FRACTURED AIR

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Guest Mixtape: Julia Kent (Canada/The Leaf Label)

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To coincide with the release of “Temporal”, the world-renowned Canadian cellist and composer Julia Kent’s majestic fifth studio album, we are excited to present a very special guest mix compiled by one of independent music’s true treasures. The New York-based composer – originally best known as cellist for Antony and the Johnsons and member of the cello-driven group Rasputina – has quietly amassed a monumental body of solo work since “Delay”, her 2007 debut full-length. Each subsequent recording never ceases to amaze in it’s immense artistic vision and graceful execution, all the while revealing Kent as one of the most consistently fascinating artists making music today. 

Spanning a breathtaking spectrum of some of the world’s most innovative contemporary composers, Julia Kent’s guest mix beautifully blends modern classical, electronic, ambient and experimental spheres to wondrous effect. “Temporal” is available now on The Leaf Label.

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Tracklist:

01. Jessica Moss“Fractals (Truth 4)” (Constellation)
02. Sarah Davachi“Third Hour” (Ba Da Bing!)
03. Resina“Procession” (130701)
04. Kelly Moran“Halogen” (Warp)
05. Galya Bisengalieva“Tulpar” (NOMAD Music Productions)
06. Helena Hauff“Entropy Created You And Me” (Ninja Tune)
07. Barbara Morgenstern “Brainfuck” (Staatsakt)
08. Fatima Al Qadiri“Breach” (Hyperdub)
09. Jlin “The Abyss of Doubt” (Planet Mu)
10. Zora Jones“Too Many Tears” (Fractal Fantasy)
11. Holly Herndon & Jlin“Godmother” (feat. Spawn) (4AD)
12. Gudrun Gut“Boys Keep Swinging” (Monika Enterprise)
13. Kali Malone“Arched in Hysteria” (Hallow Ground)
14. Félicia Atkinson & Jefre Cantu-Ledesma“Indefatigable Purple” (Shelter Press)
15. Christina Vantzou“Sound House” (Kranky)

‘Temporal’ is out now on The Leaf Label.

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

Chosen One: Julia Kent

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Creative work–whether it’s making music or writing or performing physically–can sometimes produce its own chronology and in that way seem to escape time.”

—Julia Kent

 Words: Mark Carry

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Last month saw the eagerly awaited return of world-renowned Canadian cellist and composer Julia Kent’s fifth studio album, ‘Temporal’: a deeply transformative journey into our very being that chronicles the fragility of human existence. The emotional world that Kent’s cello-based compositions innately unfolds – akin to the shifting of the earth’s tectonic plates in a natural, hypnotic and gradual rhythmic pulse – unleashes a haven of raw emotion and vivid textures. It is this highly emotive quality of the cellist’s captivating soundscapes – which somehow encapsulates all of life’s fleeting moments in one enthralling, soaring ocean wave – that has been a cherished constant in her storied career to date.

Temporal’ begins with the epic tour-de-force ‘Last Hour Story’; a striking piece centered on a metronomic pulse. But it is the way in which the continually morphing and mutating strings somehow navigate into the hidden depths of one’s heart and mind – constantly changing direction, and forever exploring deeper into the unknown – which conveys a celestial beauty of unknown magnitude. A timelessness is created, for the listener, is taken into the here and now, with the heart pulse as our trusted compass.

The combination of hypnotic electronic pulses and contemplative strings is masterfully employed on the luminescent ‘Imbalance’. Momentous sound worlds of neo-classical, electronic and drone soundscapes are interwoven, overlapped and joined in synergy. The journey is undeniably taking its course: to here knows when.

Experimentation with vocals (bringing to mind kindred spirits of Kelly Moran’s latest Warp full-length or Kara-Lis Coverdale) on the dazzling ‘Conditional Futures‘ creates an utterly transcendent drone-infused-ambient creation. The hidden details are sculpted together into a labyrinth of time, wherein the strings serve the vital link.

The modern-classical splendour of ‘Floating City’ shares the timeless spirit of Hauschka and Olafur Arnalds such is its sublime spell. Heartwarming and enlightening, in equal measure.

An inner dialogue forever occurs deep within the very heart and soul of Kent’s glorious sound worlds. The album’s gripping penultimate track, ‘Through The Window’ encapsulates the empowering nature of the Canadian composer’s immense talents: it is as if our very inner reflection – both the darkness of fears, tension, doubts and the light of love, hope and joy – becomes reflected through the looking-glass. Music that becomes part of you.

‘Temporal’ is out now on The Leaf Label.

https://www.juliakent.com/

http://www.theleaflabel.com/

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Interview with Julia Kent.

 

Congratulations on the stunningly beautiful and transformative latest full length ‘Temporal’. An album title that epitomizes the intense spirit and emotive energy that permeates throughout: reflecting at once the transient nature of life and human existence but also a celebration of life’s ripple flow of fleeting moments. Please discuss the narrative of this latest solo work, Julia and recount your memories of witnessing these hypnotic pieces come to fruition?

Julia Kent: Thanks so much! The album came together over a few years and rather than there being a narrative thread running through the pieces, there is more the idea that they were reflecting on, as you say, the passage of time and the way in which we can sometimes seem to arrest it by creating something that intersects with it. Creative work–whether it’s making music or writing or performing physically–can sometimes produce its own chronology and in that way seem to escape time.

You have collaborated quite often in the field of dance and I was very interested to discover many of these pieces were born from your work in the world of dance/theatre. Please discuss the relationship between sound and movement and how your subconscious responds to these cues, so to speak? 

JK: I love working with dance because there’s a really specific and amazing energy that happens with dancers on a stage. What they do is so physical, obviously, but also transcends physicality. Dance turns our existence, as bodies negotiating our way through the constraints of gravity and the construct of chronology, into art.

‘Last Hour Story’ forms a significant foundation to ‘Temporal’s captivating sound world. The gorgeous textures of strings and subtle electronics creates this otherworldly, far-reaching stratosphere. I’m curious as to the song title and how this epic piece develops gradually over time. I can imagine the space – be it your headspace or indeed this ‘other’ space the music brings you deep inside – is very much apparent during the making and construction of ‘Last Hour Story’?

JK: “Last Hour Story” was originally developed to accompany a theatre piece called “Il Tempo Scolpito,” which of course references Tarkovsky’s autobiography, and that was my original working title for it, until I realized I just couldn’t presume to use that title. The whole piece unfolds over an unchanging metronomic beat, and I used it as an opportunity to explore how musical ideas can develop over something that remains unchanged and, in a way, inexorable. “Last Hour Story,” as a title, came from the idea of how time can compress or dilate, depending on how we’re experiencing it: the concept of how it changes depending on our perspective, like the way, allegedly, at the end of our life we could potentially have a bird’s-eye view of it.

Can you discuss the processes and techniques utilized on ‘Temporal’ and indeed if any new avenues were navigated on this latest exploration? As a composer, do you find you approach – in essence – has remained a constant throughout your storied career? 

JK: I think I do make music in the same way always: for me it really is about communicating emotion. For “Temporal,” because much of the music was created in response to external concepts, either from choreography or from text, I think perhaps it might have ended up being less interior than some of my other records. The compositional process definitely had one more step than some of my other music in terms of the pieces developing in a really immediate way in rehearsal or in response to concepts and then being refined over time as it became clear that this music could come together to be an album.

‘Conditional Futures’ conveys your masterful use of vocal textures and how these textures are interwoven with the cello instrumentation unleashes a fragile beauty amidst a dark undercurrent. Can you outline any challenges posed by adding these vocal treatments to your music? I wonder how much time goes into the production of ‘Temporal’, after which the tracks are put to tape?

JK: I’m always interested in processing organic textures and combining them with electronic textures in a way that blurs the boundaries between both, so that it’s hard to tell where one leaves off and the other begins. I think in “Temporal” I’ve done that more than in my other records. I did a lot of processing of the cello sound and the “found” voices that I used to turn them into textures. It makes them almost into ghosts of what they are. That’s something also, that seems inherent to looping. Someone in a recent interview referenced the concept of “hauntology” with reference to looping, which I thought was so interesting. It seems relevant in terms of the way repetition can create a phantom existence.

I’m in awe of the inner dialogue that forever occurs deep within the heart and soul of your sonic explorations. I feel ‘Through The Window’ encapsulates the deeply empowering nature of your cello based compositions. Can you discuss the act of layering pieces of strings and indeed how you – in effect – respond to musical ideas and build a piece from a starting idea to its finished, gleaming whole?

JK: That is a lovely way to describe the end result–thank you!–but, of course, my process is very much a process, and all the errors and imperfections contribute to the whole, the way our faces and bodies reflect the lives we live. There are always lots of side roads taken on the way to the destination, but those are the most interesting journeys!

Lastly, what music, film, theatre, books (or one or any of these) has inspired you in a big way?

JK: It’s not necessarily a direct inspiration on anything but, in New York, I just recently saw Elevator Repair Service’s production of “Gatz,” which is “The Great Gatsby,” turned into theatre, every word read onstage, and every character inhabited. It’s something like eight hours long and was so demonstrative of how art can intersect with time. It takes what is already an incredible work into another dimension. And so resonant to the American experience, historically and, especially, now.

‘Temporal’ is out now on The Leaf Label.

https://www.juliakent.com/

http://www.theleaflabel.com/

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February 11, 2019 at 9:39 pm

Posted in CHOSEN ONE

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Chosen One: Julia Kent

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Interview with Julia Kent.

“At this point, I am just trying to express the emotions I’m feeling, whether positive or negative, in whatever way I can.”

