Posts Tagged ‘Syrinx’
Welcome to the first mixtape for 2017.
January’s edition opens with the welcome return of Oklahoma’s finest The Flaming Lips with their latest studio album “Oczy Mlody”, released this month on Bella Union. Fellow indie greats Dirty Projectors also return, with Dave Longstreth’s soul-stirring lament “Little Bubble” – the follow-up to last September’s “Keep Your Name” – which makes the Dirty Projectors’ forthcoming full-length one of the most eagerly anticipated albums for 2017.
“Elwan” (translates to “The Elephants”), the new album by Malis’s beloved Tinariwen is sure to be found on many end-of-year lists come this December. The music again draws from Tinariwen’s homeland, a Saharan mountain range between north-eastern Mali and southern Algeria, which has been transformed into a conflict zone. “Elwan” was recorded at Rancho de la Luna studios in the desert of California’s Joshua Tree National Park during 2014, and again in 2016, in M’Hamid El Ghizlane, an oasis in southern Morocco, near the Algerian frontier.
Other intriguing new releases come from the Montreal-based group Avec le Soleil Sortant De Sa Bouche who release their exceptional second album “Pas Pire Pop, I Love You So Much” via Constellation, the follow-up to the band’s 2014 debut “Zubberdust!”. Having formed in 2011 in Montreal, Avec le Soleil Sortant De Sa Bouche features singer/songwriter Jean-Sebastien Truchy (of Fly Pan Am) as well as members of numerous other groups including: Panopticon Eyelids, Pas Chic Chic, Red Mass, Set Fire to Flames.
Of course, new releases only always paints one tiny portion of the wider picture, with so many exceptional re-issues always being repressed and made anew. This month sees Light In The Attic begin an exhaustive re-issue campaign for the music of Brazilian icon Erasmo Carlos, the first three albums showing an unparalleled appetite for fusing countless styles of music into his own unique, singular sound, heralding Carlos’ place as one of the most gifted songwriters from the seventies.
“Tumblers from the Vault (1970–1972)” by Syrinx (re-issues last year on RVNG Intl) was our favourite re-issue from 2016. Syrinx consisted of composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. Syrinx’s self-titled debut arrived in 1970, followed in 1971 by ‘Long Lost Relatives’, which is highlighted as the first album on Tumblers From The Vault.
Fractured Air x Blogothèque – S02E01 | January mix
To listen on La Blogothèque:
01. The Flaming Lips – “There Should Be Unicorns” (Bella Union)
02. Syrinx – “Syren” (RVNG Intl)
03. Erasmo Carlos – “26 Anos de Vida Normal” (Light In The Attic)
04. Mr. Tophat & Robyn – “Disco Devato” (excerpt) (Smalltown Supersound)
05. Tinariwen – “Sastanàqqàm” (Anti-)
06. Avec le Soleil Sortant De Sa Bouche – “Alizé et Margaret D. Midi moins le quart. Sur la plage, un palmier ensanglanté II” (Constellation)
07. Awa Poulo – “Dimo Yaou Tata” (Awesome Tapes From Africa)
08. Roberto Musci – “Water Music” (Music From Memory)
09. MJ Guider – “White Alsatian” (Kranky)
10. Gareth Dickson – “Atmosphere” (Discolexique)
11. Steve Hauschildt – “Same River Twice” (Kranky)
12. Run The Jewels – “Thursday in the Danger Room” (feat. Kamasi Washington) (Self-Released)
13. Plankton vs. Defcon – “Jealousy” (Karaoke Kalk)
14. Lee Hazlewood – “For One Moment” (Light In The Attic)
15. Duane Eddy – “This Town” (Ace)
16. Molly Burch – “Try” (Captured Tracks)
17. Patience – “Wait For You” (Night School)
18. Bézier – “Widows Tears” (Cin Cin)
19. Copeland & Gast – “Sisters of Control” (All Bone)
20. Tangents – “Jindabyne” (Four Tet Remix) (Temporary Residence)
21. Ólafur Arnalds – “Árbakkinn” (ft. Einar Georg) (Mercury Classics)
22. Dirty Projectors – “Little Bubble” (Edit) (Domino)
23. Odd Nosdam – “Daliman OG” (Glue Moon)
24. April Stevens – “End Of Desire” (Cherry Red)
25. Mica Levi – “Children” (Jackie OST, Milan)
26. Daniel Lanois & Rocco DeLuca – “Low Sudden” (Anti-)
27. Allred & Broderick – “The Ways” (Erased Tapes)
Compiled by Fractured Air, January 2017. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.
