeting life can be… Meluch’s words are sharp as ever,
evoking worlds of meaning in quick turns of phrase.”
VICE

Benoit Pioulard ‘Layette’:

 

 

Benoit Pioulard ‘The Sun Is Going To Explode But Whatever It’s Ok’:

 

Interviews:

 

https://fracturedair.com/2016/11/01/chosen-one-benoit-pioulard-3/

 

https://thump.vice.com/en_us/article/benoit-pioulard-the-benoit-pioulard-listening-matter-interview-stream

 

https://www.facebook.com/pioulard/

https://pioulard.bandcamp.com/

 

WRY MYRRH (IRE)

WRY MYRRH is a recently formed duo comprising composer/GASH Collective organiser Ellen King [ELLLL], and composer/ Crevice member Irene Buckley, WRY MYRRH offers a sparse take on improv electronics, with sinister, brooding drone and noise inflections. As exploratory as it is unsettling, WRY MYRRH’s minimalist improv proves a wholly unique listening experience, heightened to wondrous effect when immersed in a live situation.

https://www.facebook.com/WRYMYRRH/

https://soundcloud.com/wry-myrrh

Fractured Air & Plugd Records present:

Benoît Pioulard (Kranky) + Wry Myrrh @ Gupld, Triskel Arts Centre, Cork SAT 4th March 2017

Tickets: €12.50 (excluding booking fee)

Purchase tickets HERE

 

 

Written by admin

February 7, 2017 at 4:54 pm

THE SPACE LADY, T.D.C. Triskel Arts Centre, Sat. 12 April

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We’re delighted to announce the following concert — as a co-promotion with Plugd Records — THE SPACE LADY (with support from School Tour), The T.D.C., Triskel Arts Centre, Cork on Saturday 12 April 2014. All information below.

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“Suddenly, people were stopping in their tracks…People began telling me how “different” and “original” my interpretations were, when I was actually trying my best to recreate what the original artists had done. At any rate, I instinctively knew to keep my arrangements simple and slightly unorthodox.”

—Susan Schneider (The Space Lady)

The Space Lady (AKA U.S. artist Susan Schneider) is a street-performing singer based in Colorado, USA. Originally beginning on the streets of San Francisco in the late 70’s, she has recently begun playing again. Last November, London-based Nightschool Records released a retrospective of The Space Lady’s utterly transcendent synth-pop creations featuring resolutely unique cover songs (Peter Schilling’s ‘Major Tom’, ‘I Had Too Much To Dream (Last Night)’ by The Electric Prunes and ‘Ghost Riders In The Sky’, to name but a few) and her own stellar and singular electronic pop explorations (composed by her ex-husband Joel Dunsany). In the words of Nightschool Records, “This music has transcended genre, style and fashion, opening up hearts and minds along the way”. Having appeared on mixes by Erol Alkan and John Maus, The Space Lady’s music belongs to the here and now, where a lovely parallel exists between Schneider and the contemporary avant-pop movement of such artists as Julia Holter, John Maus and Maria Minerva.

The Space Lady began her odyssey on the streets of San Francisco in the late 70’s, playing versions of contemporary pop music on accordion and dressed flamboyantly (her winged helmet and blinking lights epitomizes the futuristic and ethereal sounds), transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since with the likes of John Maus, Erol Alkan and Kutmah being devotees.

This Spring, The Space Lady will be embarking on her first ever tour of venues. The tour begins in Bellingham USA before heading to much of the Pacific Northwest, touching down in California and then visiting the UK and Ireland. The Space Lady performs her highly anticipated debut Irish shows this April when she performs on Saturday 12th April at the Triskel Arts Centre.

“Now I inhabit the role of The Space Lady more enthusiastically than ever, and with more intentionality…that is, to inspire people toward self-expression, love, peace, and harmony here on our very fragile planet.”

—Susan Schneider, The Space Lady

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Press for ‘The Greatest Hits’:

“a heart-warming, eccentric, and unselfconscious affair that attends to the fact that you don’t need ego and fancy gear to make great pop music.”

—Dazed Digital

“The Space Lady’s Greatest Hits is one of the most exquisite, quirky and heart-warming synth-pop collections you’ll hear this year.”