—Julia Kent

Words: Craig & Mark Carry

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‘Asperities’ is the fourth full-length solo work by the Vancouver-born and New York-based cellist Julia Kent. Released earlier this year by English independent The Leaf Label (and follow-up to 2013’s glorious ‘Character’), ‘Asperities’ sees a significant shift and development in Kent’s unique sound, with an increased focus being placed on the treatment of sound. While Kent’s work practice has always consisted of a looping pedal station with her beloved cello, ‘Asperities’ displays a heightened focus on how far this processed sound can be manipulated and pushed while maintaining the emotion distilled at the moment of initial playing. It is the manner in which both worlds of analogue and digital – acoustic cello plus processed electronic sound (which can also incorporate field recordings) – that strikes such an irresistible chord throughout the spine of ‘Asperities’. Significantly, the album was also recorded, produced and mixed in its entirety by Kent (who formerly performed as cellist to Antony & The Johnsons and Rasputina) in her New York studio while mastering duties were done by American composer and sound artist Rafael Anton Irisarri (The Sight Below, Orcas).

A distillation of emotion has always been at the fore for Kent’s recordings thus far – from her 2007 debut ‘Delay’ (released via Swiss label Shayo) to its 2011 follow-up ‘Green And Grey’ (Important Records) and her most recent album ‘Character’ (her first for the UK-based Leaf Label). Tracks such as ‘Missed’ (‘Green And Grey’), ‘Tourbillon’ or ‘Nina and Oscar’ (both from ‘Character’) are testament to this: the careful looping of cello lines interweave forcefully and gracefully all at once, creating moments of raw power and pure emotion in the process. The fact that the Canadian composer can conjure moments of both earth-shattering force and a fragile lightness of being (sometimes all at once) is both testament to Kent’s immense playing prowess but also her own very specific outlook and vision as an artist. Like similarly minded souls such as Iceland’s Hildur Guðnadóttir or Germany’s Hauschka, Kent is less concerned with mere technique or surface detail as she is with where such surfaces can take her.

On talking about the album’s title Kent has previously stated: “I was thinking about the concept of difficulty. Whether in life or in nature – of conflict, of being troubled. The idea of friction. Also in geology, an asperity is some part of a faultline that doesn’t move which can create an earthquake, which is quite an evocative concept.”
Indeed, such a concept beautifully encapsulates the album’s arc as a whole as well as its nine divine tracks. From the gradual build of album opener ‘Hellebore’ – where hard-edged cello lines cut through the foreground to stunning effect halfway through – a whole world of both impossibly intricate and fluid-like abstract textures awash the sonic palette. Its clear from second track ‘Lac des Arcs’ that an increasing focus is now placed on both the distance between notes as the precise notes themselves. Like a network of branches offset a winter sky, we lose ourselves in the infinite patterns of both positive and negative shapes in our midst. The ever-expanding well of emotions is palpable throughout – reminiscent of a prolonged mood-piece motion picture or an epic piece of fictional prose where we nervously await the outcome of our ill-fated protagonist – and brings to mind the other special souls making music in the modern classical realm today such as Jóhann Jóhannsson or William Basinski.

‘The Leopard’ begins with plucked cello lines which are looped throughout the piece (the longest cut on the album at six-minutes) and recalls vivid memories of witnessing Kent live in concert. For it’s in live situations one can readily appreciate (and effectively visualize) the construction (and simultaneously the deconstruction) of Kent’s majestic oeuvre. The impact of tracks such as ‘The Leopard’ leaves one loose complete sense of the present and existing moment; we are floating to some distant shore underneath the moon and stars above. In fact, the piece embodies no less an impact than as if played by a string quartet or full-scale orchestra where a seemingly endless gamut of mood, emotion and scale emerge from the horizon. ‘Flag Of No Country’ contains an alluring melodic line (akin to a piece of musical saw performed by Amiina), and precisely how these acoustic sounds merge with its processed electronic counterpoint (recalling both electronic and dub-influenced traditions) is a pure joy to behold. There is a meticulousness felt here and yet – crucially – what emerges most obviously throughout is a palpable sense of the present, the here-and-now (it’s as if we are a silent witness hearing the songs for the first time being performed in Kent’s New York studio). Fittingly, ‘Terrain’ sits at the center point to Asperities’ vast landscape where a synthetic drum line further accentuate the electronic arc of the album. Whereas on a previous track – for example, 2013’s ‘Tourbillon’ – such an addition may have functioned more as a backdrop to the main cello line narrative; here, each and every electronic element lives, breathes and seeps into every pore of Kent’s cello playing. Indeed, such a brooding atmosphere only heightens and intensifies as we continue to navigate side b’s precarious waters, where processed and found sounds (for example, the buzzing static on ‘Empty States’) merge and fuze to startling effect, recalling Murcof or Fennesz in the process.

There is so much evidence here that ‘Asperities’ is Kent’s most remarkable and life-affirming tour-de-force to date and – taking into account the exceptional output that has already been made by the hand (and mind) of Kent – this is a truly remarkable achievement all on its own.

‘Asperities’ is available now on The Leaf Label.

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

 

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Interview with Julia Kent.

Congratulations Julia on the truly breathtaking and exceptionally beautiful new record, ‘Asperities’. It’s such a pleasure to speak with you again and ask you some questions about this latest chapter in your beautifully storied career thus far. Please take me back to the making of ‘Asperities’ and the time and place these songs came to life? It really feels that this collection of music echoes the darkness of our times and the world as a whole of late. But nevertheless, in the darkness a deep sense of hope and strive for a better life prevails. The new music I feel captures this emotional depth and really feels (as all your records do) a special and emotional experience for the listener. I also love the many meanings of the album-title which in many ways filters into the album’s nine sonic creations.

Julia Kent: Thank you so much, Mark! Indeed, ‘Asperities’ was made under the influence of the stresses that I think we’re all feeling right now as humans: we seem to have lost empathy for one another as mutual inhabitants of this planet. And the title of course references the sense of harshness that echoes that sensation, as well as a sense of forces, whether tectonic or social, that are in conflict. But, as you say, there is still a sense of hope: there is still so much individual kindness that one encounters in life.

Please discuss the various stages of the album-making process: you recorded, produced and mixed the album in your own New York studio. This solitary process must really help shape the music that is eventually created. Also, I am very curious about the mindset and this concept of a musician’s mind when it comes to the creating/composing of music, and your instance, these heart-rendering cello-based compositions steeped in such unfathomable beauty. How do you feel your approach (and indeed the work of your mind) has developed across your solo works and in turn which has led to the creation of the latest masterpiece?

JK: The process of making ‘Asperities’ was actually fairly rapid, compared to my previous records. I’ve been playing some of the pieces live over the past year or so, so once I had some time in the studio, recording went quickly. And I tried to keep a sense of immediacy, and let the pieces go, rather than letting things percolate too long and getting stuck in an endless cycle of tweaking, as can sometimes happen when I’m working on my own. It’s great to have the objectivity that having someone else mix can provide, but I decided to mix myself, though I was lucky enough to be able to ask Rafael Anton Irisarri to master: I love his music and his sensibility so much, so it was really amazing to have the opportunity to have him do the mastering. I do think this record represents an evolution in my solo work: I’ve definitely become more comfortable with the idea of harshness and noise and sounds that aren’t inherently trying to be beautiful. At this point, I am just trying to express the emotions I’m feeling, whether positive or negative, in whatever way I can.

‘The Leopard’ is one of the record’s most captivating moments, and serves the centrepiece to the record’s Side A. In terms of the layering and meticulous crafting of the various sounds & textures, can you talk me through the construction of ‘The Leopard’? Also, I love how these intricate layers forever feels as if it’s one swarming ocean of sound (rather than many different isolated parts), something that has proved a great hallmark to your sonic creations. I love the reverb and heavy bass sounds that serve the pulse to this track, and creates a foreboding, menacing atmosphere whereas the counterpoint of strings forms a sea of sadness and pain. It’s such a moving, transporting piece of music.

JK: Thank you! It’s so interesting that you would point to ‘The Leopard’, because it had a particularly interesting genesis. It began as something I developed playing live for a dance piece: a very dark and powerful piece dealing with bearing witness to war and the inevitable repetition of conflict. I called it ‘The Leopard’ because there was a visual reference to the animal in the piece, but then I started thinking about the Lampedusa book, which also references conflict and social change, and has such a strong and evocative atmosphere. We ended up not using the piece in the dance performance, but I kept developing it, and eventually it evolved into what you hear on the record. I hope it conveys a sense of foreboding: that’s definitely what I feel when I play it. And I feel as though there is a tension within it between repetition and things that are trying to break free.

I am very curious to learn more about the electronic aspect of the music, Julia? Certain pieces like ‘Terrain’ contains sublime electronic textures that coalesce so effortlessly with the strings. What signals in you to incorporate more electronic-oriented sounds to be added to the cello-based compositions. A beautiful sense of motion and journey is inherent on tracks such as ‘Terrain’ and elsewhere dotted across ‘Asperities’.

JK: On this record, some of the pieces actually began first with electronics rather than cello, which I think made for a different point of departure, and created an interesting synthesis. And, in some cases, I was trying to see if I could erase the boundaries between the electronic and the organic textures, through processing and through blending the sounds.

The cello instrument is an extension of your own self and indeed your true voice, something that rings true when thinking of you and kindred spirits such as Caoimhín Ó Raghallaigh (fiddle), Lubomyr Melnyk (piano), Arthur Russell (cello) and so on. I also love how you bend the possibilities of the instrument to your own needs, for example a plethora of treatments to the cello is at work throughout ‘Asperities’. Please discuss the cello instrument, your first discovery of this beloved instrument, and indeed the voyage you began with this instrument back with debut solo LP, ‘Delay’ and even much before? Being so fortunate to witness your live performance, it was very special to visualize your cello-based compositions unfold and emit its magical spell.

JK: Oh, that is more than kind of you to mention me with Caoimhín and Lubomyr! They are great artists and I’ve been really fortunate to encounter both of them. And Arthur Russell is of course my hero: he really expanded the boundaries of the cello in such a personal way. The cello is, and always will be, my voice: it has such expressive possibilities. I’ve had a slightly troubled relationship to the instrument: I stopped playing for a couple of years after music school, because I was really disheartened by the whole process. But then I discovered another musical world, one that was freeing and creative, and I’ve been lucky enough to be able to continue on that path. The cello at this point feels really like an extension of myself.