Presented here is a list of our favourite albums from 2016. 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. The exercise also reminded me of memories when growing up of reading interviews featuring our favourite musicians, what used to strike me so much was the number of times they would describe their favourite albums as being like “friends” to them. These albums were anything but material possessions, these wax and cardboard sculptures were simply part of their lives: their very identity, even. The following is a selection of sixteen albums released during 2016 which we feel fortunate to now call friends of our own.
Artwork: Craig Carry
Words: Mark Carry
(i). Oliver Coates – “Upstepping” (PRAH Recordings)
Several ground-breaking records from 2016 can be attributed to the gifted talents of British cellist and composer Oliver Coates. The London-based composer’s sophomore full-length release ‘Upstepping’ is undoubtedly the year’s most accomplished, innovative and compelling musical journeys with its meticulously crafted and sumptuously layered cello-based compositions that carves out techno-fueled waves of pure bliss and transcendence. ‘Upstepping’ is indeed (in the words of Coates) “pumped-up body music”. From album opener ‘Innocent Love’, which immediately evokes the sound of Four Tet’s ‘There Is Love In You’ with its hypnotic female vocal line to the deep house groove of ‘Perfect Love’ (think Autechre, Aphex Twin), a world of shimmering cello-based sound-worlds are being channeled from the cosmos. Coates’s current activity of “distorted cello play over sequenced dance music” (Coates wrote for his exclusive Guest Mixtape) remains the most ground-breaking and original sounds to have surfaced in 2016.
“Upstepping” is out now on PRAH Recordings.
(ii). Kaitlyn Aurelia Smith – “EARS” (Western Vinyl)
Last Spring during a conversation with Kaitlyn Aurelia Smith, she described her primary objective for her latest full-length ‘EARS’: “I wanted to create a sense that the listener was on a 3-D motion ride through a futuristic jungle and I had to create an arc from start to finish that took the listener on a journey”. These eight otherworldly compositions created by the L.A. based composer and producer were immediately noted for their extraordinary colours, textures and striking multi-dimensional forms. The rich instrumentation encompasses a myriad of organic and synthesized sounds as Smith’s utterly hypnotic voice melds with her trusted Buchla synthesizer and an intricate array of woodwind and brass arrangements. Cosmic bliss appears at each and every turn: the dazzling mantra of ‘Rare Things Grow’ is steeped in African music traditions; ‘Envelop’s meditative melodic pulses and the epic closing transcendence of ‘Existence In The Unfurling’. Later in 2016 came the equally exceptional ‘Sunergy’ LP – a collaboration between Smith and electronic music pioneer Suzanne Ciani – as part of the RVNG Intl label’s FRKWYS series.
“EARS” is out now on Western Vinyl.
(iii). Jóhann Jóhannsson – “Orphée” (Deutsche Grammophon)
This year saw the eagerly awaited new studio album – and first in six years – from the renowned Icelandic composer Jóhann Jóhannsson. Incorporating music for solo cello, organ, string quartet, string orchestra and unaccompanied voices, ‘Orphée’ represents Jóhannsson’s finest hour, whose fifteen divine compositions captured here feels like a distillation of the master composer’s life’s work. The utterly captivating ‘A Song For Europa’ belongs in the same stratosphere as Gavin Bryars’ ‘Jesus Blood’ such is its cinematic brilliance: a spoken word sample becomes embedded deep in the music, speaking so profoundly. ‘A Sparrow Alighted Upon Our Shoulder’ is steeped in unwavering beauty as rejoice and hope flicker onto the horizon amidst a soaring string section (performed by Air Lyndhurst String Orchestra). A lost companion to George Delerue’s ‘Camille’.