—Boomkat

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The Space Lady’s Greatest Hits (plus bonus tracks) can be listened in full here:

https://soundcloud.com/dazedandconfused/sets/the-space-lady-greatest-hits/

For more information on The Space Lady:

http://nightschoolrecords.com/the-space-lady
https://www.facebook.com/pages/The-Space-Lady/289242264536512

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The Space Lady (with support from School Tour) performs at the T.D.C., Triskel Arts Centre, Cork on Saturday 12 April. Doors: 8pm, Tickets are €10/€8, available from Plugd Records.

Facebook Event Page:
https://www.facebook.com/events/1460761674154242/

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Written by admin

March 13, 2014 at 8:19 pm

Julia Kent plus Caoimhín Ó Raghallaigh

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We are delighted to present (alongside Plugd Records):
Julia Kent plus very special guest Caoimhín Ó Raghallaigh, who will perform at the T.D.C. Triskel Arts Centre, Cork, on Saturday 1st March 2014.

juliakent_poster1_fracturedair

Julia Kent

“For me, music is really about communicating, and the kind of instrumental music I make is a way of expressing emotion without words. I feel really fortunate to be able to travel and play, as I do; I’ve had some wonderful encounters all over the world. Of course it’s a bit of a cliché to say that music is a universal language, but it truly is. Through music you can communicate with anyone.”

—Julia Kent

After years spent performing and recording with other artists and groups (including Antony & The Johnsons), Canadian-born, New York City-based Julia Kent found her own voice with her solo debut, ‘Delay’, an exploration of the private emotional worlds that exist within the disjunctions and disorientations of travel, hailed for its “lovely, melancholy” compositions, full of “aching romanticism…rich melodicism, and detailed arrangements.” She toured to support it throughout Europe and North America, and subsequently released an EP, ‘Last Day in July’.
In ‘Green and Grey’, her following solo record, she continued to use looped and layered cello, electronics, and field recordings to explore the intersections between the human world and the natural world, the melding of the technological and the organic, the patterns and repetitions that exist in nature and are mirrored in human creations, and the complexity and fragility of our relationships with one another and with the world that surrounds us.
‘Character’, released by The Leaf Label in March 2013, confirms Julia Kent as one of the most intriguing solo composers making music today. Reflecting on ‘Character’, Kent has said:

“I was inspired by the idea that we are all, in a way, characters in the narrative that is our life, but that we aren’t able to control that narrative as an author might. So the record is meant to reflect the paths we take through life, and how that journey can end up.”

Julia Kent has composed a number of original film scores, and her music has been used as accompaniment to theatre and dance performances. She has toured throughout Europe and North America, including appearances at Primavera Sound in Barcelona, the Donau festival in Austria, Meltdown in London, and the Unsound festival in New York City. Julia Kent’s spellbinding third album ‘Character’ is available now on the Leaf label.

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Press:

“It is here that she speaks most poignantly of loneliness, fear, desire, life’s richness, and more – by creating a listening experience of nearly cavernous depth and poetic beauty.” AllMusic

“By the end, listeners have gained a sense of Kent’s character: ambitious, resolute, not content to rest on laurels. These traits serve her well, inspiring the possibility that every subsequent album will be her greatest.” A Closer Listen

“this is a gorgeous, gloomy half-portrait of enjoyable, gritty complexity.” BBC Music

“intriguingly intimate exploration of inner space” Dummy Magazine

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Links:

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

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Caoimhín Ó Raghallaigh

Caoimhín Ó Raghallaigh plays traditional and contemporary folk music on Hardanger d’Amore and other fiddles. In addition to being an established solo artist, Ó Raghallaigh is a member of two groups: The Gloaming (Caoimhín Ó Raghallaigh, Iarla Ó Lionaird, Thomas Bartlett, Martin Hayes & Dennis Cahill) and This Is How We Fly (Caoimhín Ó Raghallaigh, Petter Berndalen, Seán MacErlaine, Nic Gareiss); he performs duos with dynamic Kerry accordion player Brendan Begley and Dublin uilleann piper Mick O’Brien and plays in a trio with Martin Hayes and Peadar Ó Riada.

This will be Caoimhín Ó Raghallaigh’s first return to the Triskel since last year’s special live performance with The Gloaming and will provide audiences with the chance to witness the immaculate musicianship and immense talents of Ó Raghallaigh in a special solo performance.

