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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)

tirzah-devotion.jpg

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

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

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

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

Devotion’ heralds a significant new voice in contemporary music.

‘Devotion’ is out now on Domino Recordings.

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

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

Mary-Lattimore-Hundreds-of-Days

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

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

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

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

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

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

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

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

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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.

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)

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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

Chosen One: Goat

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Interview with Mr Stonegoat, Goat.

“We follow our own path within the path of evolution we all follow.”

—Mr Stonegoat

Words: Mark Carry

Goat promo photo

A spoken word segment rises to the surface on the intro of the beguiling instrumental cut ‘To Travel The Path Unknown’; resonating powerfully across the trance-inducing rhythms of the Swedish collective’s latest, sophomore full-length, ‘Commune’: “There is only one true meaning in life/And that is to be a positive force/In the constant creation of evolution.” is uttered meaningfully before gorgeous guitar tones and warm percussion fade gradually into the mix. The title of the guitar-led instrumental (reminiscent of The Allah-Las or The Byrds) serves the perfect embodiment to Goat’s spiritual journey thus far. A path steeped in a cosmic spirit.

The album opener ‘Talk To God’ sees the band immediately arrive upon the transcendental state of mind. Majestic guitar lines and shape-shifting rhythms ascend into the atmosphere. The journey’s starting point is closely connected to its predecessor ‘World Music’ as similarly transcendent moments fill the space. Themes of life and death flicker beneath the intense vocal delivery and sublime guitar lines. A Tropicalia feel permeates ‘The Light Within’ as raging guitars (wah effects dazzle like the burning sun) and chant-like vocals takes you to another place. ‘Commune’ is undeniably the lost brother to Goat’s enchanting debut of ‘World Music’.

Goatchild’ contains an irresistible bass-line groove and psychedelic guitar haze with an utterly compelling vocal inter-change between the Goat lead-vocalists (think Nancy & Lee inter-woven with The Doors). The bewitching track was featured on the band’s live album, ‘Ballroom Ritual’; a live concert that took place in Camden’s Electric Ballroom on the eve of their Glastonbury performance back in 2013. Elsewhere, lead single ‘Hide From The Sun’ is a pristine cut of psych bliss that delves magnificently into Afro Beat rhythms and 60’s psychedelia. The closing tracks of ‘Bondye’ (a supreme instrumental that is built on hypnotic rhythms and Jimmy Page-esque guitar) and tribal delights of ‘Gathering Of Ancient Tribes’ bring ‘Commune’ to a fitting close.

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‘Commune’ is out now on Sub Pop Records (USA) and Rocket Recordings (UK & EU).

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GOAT promo photo

Interview with Mr Stonegoat, Goat.

Congratulations on the stunning new record, ‘Commune’. It’s such a pleasure to ask you some questions about the latest spiritual journey of Goat, following on from the mesmerising debut of ‘World Music’. What is immediately striking is how both albums effectively occupy the transcendental state of mind, where the songs capture a sense of togetherness, love and age-old traditions of life. How do you see ‘Commune’ fits alongside ‘World Music’? Also, I can imagine the extensive tours this past year (and the embracing audiences from the world over) must have tapped into the new music in some way, particularly the energy of the shows?

Mr Stonegoat: I can honestly say that I don’t know. I guess that everything that happens in our lives affects how we make music but in what way I can’t say now. Maybe its too early. And how Commune fits with WM? For me the albums are similar. We have developed our skills in the studio so I think that the sound is better. And I also think we found a more spiritual approach in the lyrics this time. But they feel like sister or brother, or maybe mother and father. So we gonna have to give them a kid. 

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One of the great hallmarks of the Goat sound is the earth-shifting rhythms the collective unleash. I would love to gain an insight into this aspect of the music, and indeed the spiritual element inherent in your songs. Psychedelia is one sphere of sound that Goat gravitates naturally towards. Can you please discuss the meaning and importance of this world of music and what path do you see Goat belonging to?

Mr Stonegoat: We just find rhythms interesting to explore in music. There are so many rhythms the world to try out. And we love to play with drums so our music naturally circulates around rhythms. And the spiritualness I guess partly come from our past and also our openness and curiosity towards religions and spiritual philosophy. But I don’t think Goat belongs to anything else than itself. We follow our own path within the path of evolution we all follow.

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Can you talk me through the studio-set up for the recording sessions of ‘Commune’? Is it the very same Analog studio in which you recorded ‘World Music’? Have any techniques or processes changed in any way from the predecessor?

Mr Stonegoat: It’s the same studio with the same equipment. More or less. But we have become better in handling the stuff we got.

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I love the element of spoken word found on the record, particularly on ‘To Travel The Path Unknown’, which is a title that I feel embodies the power and glory of Goat. Can you discuss your outlook on life and what hopes and values you hold dear? One of the aspects I love about Goat is this spiritual realm the songs inhabit, for example the following line resonates powerfully: “One true meaning in life/And that is to be a positive force in the constant creation of evolution.”