In the words of Jóhannsson: “Orphée is for me about changes: about moving to a new city, leaving behind an old life in Copenhagen and building a new one in Berlin – about the death of old relationships and the birth of new ones”. As ever, the Icelandic master composer has crafted a challenging, utterly breathtaking and shape-shifting experience. A piece such as ‘Good Night, Day’ (featuring Jóhannsson’s close musical collaborator Hildur Guðnadóttir) paints life’s fleeting, transient nature onto a vast canvas of enchanting sound, before ‘Theatre of Voices’ (conducted by Paul Hillier) brings ‘Orphée’ to an astounding climax.
“Orphée” is out now on Deutsche Grammophon.
(iv). Nick Cave & The Bad Seeds – “Skeleton Tree” (Bad Seed Ltd.)
On lead single – and album opener – ‘Jesus Alone’, a devastating apocalyptic world descends upon us amidst sparse arrangements of piano and brooding synthesizer drones: “You fell from the sky/Crash landed in a field/Near the river Adur.” On Nick Cave & The Bad Seeds’ sixteenth studio album, a captivating, harrowing and deeply moving experience is forged as Cave’s songs navigates the heart of darkness.
The achingly beautiful gospel lament ‘Rings of Saturn’ exudes a healing power, which could belong on ‘The Boatman’s Call’ alongside ‘Brompton Oratory’. Scenes from John Hillocat’s ‘The Road’ (one of the many breathtaking scores Cave & Ellis have penned) is etched across the heartbreaking, tear-stained canvas of ‘Girl In Amber’. On a later verse, Cave mourns: “I used to think that when you died you kind of wandered the world/In a slumber til your crumble were absorbed into the earth.” A brooding darkness seeps into your bones on ‘Magneto’ – the album’s most gripping and intense moments – where buzzes of electric guitar drifts beneath Cave’s whisper-like pleas. The hypnotic mantra of “In love, in love, I love, you love” shares the cosmic spirit of Van Morrison’s ‘Astral Weeks’ ventures in the slipstream. A catharsis permeates the “heaven bound sea” of ‘Anthrocene’ with surreal, near-mythical dimensions somehow attained, which could depict Herzog’s ‘Aguirre, The Wrath of God’s haunting, doomed expedition. The sublime ecstasy of ‘I Need You’ is wrapped in impossible beauty; an empowering ballad that could belong to the ‘Lyre Of Orpheus’ sessions.
‘Skeleton Tree’ is a lament from the depths of darkness and despair: “With my voice, I am calling you.”
“Skeleton Tree” is out now on Bad Seed Ltd.
(v). Jessy Lanza – “Oh No” (Hyperdub)
The Canadian songwriter and producer’s sublime sophomore full-length ‘Oh No’ (Hyperdub) showcases an artist at the peak of her powers, crafting some of the most beguiling synth pop creations of 2016 (and beyond). Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the seductive pop hooks and R&B gems crafts a joyously uplifting haven of euphoric sounds. As Lanza says “I want to make people feel good and I want to make myself feel good”. Infectious energy permeates ‘VV Violence’ and ‘Never Enough’ (reminiscent of classic Junior Boys and Caribou) whilst elsewhere the stunning ballads ‘I Talk BB’ (Lanza’s voice ascends to the forefront of the mix) and ethereal haze of closing cut ‘Could B U’. The infectious groove and affecting vocal delivery of ‘It Means I Love You’ crafts one of the record’s defining moments, soaked in reverb and compelling drum machines. Most recently, ‘Oh No No No’ remix EP has surfaced, with gorgeous reworks by DVA (‘Going Somewhere’), DJ Taye x DJ Spinn’s remix of ‘Could B U’ and Morgan Geist’s rework of ‘I Talk BB’.
“Oh No” is out now on Hyperdub.