You have been heavily involved with score work for dance and film in the last couple of years, Julia. I wonder how does the music-making process vary depending on the particular medium? I can imagine some of this score work must have filtered into the overall makeup of ‘Asperities’?

JK: Yes, definitely the work I’ve been doing with dance and theatre and film has influenced this record a lot. I’ve found the process of making music for dance and theatre particularly interesting, because, in certain cases, I’m creating music live in reaction to movement or text or image, and that can be so inspiring and so immediate. I especially like working with dance: there is a sort of nonverbal communication that can happen with dancers on the stage that is really powerful.

The immense power of instrumental music – and your music typifies this simple truth – is the expression of emotion without words. I would love for you to share your thoughts on this whole idea and the journey you feel that has unearthed as a result of your musical path? Have there been other musicians, artists and records you feel that have truly moved and inspired you and has helped shape your own musical landscape?

JK: I do listen primarily to instrumental music – a lot of it electronic – and I find so much of it moving and inspiring. I think artists like Stars of the Lid or Kyle Bobby Dunn or William Basinski or Rafael Anton Irisarri or Markus Guettner are so conceptually and sonically powerful, and convey so much emotion in a relatively abstract way. And Oneohtrix Point Never and Tim Hecker and Haxan Cloak and Blanck Mass: it’s really an endless list of amazing music. But I think my own musical landscape is a fairly personal one: I really feel as though I’ve found my own way over the years, as one does.

Lastly, Julia, the penultimate track ‘Invitation To The Voyage’ feels like a very important piece of music on the new record, somehow akin to the approaching sun-lit horizon, reflecting hope and redemption. Please talk me through the various stages of this song’s inception and gradual development?

JK: ‘Invitation to the Voyage’ of course shares a title with the Baudelaire poem, but I also was thinking about the Watteau painting ‘Embarkation for Cythera’. I’m not particularly a huge fan of Watteau, but I’ve always been slightly haunted by that painting: it’s almost like a vanitas, with a sense of the ephemerality of life and of pleasure. You wonder if all those beautiful, frivolous people in fact made it back from Cythera? Or knew where they were heading in the first place? An invitation to a voyage conveys a sense of adventure and possibility, but there are some voyages from which one does not return. So I feel as though the piece is balanced between a sense of hope and a sense of elegiacness, and that it’s bittersweet in the way life is.

As a p.s.: I wrote all of the above before the most recent awful events in Beirut and in Paris and in Syria and elsewhere and who knows what else will have happened before you read this?… I don’t have any words other than: be kind and take care…

 

 


 

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‘Asperities’ is available now on The Leaf Label.

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

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November 26, 2015 at 12:19 pm

Fractured Air 37: No Rush (A Mixtape by Polar Bear)

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Polar Bear (UK/The Leaf Label) have established themselves as one of the most intriguing and vital contemporary collectives over the last decade or so. Since their debut full length ‘Dim Lit’ (Babel, 2003) the five-piece have ceaselessly explored new terrain while genres such as jazz, world, electronic, dub, hip hop, ambient and pop/rock have all found their way onto the band’s utterly beguiling and truly original sound palette. Led by drummer Sebastian Rochford (Brian Eno, Beck, Rokia Traoré, Yoko Ono) Polar Bear’s full lineup include the formidable talents of bassist Tom Herbert (The Invisible), electronic wizard Leafcutter John, saxophonists Mark Lockheart (Django Bates) and Pete Wareham (Melt Yourself Down, Acoustic Ladyland). 2015 marks the release of the band’s sixth studio album ‘Same As You’ (Leaf Label) and follow-up to 2014’s Mercury Prize nominated ‘In Each And Every One’.

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Fractured Air 37: No Rush (A Mixtape by Polar Bear)

To listen on Mixcloud:

https://www.mixcloud.com/Fractured_Air/fractured-air-37-no-rush-a-mixtape-by-polar-bear/

 

Tracklisting:

01. Tyshawn Sorey ‘Awakening’ [482 Music]
02. Blue Eyed Hawk ‘Oyster Trails’ [Edition]
03. Shabazz Palaces ‘#Cake’ [Sub Pop]
04. Actress ‘Voodoo Posse Chronic Illusion’ [Werk Discs, Ninja Tune]
05. Liberty Ellman ‘Pretty Words, Like Blades’ [Pi Recordings]
06. Leafcutter John ‘Music Under The Water’ [Desire Path Recordings]
07. BEAK> ‘Liar’ [Invada]
08. J Dilla ‘Let’s Take It Back’ (instrumental) [Stones Throw]
09. Micachu And The Shapes ‘Fall’ [Rough Trade]
10. Sebastian Rochford & Alice Grant ‘Rini Gave Word’ [The Leaf Label]
11. The Chordettes ‘Born To Be With You’ [Rhino]
12. Wilbert De Joode ‘Peg’ [Wig]
13. Hello Skinny ‘Revolutions Part 1’ [Slowfoot]
14. Eska ‘Red’ [Earthling Recordings]
15. Blue Eyed Hawk ‘Intro (For Fathers)’ [Edition]
16. Jim Black Trio ‘Actuality’ [Winter & Winter]
17. Rosie Lowe ‘Me & Your Ghost’ [37 Adventures]

Compiled by Tom Herbert. 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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‘Same As You’ is available now on The Leaf Label.

http://www.polarbearmusic.com/
http://www.theleaflabel.com/

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June 17, 2015 at 10:58 am

Don’t Look Back: 2014 (Part 2)

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Final part of our “Don’t Look Back” series; which is our look back on the year from the perspective of both musicians as well as various members of the arts community at large, who — despite varying geographical locations and backgrounds — all share the following in common: a deep passion and love for music. We’re both honored and delighted to be able to share the words of these special people through their personal accounts of the year that was: 2014. 

Part 2 of a 2-part series.

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William Tyler (Nashville, USA)

William Tyler is a Nashville guitarist and composer who has played an integral part in world-renowned U.S. bands such as Lambchop, Silver Jews and Hiss Golden Messenger. In recent years, Tyler has carved out a deeply enriching solo path, beginning with 2010’s universally-acclaimed ‘Behold The Spirit’ (Tompkins Square) and its exquisite follow-up, ‘Impossible Truth’ (Merge Records), released in 2013. Last April marked the release of ‘Lost Colony’ – a limited-edition 12-inch – featuring the new song ‘Whole New Dude’, a full-band re-working of ‘We Can’t Go Home Again’ (from ‘Impossible Truth’) and ‘Karussell’; a cover of a Michael Rother (Neu!) song.

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My year in review:

Hanging with my buddy Michael Slaboch talking records and life in early January. Michael came down to Nashville from Chicago and got stuck in a rare snow storm the precluded his return to the Windy City, which I believe was suffering from some of the coldest temperatures on record. We ate bbq and watched Auburn lose to Florida State in the national championship game while Nashville buckled from the cold outside.

Touring with Califone in the dead of an intense midwestern winter.  We did “Big Ten” country: Minneapolis, Madison, Columbus, Omaha, Detroit, Chicago. I should have brought a snowplow instead of a Volvo station wagon. Beautiful people and music. Frigid temperatures. Haunting drives through cracked Michigan highways covered with snow. Listening to Bruce Hornsby in a Tim Horton’s outside of Benton Harbor.

Taking a series of trains across central and southern Europe on tour in February. Played a rock club that doubled as an indoor shooting range in Belgrade. Played a theater in Zagreb. Played a wine bar in Switzerland. Played a cinema in Lausanne, another cinema in Dresden. Watched “Dallas Buyer’s Club” with German subtitles. Read “Blues People” by Amiri Baraka and “Where the Heart Beats”, an incredible book about John Cage and Zen Buddhism. Train hopped across Italy. Wrote fragments of songs in hotel rooms like you are supposed to. Ate everything that was offered to me. Bought Fernet at an Italian gas station.

I drove across America with my buddy Garland two days after returning from Europe. One day we drove from Nashville to Omaha, the next day across South Dakota to Wyoming. Next day all the way to Coeur D’Alene Idaho. The fourth day we made it to Seattle. I did a three-week tour opening for Daniel Rossen. My other best bud Brad Cook accompanied me for most of the trip. Stoned day off driving through the redwoods for a weird evening of awesome beer and sketchy Mexican food in Eureka, California. Playing a winery in Napa valley. Playing the Hollywood Forever Cemetery in Los Angeles. Driving across the west by myself in a rental car. San Diego to Phoenix, Phoenix to Santa Fe, Santa Fe to Roswell, Roswell to Marfa, Marfa to Austin, Austin to Jackson, Mississippi. Putting about 8000 miles on that poor rental car. Up and down the east coast. Driving back through the North Carolina mountains to home finally and the ‘welcome to Tennessee’ signs greeting me.

I moved temporarily to Oxford, Mississippi for a month. Spent a lot of time writing and reflecting, walking every afternoon down to the town square and sharing a few drinks with new friends. This was the place my parents went to college and I settled into the lazy, deliberate pace of the environs. I feel like as I grow older, the pull further South is stronger. It felt like home.

Green Man festival in Wales. Epic hang with my man David Morris. Playing to a field of friendly folks as the sun set. Being cold in the middle of August and drinking lots of cider.