Mr Stonegoat: I guess that sentence says most of it. Everyone needs to understand that we are all part of many various collectives. To make your life meaningful you need to play a positive role in them. That is what drives everything forward. We value togetherness between all people of all cultures. Let everything enrich each other. And we hope for the world to soon make a spiritual leap forward. It will come but I hope it comes soon. We are pretty close I think.  

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One of my current favourites is the glorious ‘Goatchild’ that has wonderful shades of Allah-Las with the majestic harmonies. I love the dialogue that flows between the various singers that feels akin to Sun Ra and his ensemble of musicians. Please recount your memories of recording this song to tape? It feels the songs simply flow out of you – at once it’s an effortless process – were these songs written while on tour? Is a song given its wings, so to speak, in a relatively short period of time? It feels that once a spark of an idea or inspiration comes to light that the rest follows very naturally and rapidly.

Mr Stonegoat: You are right about that when an idea comes we jump on it and finishes it very quickly, often within hours. But I have no memory of this one since I don’t recall being part of its recording. I think it was just written from a jam as most of our songs are.

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The collective identity rather than the identity of the individual is what the essence of the band is, and always has been. Please trace the collective’s inception to first creating music and the importance of traditions and beliefs from your commune and how this feeds into the music you create?

Mr Stonegoat: I can’t do this really, it’s too much to ask for. I don’t wanna analyze it this far. It feels destructive to dig too much in it. I wanna keep my thoughts and mind out of our music as much as possible. Lets just say that everyone’s past always is with them and effects all that you do.

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What bands and records have you been obsessed with of late? It must be very special for the collective to be playing concerts around the world to rapturous applause and adoration. What is next for Goat? Where do you see the music exploring to next?

Mr Stonegoat: I don’t know and I prefer not to think of it at all. Its better to let it float freely. But wich bands we have been listening to lately..? I guess we have been rehearsing and playing so much lately so we havent had time to get into anything new. But soon we will have time off and can start build on creativity again. I just got some Cds sent to us from Sub Pop so that is what I’m listening to right now. Nice with some music I have never heard of before. It was j Maskis solo album, Mirel Wagner, King Tuff, Shabazz Palaces, and Lee Bains so this is what I am gonna try and dig for the next couple of weeks.

 


 

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‘Commune’ is out now on Sub Pop Records (USA) and Rocket Recordings (UK & EU).

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https://www.facebook.com/goatsweden
https://www.subpop.com
http://rocketrecordings.blogspot.ie

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Written by markcarry

December 2, 2014 at 1:09 pm

Mixtape: Some Velvet Morning [A Fractured Air Mix]

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somevelvetmorning_front

Some Velvet Morning [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/some-velvet-morning-a-fractured-air-mix/

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Tracklisting:

01. Goat ‘To Travel The Path Unknown’ [Sub Pop]
02. Miles Davis ‘John McLaughlin’ [CBS, Columbia]
03. Pharoah Sanders ‘Greeting To Saud’ [Impulse!]
04. Boom Bip Feat. Nina Nastasia ‘The Matter (Of Our Discussion)’ [Lex]
05. Kate Ellis ‘Why Do You Smile?’ [Diatribe]
06. Spoon ‘Inside Out’ [Anti-]
07. St. Vincent ‘Severed Crossed Fingers’ [Loma Vista, Republic]
08. Rival Consoles ‘3 Chords’ [Erased Tapes]
09. Nils Frahm ‘Peter’ (Clark Remix) [Warp]
10. Caribou ‘Our Love’ [City Slang / Merge]
11. Daphni & Owen Pallett ‘Julia’ [Jiaolong]
12. Cora Venus Lunny ‘The Unknown (Dissolution)’ [Diatribe]
13. Tape ‘Merak’ [Häpna]
14. The Raincoats ‘The Void’ [Rough Trade]
15. Adrian Crowley ‘Trouble’ [Chemikal Underground]
16. Lee Hazlewood & Nancy Sinatra ‘Some Velvet Morning’ [Reprise]

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

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Fractured Air. The universe is making music all the time.

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Step Right Up: Black Marble

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“For Black Marble, I can say with clean conscience that I wanted to make a band, I wanted to make music, I got a bunch of synthesizers, and I made it happen.”

(—Chris Stewart, in conversation with Benjamin Shapiro, NOISEY)

Words & Illustration: Craig Carry

blackbarble_dice_craigcarry

Black Marble are a Brooklyn-based duo, comprising of Chris Stewart and Ty Kube, whose debut full-length album ‘A Different Arrangement’ – released last year on Sub Pop’s Hardly Art imprint – was one of the year’s finest records. Much hype had already surrounded the band after the release of a pair of stunning singles, ‘A Great Design’ and ‘Static.’ The full length LP ‘A Different Arrangement’ would firmly justify the hype and prove that this talented duo were a force to be reckoned with. Prior to those two singles came a five-track EP entitled ‘Weight Against The Door’, again released by Hardly Art, in January of last year.