(vi). Peter Broderick – “Partners” (Erased Tapes)
The gifted American composer, producer and multi-instrumentalist has crafted his most captivating, emotive and transporting works to date on his latest masterwork ‘Partners’. This collection of solo piano music not only sees the beloved sound sculptor come full-circle in many ways but also delving deeper and further into music’s boundless orbit and life’s great mystery than ever before. In essence, the artist has effectively removed himself from the activities of the sounds he makes, in turn, creating piano music so pure, mysterious and far-reaching, evoking the timeless sounds of older generation masters such as John Cage and Lubomyr Melnyk. Hugely inspired by John Cage’s chance techniques and visionary spirit, Cage’s own composition ‘In A Landscape’ serves the vital pulse to ‘Partners’s aching canvas (having fallen in love with the piano once again during the process of transcribing this seminal piece, note-by-painstaking-note). Compositions such as the utterly transcendent ‘Carried’ unleashes a haven of heart-wrenching emotion as celestial harmonies meld effortlessly with mesmeric piano patterns, and ‘Up Niek Mountain’s drifting cosmic reverb-laden piano tapestries become interwoven deep inside the listener’s thoughts and dreams. The closing ‘Sometimes’ is a cover version of Brigid Mae Power’s divine ballad, the record for which is dedicated to Brigid. A freedom abounds on ‘Partners’ as the sacred piano notes become transcribed from the very composer’s subconscious mind.
“Partners” is out now on Erased Tapes.
(vii). Xylouris White – “Black Peak” (Bella Union)
Xylouris White is the inspired collaboration between Greek lute player George Xylouris and the Australian, Brooklyn-based drummer Jim White. Both composers are legends in their own right, the former through his Cretan lute-led sounds of the Xylouris Ensemble, the latter through his membership of mythical Australian trio Dirty Three and myriad of collaborations over the years. The sheer expanses covered on the band’s sophomore full-length ‘Black Peak’ is staggering. The opening rock opus ‘Black Peak’ and ‘Forging’s momentous rock’n’roll rhythms are followed by the poignant parable of ‘Hey, Musicians!’ and divine epic love song, ‘Erotokritos’. Ancient traditions are interwoven with contemporary, avant-garde musical structures, forever embedded deep inside a mysterious, enchanting and cosmic space. ‘Black Peak’ invites the listener to inhabit the far-reaching plains of life’s mysterious and kaleidoscopic landscape. As depicted on the striking narrative of ‘Hey, Musicians!’, music indeed never ends.
“Black Peak” is out now on Bella Union.
(viii). Loscil – “Monument Builders” (Kranky)
The Canadian ambient artist Scott Morgan’s latest masterwork unleashes a cathartic, hypnotic spell throughout; belonging to a dichotomy of worlds where an engulfing cloud of prevailing darkness prevails in tandem with the radiant light of hope and survival. Delicately beautiful ambient soundscapes drift majestically in the ether alongside the more intense, pulsating sound worlds. Take for example, how the fragile pulses of ‘Deceiver’ flows effortlessly into the glorious crescendo of ‘Straw Dogs’ or how the stunningly beautiful album opener ‘Drained Lake’ is gradually followed with the techno-infused ‘Red Tide’. A wall of intense moods, colour and textures flood these sonic creations, creating one of Morgan’s most accomplished and concise records to date. The addition of horn arrangements (recalling Philip Glass) immediately casts an ethereal quality; harmonies meld beautifully with a collection of old synths, warm textures of drone soundscapes.
“Monument Builders” is out now on Kranky.
(ix). The Avalanches – “Wildflower” (XL)
2016 saw the return of The Avalanches after sixteen years with their long-awaited second album. The pertinent question for the duo was how could a band follow-up a seminal classic like ‘Since I Left You’ but the duo have managed to create a kaleidoscope of rejuvenated, cosmic sounds. An endless array of samples, hip-hop rhymes, lucid beats, celestial harmonies and pop-laden hooks fill ‘Wildflower’s exhilarating voyage where cameo appearances from Mercury Rev’s Jonathan Donahue, Dirty Three’s Warren Ellis, Father John Misty and Toro Y Moi’s Chaz Bundick all stop by. ‘Wildflower’ is one of those perfect summer records: the Laurel Canyon-era sunshine pop of ‘If I Was a Folkstar’ and ‘Because I’m Me’s funky soulful strut and seductive Ariel Pink-esque ‘Subways’ are just some highlights. The heart-stopping ‘Saturday Night Inside Out’s dreamy haze and poignant epicentre serves the perfect closer to ‘Wildflower’s glorious psychedelic pop oeuvre.
“Wildflower” is out now on XL Recordings.