Some things I enjoyed:

Steve Gunn – Way Out Weather
“Citizen Four”
Harold Grosskopf – Ocean Heart
Swans – To Be Kind
Bob Dylan – Basement Tapes reissue
Bitchin Bajas
Tashi Dorji
Blake Mills
“The Soul of Designer Records” – Big Legal Mess box set
“Jodorowsky’s Dune”

My favorite modern country singles of 2014:

Blake Shelton – Neon Light
Keith Urban – Somewhere in My Car
Dierks Bentley – Drunk on a Plane
Anything by Taylor Swift

 

—William Tyler

 

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‘Lost Colony’ E.P. is available now on Merge Records.

http://www.williamtyler.net/
http://www.mergerecords.com/

 


 

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Félicia Atkinson (The French Alps, France)

Félicia Atkinson is a French visual and sound artist based between the French Alps. She also co-curates Shelter Press, an independent music label and contemporary art publishing house. Félicia Atkinson also releases music via her Je suis le petit chevalier guise and exhibits regularly across both Europe and the US. Atkinson lives presently in the French Alps and has released over 20 records and tapes with labels such as Shelter Press, NNA, Umor Rex, Aguirre, Spekk, La station Radar, Home Normal. Atkinson has performed extensively all over Europe/USA-CANADA with such artists as: Sun Araw, Grouper, Gabriel Saloman, Theo Angel and Hamish Gilmour, Mind Over Mirrors, Lee Noble. She is also involved in the duo Naked Island on the L.A based label Peak Oil (alongside Ensemble Economique’s Brian Pyle). Her new album, ‘A Readymade Ceremony’, will be out on Shelter Press during 2015. 

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2014: A YEAR OF RENDEZ-VOUS

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Caption: Félicia Atkinson painting yogo balls during the preparation of her latest art show at Saprophyt, Vienna, last November.

 

January:

New Year’s Eve, dancing with candles and flutes outside in the snowy mountains with my friends, the musicians and artists Mc Cloud Zicmuse, Anne Brugni, High Wolf, Marsh Cavern, Chicaloyoh and Bartolomé, my partner in life and in Shelter Press.
Anne Brugnu makes incredible colorful ceramics and drawings. She just published a children books with Mc Cloud called “bonjour”, published by L’artichaud, here is an image of it:

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It’s a very sensitive book about natural phenomena and the marvels of earth. And here is an example of her vivid collages:

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You can also hear Mc Cloud Zicmuse’ poetic words and music HERE.

February:

Driving from California to New Mexico with Bartolomé. We also met a series of unforgettable artists. In Joshua Tree we walked among the prickly pears with Alexander Stewart and Lilli Carre. They are from Chicago and make very interesting minimalist animated films. Lilli is also an illustrator and ceramic artist. She exhibited recently at the MCA of Chicago. Here are two images of her sculptures:

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Alexander made collaborative films with musicians from Chicago, such as Jeremy Lemos, who plays now in Acteurs and also with Disappears, two Chicago bands that I strongly recommend. I particularly like the specially designed EP Disappears published with the Belgian Sleeperhold publications with a silkscreen on the B-side by this young and talented Belgian photographer, Stine Stampers. You can see the design here:

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Here are video stills of Alexander’s films ‘Peacock’ and ‘Power’:

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March:

In March Bartolomé and I did an exhibition, ‘The Last Frontier’, at this artist-run space in Basel called OSLO 10. They are also a music venue and there was a wonderful list of music shows during the exhibition, some with shelter press artists and some with people, even if we don’t publish them, we feel related to. One of them played at Oslo 10 in March 2014, it’s the French-Japanese musician Tomoko Sauvage who plays with water and bowls: a mesmerizing and meditative music.

April:

April was a beautiful month in the Alps, with butterflies and flowers everywhere. On the 1st of April I invited Jennifer Tee, an artist from the Netherlands, to make a lecture at the art university I am teaching in: Annecy, L’ESAAA. I am a huge fan of her works that include: performance, sculpture and installation. Some examples of her works here, including her latest exhibition at Signal in Malmo:

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May:

In May I played a music show for Videoex Festival in Zürich with the experimental film-maker from San Francisco, Paul Clipson. I don’t know if you are familiar with his works, but he showed his films with a lot of interesting musicians from the Bay Area such as Grouper, Jefre Cantu and Barn Owl, who are all musicians that inspire me everyday. Here are some images of Paul’s films:

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June:

June was a month spent listening to Suzanne Ciani’s amazing re-issues by Finders Keepers.

July:

In July I toured in Canada with the amazing Sun Araw and D/P/I. I feel like I learned a lot while seeing them playing and each of their shows was a source of joy. I recommend you to see them live and to listen to their latest album. I also played in Seattle with RM Francis that month, which was the occasion to discover his beautiful and smart music.

August:

August was a month spent in Oregon. I always love Portland. It was great to hang out there with my friends and see very good shows and have such great vegetarian food. Then we spent some time camping at CAPE LOOK OUT before I recorded with my friend Peter Broderick. Stay tuned… the project will be called La Nuit and will be out next summer on Beacon Sound.
In Portland I bought a lot of records at Little Axe Records, Mississippi Records and Beacon Sound Records. One of my favorites is ‘Put No Blame On The Master’, a record of Jamaican gospel, published by Mississippi.

September:

In September 2014 I did a mini tour in Switzerland with the amazing Gabriel Saloman, with whom we just published a record on Shelter Press. I recommend also his records on Miasmah and Infinite Greyscale. When he played in Geneva​, it was so powerful that the sound engineer actually cried. We are all blown away. I also listened very much to the re-issues of K. Leimer on RVNG.

October:

In October I saw Lieven Moana / Dolphins into the future and Spencer Clark / monopoly childstars playing also in Geneva, with wonderful visuals. It was like being in another time. Lieven is a kind of Caspar David Friedrich of modern times.

November:

In November I played at Soy Festival where I had a chance to see playing some people I admire: Lee Noble, Noveller, Steve Hauschildt and Robedoor.
Do you know Lee Noble’s cassette labels NO KINGS? They do amazing artworked tapes that you should take an ear/eye at!

December:

My highlight of December was feeding and meeting the neighbor’s little cat that love to visit us and watching VANISHING POINT by Richard Sarafian and CARRIE by De Palma. I also listened a lot to Valerio Tricoli album on PAN, Miseri Lares. And Bartolomé bought me this wonderful book by and about Robert Ashley, ‘YES, BUT IS IT EDIBLE’ published by New Documents.

THE END/THANK YOU!

 

—Félicia Atkinson

 

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Naked Island’s self-titled debut, the collaboration between Ensemble Economique’s Brian Pyle and Félicia Atkinson, is available now on Peak Oil. ‘A Readymade Ceremony’ is a forthcoming release on Shelter Press.

http://feliciaatkinson.be/
http://shelter-press.com/

 


 

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Cian Ó Cíobháin, An Taobh Tuathail (Galway, Ireland)

Cian Ó Cíobháin is the presenter of An Taobh Tuathail, a music show dedicated to promoting the very best in independent music. Cian’s show is broadcasted on RTÉ Raidió Na Gaeltachta on weeknights from 22.00 to midnight, Monday to Friday. Cian also compiles a series of compilations which are made available for free download. Presently, the An Taobh Tuathail compilation series is at volume 6 (they have this year been uploaded to Ó Cíobháin’s Mixcloud page HERE). Additionally, Cian DJ’s at 110th Street, Galway, with Cyril Briscoe. As of this year Cian Ó Cíobháin has also carved a name for himself as a specialist wedding DJ.

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In January and February, I dipped my toes into English language broadcasting for the first time in eons, with a six-part series on Pulse about my ‘An Taobh Tuathail’ compilations. My thick-tongued mumbling were well received, in some instances it was the first time listeners were able to follow what I was saying on the radio. ATT was shortlisted for two awards this year. In April I visited the picturesque St. Ives in Cornwall for the Celtic Media Awards, then had a night to remember in Kilkenny in October at the PPI Radio Awards. The Lyric FM contingent were seated at our table and helped us to party with panache. The winners of both categories were utterly deserving. JJ O’Shea’s superlative ‘The Global Village’ took the gong in St. Ives and Ray Wingnut’s excellent documentary on the Community Skratch games topped the PPI list.

Two of the best DJ sets I heard this year happened at Ireland’s best off-the-radar summer festival (so secret that I’m afraid to even refer to it by name). A fine summer’s evening somewhere in deepest Longford, the intimate & enthusiastic gathering in convivial spirits, were treated to the DJ début of Roscommon-native Peter Casey who simply blew the roof off the place with a perfect festival set: a combination of bangers, anthems and sing-a-longs. Later on, underground Liverpool legend John Heckle showed what an outstanding DJ he is, reading the crowd perfectly, working some amazing disco basslines into his high-octane techno set…. Speaking of Scousers, following Liverpool last season was a riot. Sure they fell short, sure they may never win the Premiership, but what a gallant effort it was, playing some of the most scintillating football in Europe, which even Pep Guardiola tipped his hat to. Of course, we’re back to a level we’re sadly more accustomed to now, in the wake of Luis Suaréz migrating to warmer climes. In a peculiar way, like when the winter evenings begin to draw in, there’s almost something strangely comforting about being simply mediocre again. Almost.

In other sports, my native Kerry thrilled in their two game battle against Mayo in August before grinding out an unexpected All-Ireland victory in September (unexpected to everyone bar the team and management), ending a five-year Celtic Cross-less drought in the Kingdom. All this without The Gooch. Great to see Star poach an opportunist’s goal in the final. I was DJing in West Kerry a few years ago and he was right up the front urging the crowd to sing along to the words of Warren G’s ‘Regulate’.

Jonathan Glazer’s ‘Under The Skin’ was a haunting cinematic experience, made all the more powerful by Mica Levi’s superlative soundtrack. One of her featured compositions ‘Love’ is my tune of the year: somehow evoking ‘Loveless’-era MBV, Badalamenti and Bernard Herrmann. I only recently realised that the movie is based on a book by Michel Faber. I picked up his latest novel ‘The Book Of Strange New Things’, as endorsed by the wonderful West Cork-based author David Mitchell and have been in a trance reading it the past few days… Other movies I enjoyed this year were ‘12 Years A Slave’, ‘The Wolf Of Wall Street’ and I finally watched ‘The Good, The Bad & The Ugly’. How had I ignored it up to now? Simply one of the finest movies I’ve ever laid eyes on. If only I could roll a cigar around in my mouth like Clint Eastwood. The original ‘Blondie.’