Ó Raghallaigh has released eight albums to date: Kitty Lie Over and Deadly Buzz with Mick O’Brien; A Moment of Madness with Brendan Begley; Triúr Arís and Triúr sa Draighean with Martin Hayes and Peadar Ó Riada; Comb Your Hair and Curl It with Mícheál Ó Raghallaigh and Catherine McEvoy; the eponymous debut from the band This is How We Fly; and his solo Where the One-Eyed Man is King.

As well his work in traditional Irish music, Caoimhín writes new contemporary material that explores the region where traditional music begins to disintegrate. Last December, RTE premiered The Gloaming, a documentary featuring the 5-piece as they “perform creative and innovative interpretations of traditional music.” 2013 also saw the release of This Is How We Fly’s stunning eponymous debut album, available now on Playing With Music.

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Press:

“the most imaginative and fascinating musician in all of trad” —Earle Hitchner, Irish Echo, USA

“the most singular traditional Irish musician of [his] generation.”  —State Magazine, Ireland

“the missing link between Martin Hayes and Purple Haze”  —Nick Kelly, Irish Independent

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Links:

http://www.caoimhinoraghallaigh.com
http://www.thisishowwefly.net
http://thegloaming.net

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Fractured Air & Plugd Records present:
Julia Kent (plus very special guest Caoimhín Ó Raghallaigh) at the T.D.C. Triskel Arts Centre, Cork, on Saturday 1st March 2014. Tickets are €12/€10 and are available at Plugd Records and Triskel Box Office, Triskel Arts Centre, Tobin Street, Cork (Telephone: 021 427 2022).

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Facebook Event Page:

https://www.facebook.com/events/578256128917667/

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Chosen One: Mountains

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Interview with Koen Holtkamp, Mountains.

“I see collecting instruments somewhat in the same regard as collecting sounds for a piece. I started out experimenting with radios, computers, electronics etc and was just particularly taken with the richness and intimacy of acoustic instruments so initially I came at it from a sonic perspective.”

—Koen Holtkamp, Mountains

Words: Mark & Craig Carry, Illustration: Craig Carry

mountains_gigposter

Mountains comprise of the duo Koen Holtkamp and Brendon Anderegg. Based in Brooklyn, the pair have been responsible for some of independent music’s most treasured music over the last decade or so. This year marks the release of ‘Centralia’ (on the Chicago-based Thrill Jockey label), the band’s fifth album and follow-up to 2011’s ‘Air Museum.’

As we’ve come to expect from Mountains, the music on ‘Centralia’ is spellbinding; wonderfully crafted sonic textures effortlessly fuse together to create an otherworldly sound. ‘Centralia’ itself is named from the town of Centralia in Pennsylvania, which was the site of a tragic mine fire in 1962, which lead to the town’s abandonment. Ghosts of Centralia can be heard throughout the LP, where ambient drone passages and nuanced textural details (such as a softly strummed acoustic guitar, an uplifting cello, or a melodica) create a magical atmosphere – sometimes haunting, other times truly uplifting – but always utterly compelling and imaginative.

‘Sand’ opens the album and sets the tone for what’s to come perfectly. This gorgeous piece begins with a drone intro where gradual layers of manipulated sounds overlay together to create an expansive, vast soundscape. The piece echoes Stars of the Lid, where it feels as if no mere mortal could create such beauty. There is also a wonderful balance of contrast on the piece, there is always sufficient amounts of light and dark present in a Mountains composition. One of my personal highlights of any Mountains album comes in the passage beginning at the eight minute mark of ‘Sand’. Here we are immersed in a drone passage, gradually getting denser in texture while achieving quite an ominous and foreboding mood. Then, as if a ray of light has shone forth on proceedings, a magical cello line drifts in, beautifully shifting the composition to its glorious conclusion at the ten-minute mark.

Of course, instrumentation is also a key part of the Mountains oeuvre, the pair never rely solely on what technology can bring to proceedings. The range of instruments used by Holtkamp and Anderegg serves to add a myriad of tones and textures to their palette. It’s clear that the pair soak up influences from everywhere, not simply in the drone/ambient sphere but also in classical realms and folk music traditions. Like Mountains’s classic “Choral” (Thrill Jockey, 2009) the pair have the exquisite ability and musical understanding to know exactly what arrangements to call for and when exactly to adopt a particular instrument. Take, for example, the second piece ‘Identical Ship’ a beautiful folk-inspired acoustic guitar-led composition where piano notes are added to the arrangement to mesmerizing effect. It recalls, for me, the “magic” of seeing Warren Ellis play piano live last year with The Dirty Three, his piano notes rising from the depths of Turner and White’s blissful noise.