(x). Amiina – “Fantômas” (Mengi)
Icelandic outfit Amiina’s latest adventure, ‘Fantômas’, was originally composed as a live score to a silent masterpiece from 1913 (‘Fantômas’ was a French silent crime film serial directed by Louis Feuillade, based on the novel of the same name). Importantly the music stands on its own, independent of the visual narrative that, in turn, marks a brave new chapter in Amiina’s cherished songbook. The band’s Fantômas score is menacing, dark and brooding as it is steeped in delicate beauty and vivid hope. The cinematic opening title-track begins with a slow rhythmic pulse before haunting strings cast an eerie disquiet. The main theme’s melodic motif is masterfully revisited on the sublime ‘Lady Beltham’ before vivid dappling of light ascend on ‘Crocodile’. The closing electronic-oriented ‘L’Homme Du Noir’ explores adventurous new horizons. As ever, immaculate instrumentation of violin, cello, drums, percussion, metallophone, table harp, ukulele, and electronics graces the listener akin to the gradual fading light at dusk or a bird’s majestic flight across vast skies.
The score Fantômas premiered in Paris in 2013 at the prestigious, Théâtre du Châtelet, where Amiina, together with musicians James Blackshaw, Tim Hecker, Loney Dear, and Yann Tiersen, took part in a special Halloween event (curated by Tiersen), celebrating the centenary of the Fantômas series, directed by the French film director Louis Feuillade in 1913-1914.
“Fantômas” is out now on Mengi.
(xi). Carla dal Forno – “You Know What It’s Like” (Blackest Ever Black)
The Australian singer-songwriter’s masterful debut solo album ‘You Know What It’s Like’ marked undoubtedly the year’s most dazzling and exciting debuts. Released on the prestigious Blackest Ever Black imprint, lead singles ‘Fast Moving Cars’ and ‘What You Gonna Do Now?’ revealed adventurous avant pop song structures to get beautifully lost in. Forno asks “Did you want this to last a long time?” over a gorgeous haze of meditative bassline grooves and drumbeat on the luminous ‘Fast Moving Cars’. Forno’s voice – a truly formidable instrument – melts and dissolves in the other-worldly pop spheres, conjuring up the timeless sound of ‘Tragedy’-era Julia Holter and Brian Eno’s visionary early 70’s pop gems. A striking emotional depth resides throughout, reflecting on failed relationships, love, loss and the impermanence of it all. Loneliness is etched across the canvas of the album’s title-track, sharing the colours and shades of Miles Davis’s ‘Kind Of Blue’ and Nico’s celestial voice with its yearning, searching feel: “What you gonna do now that the night’s come and it’s around you?” Elements of dub, post-punk, psychedelic folk and avant pop sounds shimmer majestically throughout: from the late 60’s psych folk of ‘Drying In The Rain’ to the dub-infused odyssey ‘DB Rip’s wave of synthesizers. The stripped-back closer ‘The Same Reply’ serves the record’s most breath-taking moments; distilled in lost love.
“You Know What It’s Like” is out now on Blackest Ever Black.
(xii). Andy Stott – “Too Many Voices” (Modern Love)
The renowned UK producer Andy Stott delivered his highly anticipated follow-up to 2014 classic ‘Faith In Strangers’ in the form of ‘Too Many Voices’ last Spring via the peerless Manchester-based imprint Modern Love. The gifted producer continued to explore new sonic terrain and tap into new emotional depths with gorgeous dub step, electronic, grime and 80’s synth pop flourishes. On Stott’s fourth studio album, breathtaking synth washes of ‘New Romantic’ (with nods to This Mortal Coil) and soulful seduction of ‘Butterflies’ (the record’s lead single) are interwoven with utterly compelling dubstep techno for the dancefloor (‘First Night’) and crystalline ambient chill-wave bliss (‘On My Mind’). The title-track and album closer perhaps serves the record’s glorious climax with masterfully arranged choral harmonies (supplied by longtime vocal contributor Alison Skidmore who appears on half of the record) and euphoric production (think Holly Herndon crossed with the Yellow Magic Orchestra), providing one of the tracks of 2016 in the process.
“Too Many Voices” is out now on Modern Love.