Summer 2014 was one of the most consistently summer-like summers in recollection, the rain seemed to bypass our island. How good was the vibe at ‘Body & Soul’ during the shortest nights of the year? It was my first time in attendance and I was bowled over by the genuinely magical, fairy-tale atmosphere. Galway legend Mike Smalle played a beautiful set under the trees, that weaved everything from Max Romeo to Nolan Porter to Hot Natured into its fabric. Mike was busy recording again this year, his first work since B-Movie Lightning, under the Augustus & John moniker collaborating with Matteo Grassi. Check out their excellent ‘Crosslines’ EP.

In late August, with the help of Galway’s Electric venue, 110th Street hosted a boat party on the river Corrib, where Cyril Briscoe & I were joined by Jon Averill and Sol O’ Carroll. Between the genial atmosphere on the boat, where everyone was best friends by the end of the voyage, followed by a hothouse atmosphere in the club, created by a combination of our guest DJs being on top form and the visiting influx of revellers, it was a day and night that will live long in my memory.

I read shed-loads of books this year but the two that stood out were ‘The Casual Vacancy’ by JK Rowling, a brilliant take on that peculiar and specific genre of ‘English village’ literature and ‘I Am Pilgrim’ by Terry Hayes, one of the most breathtaking thrillers I’ve ever read. Re-reading Oscar Wilde’s ‘The Portrait Of Dorian Gray’ was a great pleasure. Two evocations of hedonistic life in our capital city in different eras also provided food for thought. Anthony Cronin’s ‘Dead As Doornails’ recounts the lives of Patrick Kavanagh, Brendan Behan & Myles na gCopaleen in the pubs of post-war Dublin. The drinking and the poverty they endured to keep on drinking is utterly startling. Rob Doyle’s ‘Here Are The Young Men’ recounts a different Dublin, that of the early to mid-‘noughties’. If the pre-mentioned literary giants had access to the drugs that the characters in Doyle’s début novel binge on, well … the mind boggles at the consequences. Both books shine a torch into our nation’s gluttonous, booze-centric culture and reveal long, dark shadows extending well into the background.

The best TV show I saw this year was ‘Fargo’ but I was also impressed by ‘Boardwalk Empire’ (seasons 3 & 4), ‘Ray Donovan’, ‘Vikings’ (second season), ‘Love/Hate’ (which found its groove again – though I’d love to sort out their often incongruous soundtrack choices for them) and ‘The Fall’. Caught the first season of ‘Sherlock’ too, the opening episode was particularly good. I waded my way through most of the first season of ‘Game Of Thrones’ but was left cold by its clunky pace and prolixity.

My best nights DJing all happened at weddings. I was lucky to be invited by some remarkable people to play at their nuptials, more often than not in memorable, bucolic settings to intimate gatherings of sound heads. The atmosphere at these evenings were off-the-hook and has encouraged me to launch myself in the specialist DJ wedding market in the year ahead. So (here comes a plug) if you’re getting married and want to avoid the usually stodge, I’m available through cianociobhain.com or the One Fab Day site.

And what about the night the Sleaford Mods came to Galway? Like Gang Of Four, The Fall, Jello Biafra, Henry Rollins & Bez rolled into one Tour(ettic)-de-force. Middle-aged rock stars showing everybody else how it’s done. Proper.

Oh! One of my music moments of the year was when my truelove bowled me over by playing the soundtrack to ‘Tales Of The Unexpected’ out of the blue at a party last summer. I hadn’t heard it in decades and it completely transported me another place. Somewhere special, beyond mere nostalgia.

 

—Cian Ó Cíobháin

 

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There will be two An Taobh Tuathail Christmas specials on Christmas Eve & Christmas Day, 22.00 – 00.00. Cian Ó Cíobháin is also now taking bookings as a specialist wedding DJ at cianociobhain.com

Web: http://www.rte.ie/rnag/an-taobh-tuathail

Facebook: https://www.facebook.com/AnTaobhTuathail
DJ bookings: http://cianociobhain.com/

 


 

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Seán Mac Erlaine (Dublin, Ireland)

The Dublin-based woodwind composer (saxophonist and clarinetist) and music producer Seán Mac Erlaine is one of Ireland’s best-loved musicians and composers. Mac Erlaine is also a member of the Irish/Swedish four-piece This Is How We Fly and has collaborated with numerous musicians in the past in both live and studio settings (The Gloaming, Bill Frisell, Lisa Hannigan, The Smith Quartet, Iarla O’Lionaird). This Is How We Fly had an extensive European and Irish tour this year promoting their remarkable debut self-titeld album (having been released at the end of 2013 via Playing With Music) while Mac Erlaine also released his latest solo album ‘A slender song’ via Dublin-based label Ergodos. Earlier in the year, Mac Erlaine contributed to the Ergodos-released ‘Songs’ album which featured numerous re-interpretations of songs by members of the Ergodos roster of musicians. In September, Mac Erlaine performed at Dublin’s annual Bottlenote Festival (which Mac Erlaine co-runs) for a site-specific “The Walls Have Ears” series of live improvisations. 

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Two thousand and fourteen began in an urban idyll: Prenzlauer Berg. Waiting on fingers to defrost to record a range of songs from John Dowland to Richard Thompson. That record, released a few months later, turned out to be a beautiful thing – listen to Michelle O’Rourke sing! Germany has a lot of saxophone players and a lot of dead saxophone players – I bought a sleeping beauty from a dusty shop – a Martin alto saxophone from 1968.

Nobody saw it coming but in February I made my dancing debut in Willfredd Theatre’s CARE, this was a great eye-opening process working with super people looking into the work of hospice workers.

I was very lucky to find myself lost in Pauline Oliveros’ near infinite reverb chambers in the company of fine musicians broadcasting live to the nation on my favourite medium, radio. More radio followed later in the year working with director Dylan Tighe on a new sound piece celebrating one of our favourite poets, the late Michael Hartnett. We poured many hours into this work and in every moment (almost) there was a richness that can only come when your two singers are the incomparable Nell Ní Chróinín and Iarla O’Lionaird.

Spending time with the three other members of This is How we Fly has been such a rewarding and important aspect over the last few years. In 2014 we got to play in France, Sweden and all over Ireland (Baltimore Fiddle Fair does seem in fact to be the best festival here!).

Other high points included: sharing the stage and shaking the soft, soft hand of maestro Bill Frisell… The honour of playing solo to many rooms of silent listeners over the year… Playing Bowie’s back catalogue in NCH with such a killer band… Walking around Cork City in the very early morning… Walking around the Lower East Side in the almost late night… Swimming through a lake in Northern Sweden at midnight watching the paling sky… Cycling thousands of kilometers through the mountains of Wicklow, the flatlands of Kildare and the streets of Dublin… Cycling a 180km round-trip to play a gig in a sauna…

I loved seeing Ger Wolfe sing in Dublin – gotta be one of the most honest songwriters out there these days. Steve McQueen’s ‘12 Years A Slave’ didn’t hit me quite in the same way his first two features did but this was a fine piece of work. Irish film-maker Pat Collins produced another beautiful work with ‘Living in a Coded Land’ and Lenny Abrahamson’s ‘Frank’ was superb. Contemporary fiction isn’t a strong point for me but I was astounded by the beauty of Tarjei Vesaas’ ‘The Ice Palace’, a Norwegian novel from 1963. Gabriel Rosenstock’s monumental collected poems ‘The Flea Market in Valparaíso’ seems to have slipped under the radar but that can happen easily. Richard Mosse’s work ‘The Enclave’ got a lot of lookers, it blew many of us away. Israeli choreographer Danielle Agami had me up out of my seat whooping after her dance piece as did Irish actor Shane O’Reilly’s piece ‘Follow’ in The Abbey Theatre. A great time for Irish music: The Gloaming album made many revolutions on my CD player (I hope they press it on vinyl!), seems to have classic album written all over it. Deaf Joe’s ‘From The Heights Of A Dream’ is refreshingly really going for something and presented so beautifully – strongly recommended. Caoimhín Ó Raghallaigh and Dan Trueman’s fiddle duo record ‘Laghdú’ (also presented as a highly covetable good) is a tender thing of beauty.

 

Seán Mac Erlaine

 

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‘A Slender Song’ is available now on Ergodos.

http://www.seanmacerlaine.com/
https://ergodos.ie/

 


 

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Kat Epple, Emerald Web (Los Angeles, USA)

Kat Epple has released 30 music albums internationally, composes music for film scores and television soundtracks, and performs live original music featuring synthesizers and flutes with her various ensembles, including the legendary “Space Music” band Emerald Web (comprising Epple and her late husband Bob Stohl), whose hugely influential music continues to impact music audiences worldwide through many recent re-issues. ‘The Stargate Tapes’ album was re-issued in November 2013 via Finders Keepers, and consists of music originally recorded from 1978-1989; earlier this year, Emerald Web’s ‘Whispered Visions’ has also been re-issued by Finders Keepers, while ‘Catspaw’, Emerald Web’s seminal recording (first issued by Larry Fast’s Audion label) will be re-issued by Anodize in January 2015.

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Highlights of my year 2014 include: a concert for dolphins, ancient dead Indians, growling dinosaurs, and ‘Whispered Visions’. These events transpired as I concert toured, recorded new albums, did session work, archived old reel-to-reel masters, and enjoyed some amazing adventures!

“Legends of the Giant Dinosaurs” is a film for which I composed music, sound effects and Foley, for The Hong Kong Science Museum. The high-tech digital animation was projected onto a sixty-foot-wide HD screen with my music and sound effects in surround sound. I enjoyed creating the music, but especially making the sounds of the dinosaurs as they tromp, fight, and perish as a meteor strikes the earth. CRUNCH…….GROWL……..RUMBLE…….SCREAM………EPIC CRASH!