Mountains are not only real artists (their artistry is apparent across any of their records) but also master craftsmen. Holtkamp and Anderegg recorded Centralia (mostly at Telescope Recording in Brooklyn) as well as completing editing and mixing duties. No stone is left unturned. In a similar painstaking fashion to the recorded output of Jason Pierce’s Spiritualized, we can immediately ‘hear’ the sheer work and attention to detail at all times in the finished compositions. A true labour of love from start to finish.

‘Circular C’ demonstrates wonderfully how Mountains can combine both organic and synthetic sounds so seamlessly. Yet the effect that’s created is wholly natural: It feels like we’re atop wide open, boundless plains, savouring everything nature can show us. The ten minutes therein is simply life-affirming. The six-minute acoustic guitar-led ‘Tilt’ is sequenced halfway and is – like everything else – perfectly sequenced. The song is more sparse than other pieces, and the guitar work recalls such luminaries as William Tyler (particularly his ‘Behold The Spirit’ album). Subtlety is also paramount. The field recordings, piano and the digitally altered sounds all add to the piece greatly, yet never threaten to override the flow of the piece or detract from the divine acoustic guitar playing. An ebbing tide recording comprises the outro of ‘Tilt’, the ebb and flow majestically reinforcing the true beauty inherent in the music of Mountains.

Post ‘Tilt’ feels as if we’re onto side two of ‘Centralia’, as more abstract and ambient-minded compositions take hold of the senses from now on. ‘Propeller’ takes its cue from more classical/ambient spheres. The piece is as breathtaking as Steve Reich’s ‘Phases’, as the track seems to create a life of its own; It’s twenty-minute mastery is worth the price of the album on its own. Both ‘Liana’ and ‘Living Lens’ are equally compelling (the keys on the former creates a surreal dream-like passage; the latter echoes the film score works of Cave & Ellis) and confirms (as if anyone needed confirmation in the first place) Mountains as independent music’s most beloved and cherished of acts making music today.

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‘Centralia’ is out now on Thrill Jockey. 

Mountains play The Black Mariah, Triskel, Cork on 8 May, tickets €12/10 are available from Plugd Records and Triskel, Cork.  (Facebook Event page here)

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Interview with Koen Holtkamp, Mountains.

The title for ‘Centralia’ is a reference to Centralia, Pennsylvania, the site of a mine fire in 1962, which lead to the town’s abandonment. Can you please discuss the inspiration that the town of Centralia had on your ‘Centralia’ record?

It’s actually not meant to be a direct reference to the town in Pennsylvania though we were aware that some people would probably make that connection. There are quite a few towns in the US with the name Centralia one of which we came across while on tour on the West Coast and the name kind of stuck with us. As we were working on the record we started to think of it as somewhat of a culmination of everything we’d done in the past so Centralia as a central location or middle ground made sense. On one level there’s this more literal connection but we also thought of it worked nicely as an imaginary location for the music to come from.

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From the gorgeous opener ‘Sand’ onwards, ‘Centralia’ really seems a culmination of all previous Mountains records. I didn’t think it would ever be possible to better “Choral” but you’ve done it already with “Centralia”, a truly life-affirming record. What kind of a record were you both hoping to create with ‘Centralia?’ For you both, how is this record a departure?

Thanks! With this album we were really trying to make something dynamic that was a combination of all the different approaches that we’d used in the past while still trying to move forward and develop some new ideas and approaches at the same time. I think this approach was able to develop fairly naturally because we decided to take our time with the record allowing for more experimentation in the studio and letting things find their place versus having a preconceived notion of what we wanted to do beforehand.

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I am always struck by the sheer range of instruments Mountains will use in their arrangements – creating such a magnificent spectrum of sounds – acoustic guitars, melodica, accordion, bells, cello, field recordings and so much more. When did you begin “collecting” musical instruments? What are your most-prized possessions? Anything on your wish list you are yet to find?