(xiii). Katie Kim – “Salt” (Art For Blind)
‘Salt’ sees the revered Irish musician explore deeper into the ethereal dimension, for which she has long ago established. The hypnotic guitar drone of ‘Day Is Coming’ envelops the deepest of fears and anguish, culminating in a swirling symphonic haze of heavenly harmonies and brooding strings. ‘Someday’ is a delicately beautiful piano lament and searching prayer for hope. The striking intimacy and hypnotic spell cast by the gifted songwriter throughout ‘Salt’ unleashes the most deeply affecting batch of songs to have been unearthed for quite some time. Sonically, the latest record is a partnership between O’ Sullivan and producer John Murphy, whose expansive, guttural soundscapes of album opener ‘Ghosts’ and centerpiece ‘I Make Sparks’ are masterfully contrasted with the closing fragile piano ballads ‘Thieves’ and ‘Wide Hand’. One of the album’s defining moments arrives with the pulsating ‘Life Or Living’; a euphoric exploration into the depths of darkness. An image depicted on the second verse becomes the engulfing embodiment of ‘Salt’s realm of raw emotion and blissful transcendence: “Holding my hand now the tides incoming/Make us a shield so the light won’t get in.”
“Salt” is out now on Art For Blind.
(xiv). Marissa Nadler – “Strangers” (Bella Union, Sacred Bones)
“Strangers” finds Marissa Nadler’s sonic palette expanding (synths and drumbeats are at times added to Nadler’s voice and guitar). But despite the added instrumentation and more intricate arrangements, a purity forever remains in the treasured songbook of Nadler’s forever timeless oeuvre. Beautiful subtleties exist within the sonic tapestries while striking imagery such as disintegrating cliffs, towering skyscrapers, darkening woods and deep rivers are offset with characters often feeling at odds with the world they find themselves in (or more accurately find themselves suspended into, all of a sudden). There’s a tangible sense of contrasting dichotomies lying at the heart of “Strangers” (between the familiar and the unfamiliar; safety and danger; darkness and light; life and death) which makes the journey Nadler takes us on all the more real. Tangible. Life-affirming. And like a silent witness we can quietly navigate that darkness with her. For we are not strangers after all.
“Strangers” is out now on Bella Union (UK) / Sacred Bones (USA).
(xv). Brigid Mae Power – “S/T” (Tompkins Square)
Brigid Mae Power’s stunningly beautiful latest solo full-length – and Tompkins Square debut – is an album drenched in reverb-soaked emotion and lament. Enchantingly performed and produced, the record showcases a songwriter of immense talent in a soundscape that naturally merges itself to Brigid Power’s engulfing sound. The magic lies in the songwriter’s expression of raw emotion, in all its delicate beauty. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. In the words of Power, the album is about “trusting if you lose yourself or your way — you can come back.”
Such is the album’s timeless brilliance, the nearest parallels that can be drawn to Power’s quietly unassuming, divine artistry are those blessed folk spirits of bygone times such as Sibylle Baier, Tia Blake or Margaret Barry. As reflected in the lyrics of closing heartfelt lament of ‘How You Feel’, this deeply personal and intimate set of songs become a place of hope and solace where the path laid out in front you is filled with the light of day and sea of love.
“Brigid Mae Power” is out now on Tompkins Square.
(xvi). Syrinx – “Tumblers from the Vault (1970–1972)” (RVNG Intl)
A collection of experimental synth music culled from the early 70’s Toronto music scene is beautifully celebrated by the ever-indispensable Brooklyn-based RVNG Intl label on the shape-shifting, genre defying musical document, ‘Tumblers From The Vault (1970-1972)’. The band in question are the avant-garde three-piece Syrinx whose wholly unique hybrid of chamber pop and electronic experimentation crafts an utterly timeless journey into the limitless possibilities of music. The dreamy, lo-fi gem ‘Hollywood Dream Trip’ remains as vital and fresh as the day it was recorded. The sprawling epic ‘December Angel’ dumbfounds the listener in its sheer beauty and compelling sound: a piece of music from some future age, unknown and mysterious all at once. Psychedelic flourishes are etched across the more electronic-oriented ‘Ibistix’; the amalgamation of distorted voices and cosmic strings creates a symphony of rapture and transcendence.