Playing native flute at sunset, on the top of a burial mound built by the extinct Calusa Indian tribe, may have been one of my concert highlights of the year. I felt as though their spirits were surrounding me, and softly singing. Now THAT is surround sound!

My favorite jam session happened one night as I was playing flute for a star-gazer cruise on a beautiful ship on the Gulf of Mexico. A pod of dolphins arrived, then surrounded the ship as they lifted their ears above the waterline, apparently to listen. They all joined in as they clicked, splashed, and squeaked along with the sound of my flute.

There has been a resurgence of interest in the music of my vintage synthesizer and woodwind band, Emerald Web. In fact, this year, our second album, “Whispered Visions” was released on vinyl LP, thirty-four years after its original issue. The master tapes had to be baked and archived after sitting on the shelf for decades. It was very moving to hear the music again after all those years, as it transported me back to the moment it was created so long ago. Music has the power to do that, especially when it is your own music!

I recorded acoustic tracks for a new album with World Percussionist, Nathan Dyke. I played World Flutes in the session, and am now in the process of overdubbing synthesizer tracks to the album. Yep……Thirty four years later, I am still pissing off the purists who don’t like it when I mix ancient primitive instruments and technology. Yay!

My session work on flute, EWI, and synthesizers for albums by a variety of musicians include: New Age pioneer Steven Halpern, enchanting folk musician Mariee Sioux, electronic guitarist Barry Cleveland, and legendary heavy metal guitarist Devin Townsend.

I did manage to get out of the studio once in a while to go camping, running on the beach, and to attend concerts, including King Crimson, the “Hardly Strictly Bluegrass” festival in San Francisco, and a variety of amazing house concerts.

I am grateful for the wonderful experiences that 2014 brought, and look forward to 2015 being even better!

 

—Kat Epple

 

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‘The Stargate Tapes’ and ‘Whispered Visions’ by Emerald Web are available now via Finders Keepers Records. ‘Catspaw’ by Emerald Web is to be re-issued on 20 January 2015 via Anodize (pre-order HERE).

http://www.katepple.com
https://www.facebook.com/KatEppleMusic

 


 

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Roll The Dice (Stockholm, Sweden)

Roll The Dice comprise the Stockholm duo of Malcolm Pardon and Peder Mannerfelt, who released their hugely anticipated third LP this year, ‘Until Silence’, via the renowned UK-based independent The Leaf Label. ‘Until Silence’ sees a brave and intriguing shift in the duo’s sound (most noticeably with the addition of a 26-piece string section ensemble during the recording sessions with an even greater focus this time around on an intensity of emotion across an ever-expanding sound palette) while the conceptual framework of the album draws inspiration from World War One (the album’s title is inspired by a book on the period). To date, Roll The Dice have released a trilogy of monumental albums, beginning with their self-titled debut LP (Digitalis, 2010);‘In Dust’ (Leaf, 2011); ‘Until Silence’ (Leaf, 2014), confirming the Swedish electronic group as one of independent music’s most intriguing and compelling contemporary artists.

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Tracks of 2014 by Roll The Dice:

Malcolm:
Future – ‘Look Ahead’
The groove and the sample and the 123 /15 hi hat pattern. Lovely.

Aphex Twin – ‘Produk 29’
Surprisingly likable. As I haven’t been a big fan in the past, I had no “issues” with him putting out a new album whatsoever.

Vessel – ‘Red Sex’
Simple and to the point monotony as it should be.

Nils Frahm – ‘Says’
A bit cheesy in the best possible way. Reminds me about us…

Katy Perry – ‘Roar’
I have been force-fed this track every morning all spring by my 10 year-old daughter. A bit like a musical stockholm syndrome…I have fallen in love with my tormentor.

Peder:
Gazelle Twin – ‘Anti Body’
Just found out about this record, totally feeling the attitude and impact of it. Really got a sound of it’s own which is pretty rare these days.

Klara Lewis – ‘Msuic II’
Klara is probably the artist that has had the biggest impact on me this year. It’s a real privilege to be able to work with such a unique and gifted talent.

DB 1 – ‘Nautil 1/3 B1’
The whole Nautil series on Hidden Hawaii is so amazing but if I have to pick a favorite from the 3 records this has to be it. Perfectly balanced and executed.

Surgeon – ‘Fixed Action Pattern’
The best techno 12″ this year from the best label, Token.

QT – ‘Hey Qt’
The PC music camp is the most punk of 2014. The fact that both my girlfriend and my 3 year-old daughter told me that it was the worst thing they ever heard me play at home makes me like it even more.

2014 Highlights Roll The Dice:

Putting out ‘Until Silence’ of course but also the fact that it turned out exactly the way we wanted.

Semibreve festival in Braga, Portugal: it was a delight to get to play in this beautiful old theatre where they have hosted the festival off the beaten track for several years. The organisers and everything surrounding this small and heartfelt festival was a delight.

 

Highs 2014: 

Malcolm:
My 10 week old Staffordshire puppy, Billie.

Peder:
Being able to do what I do for another year, to be able to make music and do whatever I want is something I am truly grateful for.

Lows 2014:

Malcolm:
The Swedish parliamentary situation which is going from bad to worse rapidly.
We all hope that the re-election in march will clear things up a bit, but as is now its just a farce, with very sinister undertones.

Peder:
See Mal’s answer. One love, fuck fascism.

 

—Roll The Dice

 

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‘Until Silence’ is available now on The Leaf Label. 

https://www.facebook.com/rollthedicesthlm
http://www.theleaflabel.com/

 


 

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Klara Lewis (Stockholm, Sweden)

Earlier this year marked the eagerly awaited debut full-length release from Swedish electronic artist, Klara Lewis, on the prestigious Editions Mego label. ‘Ett’ was recorded, sampled, edited, manipulated, mixed, produced and arranged by Lewis. A collection of four new works — contained on the sublime ‘Msuic’ EP — would later see the light of day on the Swedish imprint, Peder Mannerfelt Produktion (released on 12″ vinyl last November). ‘Msuic’ sees Lewis further expand the sonic envelope with her signature explorations of field recordings, electronics, rhythm, sound and atmosphere; confirming the Swedish artist as one of electronic music (and independent music at large)’s most exciting new talents.

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My top albums:

1. ‘Under The Skin’ OST, Mica Levi
2. ‘Because I’m Worth It’, Copeland
3. ‘All Over + All Under’, Edvard Graham Lewis
4. ‘The Epic Of Everest’, Simon Fisher Turner
5. ‘The Aquaplano Sessions’ (re-release), Donato Dozzy & Nuel

 

—Klara Lewis

 

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‘Ett’ is available now on Editions Mego. ‘Msuic’ (12″ & Digital) is available now on Peder Mannerfelt produktion. 

http://klaralewis.bandcamp.com
http://editionsmego.com

 


 

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Seti The First (Dublin, Ireland)

Seti The First is the Ireland-based cello-led group comprising the songwriting duo of Kevin Murphy (cello) and Thomas Haugh (drums, marxophone, percussion). ‘Melting Cavalry’ was the band’s debut album, released in 2012 to widespread critical acclaim. The band’s distinctive sound draws inspiration from a wide number of diverse sources (Steve Reich, Philip Glass, Arvo Pärt, John Tavener, Henryk Gorecki, The Haxan Cloak). 2015 will see the highly anticipated follow-up to their mesmerizing debut, ‘Melting Cavalry’, entitled ‘The Wolves of Summerland’.

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Kevin: It’s probably a question of tunnel vision but for me 2014 was all about finishing our second album which is called ‘The Wolves of Summerland’. We toiled relentlessly and finally put it to bed in December. It marks a bit of a departure from our first album ‘Melting Cavalry’ and therefore was a bit of a nerve-wracking adventure, however, we’re thrilled with the results. Cellos still provide the bedrock but there is much more frantic Marxophone and Zither leading the way; overall there is a more aggressive intend this time out. We had strong themes of unrest and revolution in mind––the dynamics of denial & delusion and the blindness to rising tides of societal upheaval among those in power; and of course, the recurrence of these things time and time again. So we focused on some extraordinary historical events, the rise and demise of entire empires and the regimes that followed, huge moments of passion, bloodshed, tragedy and melancholia. This became the canvas unto which we offered our wandering brush. In November we collaborated with visual artist Brian Kelly at the Cork Film Festival which took these ideas into the live arena, something we’ll hopefully further explore going forward.

Other than that, highlights of the year include playing on Adrian Crowley’s brilliant album ‘Some Blue Morning’. Myself and Seti’s live cellist Mary Barnecutt also played at Adrian’s launch in The Workman’s Club in Dublin which was a special night.

Thomas: Working on the second Seti album likewise dominated my year, rhythm made an unexpected return to my musical outpouring. As we got into the spirit of the music–with all of these big themes and ideas, it just became necessary to have that kind of foundation. It’s been a long time since I got behind the drums to really drive the bus, I just let it happen and it more or less flowed. Some new discoveries for me here too–the Persian Daf (drum), an incredibly versatile instrument. It’s a powerful and sacred centre piece in lots of Sufi music of which I’m very fond. Some Hurdy Gurdy made it on there too and I’ve loved that instrument since my teenage years when I first heard a Nigel Eaton album.

As for the music of others in 2014, Perfume Genius and Wildbirds & Peacedrums come to mind, both of which also took rhythm to new levels on their latest releases. Mica Levi’s incredible soundtrack for ‘Under The Skin’ thrilled me, also Grouper’s ‘Ruins’ and Arca’s ‘Xen’. Hildur Gudnadóttir’s ‘Saman’ took some time to settle with me but it was worth the effort. I also took some time to listen to the works of Ligeti–the music of whom most of us are probably familiar with through it’s prolific usage in films, music that is both terrifying and thrilling in equal measure. Not a bad aul year.