There has been much music lately inspired by the eighties and its use of the minimal synthesizer sounds and drum machines with the recreation of the typical New Wave sounds of bands like Manchester’s Joy Division. Often categorized as “New Wave” or “coldwave”, the sonic palette would consist of, for the most part,  pretty primitive arrangements – occasionally minimal – including an array of 1980s analogue synths, drum machines, keyboards and glacial-cool atmospheric guitar lines. Synth pop music has been to the fore in the indie music scene of late – with the likes of Maria Minerva, Grimes, John Maus and Johnny Jewel (Chromatics, Symmetry, Desire) all taking influence from the eighties “New Wave”. While a lot of acts looking to perfect the sound – their end goal often seems to be the achievement of a sense of stylistic perfection – lose sight of the fact that the music often suffers with the lack of a real heart or soul. Style over substance is certainly not a criticism that can be brandished upon Black Marble. In fact, each song, across the albums’s eleven tracks, is an example of wonderful songcraft, meticulous song structures and a keen appreciation for melody. Whereas the typical ‘synthwave’ band can often leave the listener somewhat cold, Black Marble’s songs are at times uplifting and always truly captivating.

The album’s sleeve wonderfully says it all (created by Chris Stewart himself, who works in advertising as an art director). We are presented with a black-and-white cover with what appears to be an abstract black and white pattern resembling the fuzzy static of a tv screen (‘Static’ was indeed the album’s second single). The image thus plays with both positive and negative spaces, the abstract spaces between grain forming indistinct patterns and shapes. A wonderful “arrangement” then of positive and negative spaces. The sleeve is wonderfully minimal, yet cool (in both senses of the word). Perhaps Peter Saville’s sleeve for Joy Division’s ‘Unknown Pleasures’ had an influence. Type is set in classic serif typeface, restrained and classical, a key feature of the new wave design school as advocated by Saville. The very spaces present between sounds on the album are also clearly essential: What is left unsaid; the spaces between sounds; how an isolated guitar line or synth hangs in the air. Essentially, When the music calls for subtlety (or even silence) Black Marble instinctively know when to play the correct card. The arrangements hang together perfectly. Nothing is overdone. The song always comes first. Everything is meticulous, yet there’s always space left open for the listener to explore and to interpret.

The opener ‘Cruel Summer’ sets the tone for the album wonderfully. A sixty-second intro gradually builds before we hear Chris Stewart’s voice for the first time (“Lets go home…”). A chorus of ‘Draw the window’ is backed by hazy dreamlike textures, synthesizers, bass, keys and production all combine wonderfully with Stewart’s baritone vocals. Indeed, Chris Stewart’s vocals (reminiscent of Ian Curtis) is very much utilized as an instrument; it never dominates the music, rather, it shares an equal part to each instrument in the mix. The level of detail in the recording is wonderful: for example, the choice of when to use a certain synth preset or when to double the vocal layer. ‘A Great Design’ is a modern-day classic. The lyrics of ‘They tell me I don’t have a long time to change your mind’ is followed, later, by the chorus of ‘and they tell me we don’t have a long time with great design’. The subtle rise from the point Stewart sings ‘Why don’t you shape the world’ onwards – combined with a cool baritone vocal – is one of my favourite moments on this stunning album.

The album also showcases great electric guitar playing (yet it never drowns out the dreamy late-night feel to the music, it only serves to heighten the atmosphere) which combine with the heavenly rhythms to make it the quintessential late-night album. It could soundtrack the Los Angeles night in Nicolas Winding Refn’s ‘Drive.’ ‘There is no need to hide your limitations / You’re wasting your time’, Stewart sings on ‘Limitations’ , a synth-driven song until – two and a half minutes in – a wonderful keyboard line layers over creating a wonderfully evocative passage for the song’s outro (recalling Tape’s output on the Häpna label). This example is one of the many instances where the band demonstrate great restraint – Less is indeed more – which never serves to lessen the impact of the song. The guitar line at the intro to ‘Static’ is vintage Joy Divison (could be taken from ‘Closer’) while the stop/start passage of the song (when the guitar line wonderfully seeps back in) is one of the album’s many, many highlights. Another wonderful moment is when Stewart repeats his vocal delivery of ‘this time’ on the album’s title track. My current favourite track is ‘Last’, an incredible song which contains added layers of abstract sounds while a beautifully constructed guitar line runs delicately through the song’s heart.

Subtle hues are painted across the album’s eleven tracks (culminating in the perfectly pitched, ambient closer ‘Unrelated’), gradually creating a complex and ambitious record. The fact that ‘A Different Arrangement’ is Black Marble’s debut LP is nothing short of astonishing. ‘A Different Arrangement’ demands repeat listening, rewarding the listener with more and more on every visit. A record to be truly cherished – very much like John Maus’s ‘We Must Become the Pitiless Censors of Ourselves’ from 2011 – when an utterly compelling contemporary album is created with one eye looking to its eighties past.

‘A Different Arrangement’ is out now on Hardly Art.

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http://www.blackmarblenyc.com
http://blackmarble.bandcamp.com
http://hardlyart.com

Written by admin

February 4, 2013 at 10:01 am