Syrinx consisted of composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. Syrinx’s self-titled debut arrived in 1970, followed in 1971 by ‘Long Lost Relatives’, which is highlighted as the first album on Tumblers From The Vault. Re-issue of the year, hands down.
“Tumblers From The Vault (1970-1972)” is out now on RVNG Intl.
Designs for the first ten albums are by Craig Carry, a limited edition series of screen prints (each edition is limited to 25 copies) have been created to coincide with Fractured Air’s favourite albums of 2016. Prints will be available to purchase online from January 2017.
With very special thanks to each and every one of our readers. Wishing you all a peaceful and happy new year.
November’s mixtape contains gorgeous new releases from a host of exceptional voices in today’s independent music world: the peerless L.A. composer and songwriter Julia Holter unveils her debut score (‘Bleed For This’, Milan Records); Australia-born & Berlin-based artist Carla dal Forno whose exceptional avant-pop debut full-length ‘You Know What It’s Like’ marks one of 2016’s finest LPs (Blackest Ever Black); the utterly compelling collaborative project between Mica Levi and Oliver Coates (in the form of ‘Remain Calm’, released recently via Slip) and A Winged Victory For The Sullen’s stunningly beautiful ‘Iris’ original score, which represents the prestigious duo’s third full length release (available digitally now).
Earlier this month marked the sad passing of Leonard Cohen at the age of 82. A true visionary and legendary songwriter, his last studio album ‘You Want It Darker’ was released just weeks before his untimely passing. Canadian prime minister Justin Trudeau’s emotional tribute to his good friend echoes powerfully the vital importance of Cohen’s sacred songbook: “Leonard, no other artist’s poetry and music felt or sounded quite like yours. We’ll miss you.”
Fractured Air x Blogothèque – S01E11 | November mix
To Read/listen on La Blogothèque:
01. DJ Shadow – “The Mountain Will Fall” (Mass Appeal)
02. A Tribe Called Quest – “The Space Program” (Epic)
03. Archangel – “Julia” (Dean Blunt’s On Wine, Hashish & Molly Version Vinyl Edit) (Foom)
04. Underworld – “Low Burn” (Universal Music Group)
05. Dead Light – “Sleeper” (Village Green)
06. Carla dal Forno – “Db Rip” (Blackest Ever Black)
07. Karen Marks – “Cold Café” (Efficient Space)
08. Kaitlyn Aurelia Smith – “Riparian” (Western Vinyl)
09. Mica Levi & Oliver Coates – “Barok Main” (Slip)
10. Dungen – “Peri Banu Vid Sjön” (Smalltown Supersound)
11. case/lang/veirs – “Supermoon” (Anti-)
12. Tortoise (ft. Georgia Hubley) – “Yonder Blue” (Thrill Jockey)
13. Fleetwood Mac – “Albatross” (Reprise)
14. Lambchop – “Writer” (Merge, City Slang)
15. Matt Robertson – “Juno” (Tape Club)
16. Julia Holter – “Home Movies” (Bleed For This OST, Milan)
17. Heather Woods Broderick – “Glider” (Western Vinyl)
18. Loscil – “Drained Lake” (Kranky)
19. A Winged Victory For The Sullen – “Comme on a Dit” (Iris OST, Erased Tapes)
20. Leonard Cohen – “String Reprise / Treaty” (Columbia, Sony Music)
21. Syrinx – “December Angel” (excerpt) (RVNG Intl)
Compiled by Fractured Air, November 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.
We’re delighted to present two previously unreleased tracks for September’s mixtape, by Iceland-born cellist and composer Hildur Guðnadóttir and Portland Oregon-based artist Brumes.
For well over a decade now, Hildur Guðnadóttir has firmly established herself as one of the jewels in the crown of today’s independent music scene. Guðnadóttir’s remarkable artistry and versatility has been widely evident in her highly prolific recording output to date – whether in the form of solo works or her many collaborations – on labels such as Touch, Sonic Pieces and Oral Records. Guðnadóttir has released a string of formidable solo albums – from her landmark 2009 full-length “Without Sinking” to 2014’s “Saman” (both albums released via the world-renowned U.K. independent label Touch) and has collaborated with musicians including Hauschka (Dusseldorf’s Volker Bertelmann) and Iceland’s Jóhann Jóhannsson.