 

—Seti The First

 

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‘Melting Cavalry’ is available now; its much-anticipated follow-up, ‘The Wolves of Summerland’, is due for release in 2015.

http://setithefirst.bandcamp.com
https://www.facebook.com/SetiTheFirst

 


 

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Adrian Crowley (Dublin, Ireland)

2014 marked the special return of Irish songwriter Adrian Crowley with his hugely anticipated (and career-high) seventh studio album, ‘Some Blue Morning’, via Glasgow-based independent label Chemikal Underground. ‘Some Blue Morning’ is the follow-up to Crowley’s masterful 2012 Choice Music Prize nominated ‘I See Three Birds Flying’, and features contributions from Seti The First’s Kevin Murphy on cello; Dublin-based songwriter Katie Kim on vocals and members of London string ensemble Geese, amongst many more.

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When I cast my mind back to the beginning of 2014 I am brought back to the familiar recording den with my old friend Stephen. I remember a few crisp mornings where the sun was shining in its wintry way. I’d walk from the north of the city all the way to the south reaches, along the grand canal, the path on the bank with the weeping willows near Portobello and on and on towards Dolphin’s Barn… thinking all the while about the day’s recording that lay before me and wondering how it would all sound by the evening when I’d walk back along the same way along the canal banks to Portobello…and turning then towards Kelly’s corner, up Camden Street and onto Wexford Street, South Great George’s Street… continuing through the city and finally on to the home stretch of North Strand. Those walks were times I would relish every day with a spring in my step for the record that was beginning to take shape. That daily ten-mile leg-stretch became a part of the process of making the record. Yes, I’m pretty sure there is no joy quite like the joy of recording new songs and building an album from the those first glimmers of ideas. And then I finished the record that, later in the year, I would call ‘Some Blue Morning’. 
I suppose much of early 2014 was taken up with making ‘Some Blue Morning’. It is all-consuming and, really, I found little time for anything else. I remember thinking that until I had something complete I would hide myself away. Even after the recording there was that matter of coming up with suitable artwork for the album. Which brings me to Steve Gullick.
2014 was the year I first met the fine gent that is Steve. We had ‘spoken’ over the years and talked about maybe making some pictures and indeed had planned to meet once or twice, usually when I was in London for a gig. But things happened and we never seemed to manage to get to the same spot at the same time. Not until Easter, ‘14, that is.I remember waiting in a café down the street from Highbury and Islington tube station across from Union Chapel. I sat in the window seat with a huge coffee staring out at the brick portico of the chapel. Then the door of the café swung open and Steve was greeting me in person for the first time. He was carrying three cameras. We sat there chatting for some time. About the world, about making records, about people, about life and mutual friends. About Jason Molina who had tragically passed away the year before. Something that has deeply effected me and so many others. Then Steve said, “okay, let’s get started” and we left the café and walked across the busy street and approached the heavy locked doors of Union Chapel. A quick phone call to Les who was working in the chapel that day (installing a new lighting rig) and we were inside wandering about corridors and back stairwells. Steve must have taken more than 800 photos and by the end of the afternoon we were sure that he had captured something that would be the cover art for ‘Some Blue Morning’.
Oh, 2014 was the year I discovered I could play clarinet. There is a charity shop near where I live. One day I ducked in for a quick look round. And there at the back of the shop in a glass cabinet was an opened black box with a dissembled clarinet inside. I knew it had to be mine and a few minutes later I was at home checking on YouTube how to put a clarinet together. A few minutes after that I was getting some sounds. I suppose all those years of playing saxophone in my bedroom had some bearing. I told Thomas and Kevin of Seti The First about this “haunted clarinet” I had found. Thomas called me a few weeks later and asked me to have a go at recording some parts for the new Seti record.
So the next thing you know I’m on a 123 bus to Thomas’ house with the charity store black box under my arm. I’ve been listening to the finished record and I have to say that I am proud to have played a small part in it. I’m so happy that my clarinet notes didn’t end up on the cutting room floor.
I’m trying to remember what films I went to see in the cinema. I spent a week in London by myself in the summer in a little house in Golders Green by Hampstead Heath. A friend of mine kindly let me stay there and I thought it would be a nice way to work on some writing. I did get some writing done but I also did a lot of walking around. One day I went down to Soho and headed for the Curzon Cinema. That’s where I saw ‘Boyhood’ by Richard Linklater. What an incredible film. I didn’t feel the three hours pass. I loved ‘The Double’ by Richard Ayoade which I saw at the IFI in Dublin, the Nick Cave documentary ‘20,000 Days on Earth’ at The Lighthouse Cinema in Dublin. ‘Under The Skin’ was creepy and great.

Oh, and speaking of London, I’m brought back to a late night taxi ride with my sister. It was late September. We had hopped in a cab in Hammersmith and didn’t speak once all the way to Woolwich Arsenal where our younger sister lives. Why didn’t we speak? Well, we both suffer from car sickness and we had just been on a pilgrimage, you see, and were still trying to process the three hours or so that had just passed. I’m talking about Kate Bush. Kate Bush at Eventim Apollo. The opening bars of ‘Running Up That Hill’. Now there was a moment.

But that was the night there was a power outage on stage before the show was due to start. We, the audience, sat waiting for around 50 minutes. At one point when the house lights went up, we all thought the show had been cancelled but a few minutes later Kate is onstage telling us matter-of-factly and down-to-earthedly that “it had been sorted”.

I managed to see a lot of great concerts. Bill Callahan at the Olympia, Dublin in February. Cat Power in July, also at the Olympia. Eels at Muziekgebouw, Eindhoven for Naked Song festival. I was playing at the festival and I managed to duck in behind the sound desk an watched the whole concert (at the end of the concert Mark jumped off the stage and went around the entire auditorium giving hugs to everyone in his path before ending up back on the stage to play an encore).

My Brightest Diamond at The Workmans Club. Shara Worden’s voice is incredible and it was so great to finally see her live. Violinist Cora Venus Lunny played an astonishing improvised set at her album launch in The Grand Social in Dublin. The National at The Iveagh Gardens in Dublin. Speaking of the Iveagh Gardens, I got to see some great comedy there… namely Eddie Pepitone.

Albums released in 2014… I really loved ‘Brothers and Sisters of The Eternal Sun’ by Damien Jurado and wonderful albums by Cora Venus Lunny, Caoimhín Ó Raghallaigh, Kate Ellis, Tindersticks, Einsturzende Neubaten, Marissa Nadler… I’m sure I’m missing others and I’ll probably kick myself later.

Well, my own album came out towards the end of the year…early November. I had a kind of belated album launch at The Workmans Club on December 12th. I am pretty confident that was the favourite gig of mine in 2014. I had been rehearsing with the twin cellos of Kevin Murphy and Mary Barnecutt, and also with Katie Kim who sang on more than half of ‘Some Blue Morning’. It felt so good having Katie, Mary and Kevin on stage with me not to mention my good friend Matthew Nolan who plays guitar on ‘The Wild Boar’ when we perform it live (just saying “plays guitar” feels like a gross understatement, though, considering the vast soundscapes he conjures).

Other favorite live moments from the point of view of the stage were the Daylight Music event at Union Chapel with Katie Kim (it just so happens it fell on the Summer solstice. I remember waking up that morning at 4am to the near deafening sound of birdsong from Hampstead Heath. It was quite something). Explore The North Festival in Leeuwarden, Netherlands was special too. That was in a church also, a Lutheran church with a lot of history. Oh, singing some David Bowie songs in The National Concert Hall in July was much fun.

And there was a special show that I was invited to be a part of during the East Cork Early Music festival. Justin Grounds and Ilsa de Ziah who play baroque violin and baroque cello respectively rearranged an hour-long set of my songs which we performed together at L’Atitude for a late night show. It was the first time I sang my songs on stage without playing an instrument. It felt like a new discovery. What incredible musicians. Also sharing the stage with David Thomas Broughton, Roddy Doyle, Mark Andrew Hamilton of Woodpigeon at the Golden Factories event for Young Hearts Run Free at St. Michians Church was quite special.

In theatre… I saw the final show of a seven-day run of ‘A Girl Is A Half Formed Thing’ performed by Aoife Duffin. She was incredible. It was intense and staggeringly impressive. I wondered how long it must have taken her to unwind after giving so much.

This Is The Kit played in the engineering library of The National concert Hall as a part of the Brassland weekend there in December. Well, that was a beautiful show but equally sweet was having them sing happy birthday to my five-year old daughter in the hallway of my house at 7:30am before they rushed out the door to catch the ferry to Holyhead. I hope they didn’t miss it.

 

—Adrian Crowley

 

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‘Some Blue Morning’ is available now on Chemikal Underground.

https://www.facebook.com/adrian.crowley
http://www.chemikal.co.uk/

 


 

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David Westlake (London, UK)

The Servants formed in 1985 in Hayes, Middlesex, England, by singer and songwriter David Westlake (Luke Haines would later join The Servants in ‘87). Their unique blend of poignant lyrics, intricate arrangements, and utterly compelling indie-pop sounds was a world away from the mundane and noisy lo-fi scene heralded by the NME’s C-86 compilation the band would later appear on. ‘Small Time’/‘Hey Hey We’re The Manqués’ re-issued double album is available now on 2CD via Cherry Red and on double LP via Captured Tracks. David Westlake’s ‘Play Dusty With Me’ will be re-issued next year by U.S. independent label Captured Tracks.

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2014? Deficit, devolution, free movement, Remembrance, Crimea, Ebola, ISIS, One Direction, Rolf Harris. But you know all this already. My 2014 – I got married, I played the NME C86 show, and first time since 1991 I played music with Luke Haines.

I am 49, so the best 2014 music release is unsurprisingly a reissue. It’s the Kevin Ayers Original Album Series five-disc set. The award for best latter-day recording (that I’ve heard) goes to Morrissey, from whom the very existence of new work is always an event. Cherry Red Records reissued C86 in 2014. I am on the compilation, but I always hated that song. Captured Tracks Records will issue my album ‘Play Dusty For Me’ in April 2015. Highly recommended.