I see collecting instruments somewhat in the same regard as collecting sounds for a piece. I started out experimenting with radios, computers, electronics etc and was just particularly taken with the richness and intimacy of acoustic instruments so initially I came at it from a sonic perspective rather than as a ‘guitarist’ for example. This was about thirteen years or so ago so I guess we’ve been putting together a small collection of sound making devices for quite awhile. As far as favorites go at the moment I would probably have to say my harmonium as it’s the instrument I can most easily get lost in and my modular synthesizer as I’ve spent the last few years researching and slowly amassing a very personalized group of modules that I put a lot of thought and time into so it’s very much specifically tailored to my own approach.

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In terms of organic and synthetic sounds, Mountains seem to really wholeheartedly embrace both worlds of sounds. Yet the Mountains “sound” is always so organic and real. What are your thoughts on music and technology, its impact and advancements it has had on you both?

While we use some modern technology we’re predominantly interested in it for it’s sound making possibilities rather than any sort of overtly technological concept or approach. We are naturally drawn to the richness of acoustic instrumentation but also utilize electronics both as a compliment and extension of what an acoustic instrument can do. Processing instruments allows for a greater range of sounds and can also blur the lines between whats coming from a resonating object (instrument) for example and what’s coming from a machine (electronics). We’ve been fascinated by this combination since the beginning and it continues to be a theme.

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Regarding the decision-making process for what constitutes the final cut of a Mountains record; Is there a specific plan you both will agree on from the outset (do you discuss the particular themes, arrangements or avenues beforehand, prior to the recording of material), or is it very much a case of sitting down and letting the music do the talking and taking it from there?

It’s a little of both. We often have preconceived ideas of an approach or melody but these things can mutate and change quite a bit during the process. We also record most of our practices and quite a few improvisations so we generally have a good number of recordings to work with prior to the point when we decide to start formulating the material into tracks for an album. Usually things become clearer with the individual pieces when we start to put them next to each other and think about the larger relationships of how they relate to one another in the context of an album and this is generally where we start to really get into the specifics.

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It’s interesting because on hearing about the inspiration from the Centralia mine fire in Pennsylvania, I immediately thought of Bill Morrison’s ‘The Miner Hymns’ film and its accompanying score by Jóhann Jóhannsson where the music matches the poetic beauty inherent in the film footage. Apologies if this question may be a little “lazy”, but I would love to hear whether there are filmmakers you both would love to collaborate with? Or, indeed which filmmakers and films that you admire? (As a Mountains fan, there seems to be a magical kinship in your patient, intricate and heavenly music with that of Terrence Malick for instance).

A Terrence Malick film would certainly be amazing. An obvious choice perhaps, but getting to work on a Werner Herzog project would be a dream. In terms of younger director/filmmakers I really enjoyed the pacing and acting in Jeff Nichols first two films and Paul Clipson’s Super 8 work is exceptionally beautiful. Working on something that was on the more narrative side could be an interesting challenge being that what we do is somewhat abstract.

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It must be very enriching and proud being responsible for such a significant body of work you have both created over the last decade, creating such divine music which really impacts on the lives of your listeners and fans. It must also be enriching considering the other artists you have a kinship with (Stars of the lid, a winged victory for the sullen, Tape on the Hapna label, Gentleman Losers, to name a few). Are there bands you’d love to collaborate with? Which bands/artists do you admire making music today?

We’ve toured with Tape a few times, they’re wonderful people and I have a lot of respect for their music. As far as collaborations go generally I prefer to work with friends or people I have some connection to outside of just the fact that we both make somewhat similar music. I’m looking forward to making another duo record with Philadelphia based guitarist Chris Forsyth when we get back from tour and have a few other collaborative things in the works. We’ve talked about doing an album with ‘guests’ but we’re so particular I think Mountains will predominantly just be us.

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Often, on listening to your music, I feel there must be a world of influences you guys must soak up all the time. Everything from ambient and electronic music to classical and folk and all points in between. There must be an unbelievable record collection at Mountains HQ! What bands would you both consider the most influential and inspirational for you both? I would love if you could give a list of albums that you both hold close to your hearts and you find yourselves coming back to again and again?