The moving composition “Fólk fær andlit” (translates to “People get Faces”) was originally published by Guðnadóttir to her YouTube page in April of 2016, in response to the series of events which unfolded in her native Iceland in December 2015, involving the deportation of Albanian children with terminal illnesses along with their families who had been denied residence permits (her heartfelt and eloquently written account of the inspiration to “Fólk fær andlit” can be read in full HERE).
Brumes are a three-piece based in Portland Oregon whose lineup comprises of lead songwriter and multi-instrumentalist Desireé Rousseau, Dalton Long (drums) and Nico Bartulski (keys). The band’s debut album “Soundings in Fathoms” was recorded by renowned producer (musician/composer) Peter Broderick at his home studio The Sparkle along the Oregon coast. “I’m Not Listening” was also recorded at The Sparkle by Peter Broderick.
Also featured in September’s mixtape are newly released gems by longtime indie greats Cass McCombs (“Mangy Love”, Anti-) and Woods (“City Sun Eater In The River of Light”, Woodsit); latest solo full-length by beloved Irish songwriter Lisa Hannigan (“At Swim”, Play It Again Sam); a pair of releases by the forever inspiring FatCat imprint 130701 (Warsaw-based cellist and composer Resina and Moscow-based pianist and multi-instrumentalist Dmitry Evgrafov). September also sees the welcome return of the hugely influential independent label Tomlab (The Books, Patrick Wolf, Final Fantasy) with Berlin-based electronic artist Heimer’s shape-shifting debut album “Teilzeit Swag”.
Fractured Air x Blogothèque – S01E09 | September mix
To Read/listen on La Blogothèque:
01. Masayoshi Fujita & Jan Jelinek – “Cin” (excerpt) (Faitiche)
02. Botany – “Needam Wish To” (Western Vinyl)
03. The Avalanches – “Saturday Night Inside Out” (XL Recordings)
04. Syrinx – “Hollywood Dream Trip” (RVNG Intl)
05. Ashanti Roy – “Hail The Words of Jah” (Soul Jazz)
06. Barbara Lynn – “This Is The Thanks I Get” (Light In The Attic)
07. Woods – “Sun City Creeps” (Woodsit)
08. Mr. Sweety “G” – “At the Place to Be” (Soul Jazz)
09. Cass McCombs – “Opposite House” (Anti-)
10. Angel Olsen – “Woman” (Jagjaguwar)
11. Lisa Hannigan – “Ora” (Play It Again Sam / ATO)
12. Resina – “Afterimage” (130701)
13. Hildur Guðnadóttir – “Fólk fær andlit” (Unreleased)
14. Adam Bryanbaum Wiltzie – “Lithium, The New Era” (Erased Tapes)
15. Brumes – “I’m Not Listening” (Unreleased)
16. Fiona Brice – “Dallas” (Digital 21 + Stefan Olsdal Remix) (Bella Union)
17. Cat Power – “Say” (Matador)
18. ISAN – “Napier Deltic” (Morr Music)
19. Forma – “Maxwell’s Demon” (Kranky)
20. Jackie Lynn – “Alien Love” (Thrill Jockey)
21. Craig Leon – “Details Suggest Fidelity To Fact” (RVNG Intl)
22. Heimer – “Icy Grip” (Tomlab)
23. Zomby & Banshee – “Fly 2” (Hyperdub)
24. Oliver Coates – “STASH” (PRAH Recordings)
25. Mogwai – “U-235” (Atomic OST, Rock Action)
26. Katie Kim – “FOREIGN FLEAS” (Bandcamp)
27. Eluvium – “Strangeworks” (Temporary Residence)
28. Nick Cave & The Bad Seeds – “Distant Sky” (Bad Seed Ltd.)
29. Dmitry Evgrafov – “The Lofty Sky” (130701)
30. Irene Buckley – “Waiting” (House of Usher extract) (Soundcloud)
31. Arvo Pärt – “My Heart’s In The Highlands” (Else Torp, Christopher Bowers-Broadbent) (Harmonia Mundi)
32. Jóhann Jóhannsson – “Good Night, Day” (Deutsche Grammophon)
Compiled by Fractured Air, September 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.