Best book of 2014 has to be ‘Coming Up Trumps’ by Jean Trumpington. Multitudes of dull and deluded people trot out self-satisfied memoirs nowadays. Many can claim worth only as purgative toilet-seat reads. ‘Coming Up Trumps’ earns its right to exist – a remarkable life winningly told. Aurum’s paperback selection of John Betjeman newspaper pieces, ‘Lovely Bits of Old England’, is a treat.

Best film – ‘Grand Budapest Hotel’. Impeccable in every respect. Ralph Fiennes delivers a tour-de-force performance. Tenacious and good as Leslie Howard’s Scarlet Pimpernel. Or Anthony Valentine as Raffles, the Amateur Cracksman. There’s one for the teenagers. Someone would have to have a pretentious heart of stone not to love ‘Paddington’, too.

Memorably best new TV – Andrew Graham-Dixon’s BBC documentaries on Paul Nash and William Sickert, with the centennial focus on World War One. Most momentous TV – a repeat in March 2014 of a 1979 episode of ‘Top of the Pops’. Momentous because my wife was on-screen in the audience, then aged 14. Who could have known that thirty-five years later we would be thanking our lucky stars that the presenter she found herself standing next to that week was blameless Mike Read?

 

—David Westlake

 

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‘Play Dusty For Me’ by David Westlake will be re-issued by Captured Tracks (LP & CD) on 18 April 2015. ‘Small Time’/‘Hey Hey We’re The Manqués’ by The Servants is available now on Cherry Red Records (2CD) and on Captured Tracks (2LP).

http://www.lostsheep.com/davidwestlake
http://www.cherryred.co.uk/
http://www.capturedtracks.com/

 


 

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K. Leimer (Seattle, USA)

For the third installment in Brooklyn-based RVNG Intl.’s archival series, the tape is wound back to 1970s Seattle, home place of ambient music pioneer K. Leimer. ‘A Period of Review (Original Recordings: 1975 – 1983)’ unearths unreleased portions of Leimer’s vast archives and highlights the work of a self-taught visionary whose use of generative compositions ferried his music to infinite resonance. Kerry Leimer was born in Winnipeg, Canada. He was raised in Chicago before his family permanently settled in Seattle in 1967. This year’s ‘A Period of Review’ heralded one of 2014’s most prized re-issues. K. Leimer’s forthcoming full-length player, ‘The Grey Catalog’ will be released on Palace Of Lights in January 2015. 

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It’s odd that highly obscure music, written and recorded more than 34 years ago, would matter in any way at all today. So despite performing again and completing and releasing a few albums on our little label, much of the past year was spent talking and writing about the germinal work that was assembled as ‘A Period of Review’. Which made 2014 seem more like 1979 to me. But between bouts of studio time and grappling with miles of tape there was some remarkable listening: Gudnadóttir’s ‘Saman’; the Jakob Ullmann ‘Fremde Zeit’ / ‘Addendum’ box; Taylor Deupree’s ‘Faint’; David Sylvian’s ‘There’s a light that enters…’; Nils Frahm’s ‘Screws’; and A Wing Victory for the Sullen’s ‘Atomos’. impossibly rich diversity and innovation. And now wrapping up the year with ‘Different Every Time’, a book that’s unevenly written but compelling all the same. And the recording — especially important to me because it includes Wyatt performing one of the ‘Experiences’ by John Cage from a record, also thirty+ years old, originally issued on the Obscure label. Now if i could just find the piano pieces from that same document! The free hours that remained were given over to compiling another reissue, based on ‘The Neo-Realist’ (at Risk). A compilation for my fake rock band Savant which will be released in the first half of 2015. Titled ‘Artificial Dance’, it seems set to guarantee that my experience of 2015 will seem more like 1982. But beyond the solace and joy of such sustained musical innovation and accomplishment, the overriding experience of 2014 remains the naked violence and injustice that my country visits upon so many people. Our own citizens routinely and unjustifiably killed by police; The published and redacted details of the Bush administration’s torture program; pornographic levels of wealth set beside unprecedented income inequality; blanket denials of our shared environmental crisis. Just who is meant to be left solvent and able to purchase the refrigerator magnets and iCrap that drives most of the culture?

 

—K. Leimer

 

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‘A Period of Review (Original Recordings: 1975-1983)’  is available now on RVNG Intl.

http://www.palaceoflights.com/
http://igetrvng.com/

 


 

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Matthew Collings (Edinburgh, UK)

Matthew Collings is a Scotland-based composer. In addition to his solo recording and live output, he collaborates regularly with artists from disparate backgrounds, including musicians Dag Rosenqvist from Jasper TX and Denovali label-mate Talvihorros, dancers and filmmakers. 2014 marked the release of Collings’ new sophomore full-length, ‘Silence Is A Rhythm Too’ on the prestigious German-based independent label, Denovali Records.

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So, 2014.

Has been another year of slow growth. I spent much of the year wrestling with the idea of Edward Snowden. Realising that my work is much better off with other people, and made with other people…and so am I.

It saw various births and deaths of beautiful people who I will miss and look forward to getting to know. I wonder what role I will play in people’s lives.

This year saw a furry of releases – a beautiful vinyl/photobook with Elin Svennberg, the dark yet uplifting pop of Graveyard Tapes, and a new record in ‘Silence is a Rhythm Too’ and a re-release of ‘Splintered Instruments’ on Denovali. 2015 will expect the Snowden monster to rear it’s head, as well as a record with Dag Rosenqvist which I’m finishing right now.

I’ve been incredibly lucky this year to meet so many amazing, inspiring people. The thought of them keeps me positive when I start to complain about my place and position in the world, which I really have no ground to do.

I’m a very very lucky person.

Some music to listen to this year: These New Puritans, Ben Frost, Talvihorros, Numbers are Futile.

Here’s to 2015 ; chasing sound, not chasing my tail.

 

—Matthew Collings

 

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‘Silence Is A Rhythm Too’ is available now on Denovali.

http://mcollingsmusic.com/
http://www.denovali.com/

 


 

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Sophie Hutchings (Sydney, Australia)

‘White Light’ is the latest collection of mesmerising piano music from Sydney-based composer and pianist Sophie Hutchings. Beginning with 2010’s debut ‘Becalmed’, the gifted composer has crafted her unique blend of neo-classical, piano-based compositions, which would later be followed-up with the spellbinding ‘Night Sky’ LP in 2012. Both records are available now on the Australian independent label, Preservation. Hutchings is currently working on her third studio album – and follow-up to ‘Night Sky’ – which will be released in 2015.

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Does anyone get nostalgic as midnight creeps towards the closing of a year, the beginning of another…… Reminiscent. Looking back over years, contemplating life…….

As a child I often created a sacred moment as the year wound down. Preparing for the approaching strike of midnight, setting up the record player with one of mum or dad’s records. I took life very seriously! Always allowing a moment over midnight to ponder over life… And so we should…… Casting our minds back and then casting it ahead in view of a new beginning.

I often start the year with the goal of uncomplicating my life. Uncluttering my brain… Simplfying and yet as weeks and months go by, slowly or quickly enough, the complicated starts to work its way back in. Whether it be the things in your life or the things you fill your mind with…

There was a lot of creative purging this year associated with writing the new album.. The highs and lows that come with that and life in general. So as I venture down the beautiful south coast of Australia this week, and make my way through the diverse landscapes of Myanmar in January, I want to remind myself of a basic fact. The simple things in life can offer so much contentment…

A boundless vast ocean, lying under a star lit sky, or gazing into an open fire……..Things like these..
I’m going to press the reset button and see how it goes for me this year ….

 

Inspiring Highlights of 2014:

Reads and Watch:
First read of 2014 – Donna Tarts ‘The Goldfinch’ one of the best contemporary authors to date. Her compelling narratives lead to not being able to put the book down!..

‘Tracks – The documented Solo Journey of Robyn Davidson’ (also known as ‘The Camel Lady’) through the Australian West Desert. The cinematography and soundtrack by Garth Stevenson created for the actual film was also a highlight.

Reading Solzhenitsyn’s contemplative and symbolic story ‘The First Circle’ depicting the lives of a secret research development made up of Gulag inmates set in Moscow. His sayings and philosophy on life pack some punch… Indeed an author to respect.

I watch so many movies so this is a hard one, but first one that comes to mind is Lao film ‘The Rocket’. It wasn’t released this year but was a standout for me. After living in Laos for sometime, Kim Mordaunt (director) was inspired to write the film whilst working on the documentary ‘Bomb Harvest’, and discovering Laos was the most bombed country on the planet, per capita. Two young children play the main characters in the movie, both whom had never actually acted before. It was a really inspiring film and gives insight to a country that has suffered at the hands of war.

I wanted to watch Béla Tarr’s 8 hour epic film ‘Satantango’ this year and it’s on my film hit list for 2015! There’s some beautiful shots HERE from it set to one of my all favourite composers Arvo Pärt.

Music:
I’ve been embracing a few new musical eras and genres. 60’s Vietnamese rock, Gamelan and also Turkish singer songwriter Fikret Kızılok!…
Also, ‘Open’ by The Necks was on high rotation.
Cleaning the house to this year’s Liars release ‘Mess’.
Touring with Ólafur Arnalds…
Creatively purging and mapping out the journey for the new album which will continue into the new year…….

All the best to everyone’s start to 2015.

 

—Sophie Hutchings

 

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‘White Light’ is available now as a free download via Bandcamp HERE. ‘Becalmed’ and ‘Night Sky’ are out now on the Preservation label.

http://www.sophiehutchings.com/
http://www.preservation.com.au/

 


 

To read Part 1 of Don’t Look Back, click HERE.

To read our Albums & Re-issues of 2014, click HERE.

With very special thanks to all the wonderful contributors for their contributions.
Wishing all our readers a very happy new year and best wishes for 2015.

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Web: http://fracturedair.com

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