Perhaps it’s easier to list a few artists/genres vs albums. In no particular order Charlemagne Palestine, Microstoria, Terry Riley, John Fahey, Don Cherry, Henry Flynt, Early Music, Franco Battiato, Heldon, Popul Vuh, Gastr Del Sol, Roberto Capagglia, Richard Youngs, Indian classical music, North African music, Gavin Bryars, Giancarlo Scelsi, The Art Ensemble Of Chicago, Stephan Mathieu, David Behrman, Alvin Lucier, Canned Heat, Pandit Pran Nath, Luc Ferrari, Keith Hudson, Steve Lacy, Alvin Curran, Howlin Wolf, Luciano Cilio, Oren Ambarchi, Suni Mcgrath, Nuno Caravaro, Ornette Coleman, Neil Young, Mighty Baby, Jimi Hendrix, Bernard Parmegiani, Roscoe Holcomb, Mantronix, Hamza El Din, Catherine Ribeiro + Alpes, Roy Harper, Francis Bebey, Bill Fay, Laurie Spiegel etc etc etc

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The wonderful photographer Alec Soth has often talked about how an artist – no matter how diverse or innovative their work – is often “condensed” to one sentence which is ultimately what they will be remembered for (“the shorthand summation everyone uses to describe a particular person.”) Sorry for the difficult task but I would be curious to hear how you would describe the music of Mountains; what would this “sentence” be? What thread binds the music of Mountains?

I don’t really feel right in summarizing what we do in a one liner but I’ll try in two words. Gradual music. While we certainly don’t adhere to every aspect of it’s concept I appreciate Steve Reich’s approach in his essay ‘Music as a Gradual Process’.

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What’s been on your reading list lately for you both?

I tend to read a few things at once. Currently Herzog’s ‘Conquest of The Useless’ Neil Young’s ‘Waging Heavy Peace’ and Dub : Soundscapes and Songs in Jamaican Reggae. Also just picked up Raymond Chandlers ‘The Long Goodbye’ for the upcoming tour.

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Mountains play The Black Mariah, Triskel, Cork on 8 May, tickets €12/10 are available from Plugd Records and Triskel, Cork.  (Facebook Event page here)

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http://www.thrilljockey.com/thrill/Mountains
http://www.myspace.com/apestaartjemountains
https://soundcloud.com/thrilljockey

Written by admin

April 18, 2013 at 2:06 pm

Something’s Going On: Mountains

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We’re delighted to be co-presenting (with Plugd Records) Thrill Jockey’s finest Mountains who will perform at The Black Mariah, Triskel Arts Centre, Cork on May 8th. The duo’s current album, the sublime ‘Centralia’ is out now on Thrill Jockey. 

Illustration: Craig Carry

mountains_poster

 

Mountains comprise the duo of Koen Holtkamp and Brendon Anderegg. Based in Brooklyn, the pair have been responsible for some of independent music’s most treasured music over the last decade or so. This year marks the release of ‘Centralia’ (on the Chicago-based Thrill Jockey label), the band’s fifth album and follow-up to 2011’s ‘Air Museum.’ I never thought the band could possibly improve upon their masterpiece ‘Choral’ (Thrill Jockey, 2009) but Holtkamp and Anderegg have somehow managed to do just that with ‘Centralia.’

As we’ve come to expect from Mountains, the music on ‘Centralia’ is spellbinding; wonderfully crafted sonic textures effortlessly fuse together to create an otherworldly sound. ‘Centralia’ itself is named from the town of Centralia in Pennsylvania, which was the site of a tragic mine fire in 1962, which lead to the town’s abandonment. Ghosts of Centralia can be heard throughout the LP, where ambient drone passages and nuanced textural details (such as a softly strummed acoustic guitar, an uplifting cello, or a melodica) create a magical atmosphere – sometimes haunting, other times truly uplifting – but always utterly compelling and imaginative.

An interview with Mountains will be published shortly. ‘Centralia’ – as well as the Mountains back catalogue –  is available to purchase at Plugd Records, Triskel Arts Centre, Cork.

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Mountains (plus guests) perform at The Black Mariah (Floor 2, Triskel, Tobin St, Cork) on Wed. May 8th. Tickets are €12/10 concessions.

‘Centralia’ by Mountains is out now on Thrill Jockey.

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For more information on Mountains:

http://www.thrilljockey.com/thrill/Mountains/
http://www.thrilljockey.com/

Written by admin

March 30, 2013 at 7:54 pm