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Posts Tagged ‘The Moles

Albums & Reissues Of The Year: 2014

with 14 comments

The following is a selection of the albums and re-issues that had the greatest impact on us for a wide range of different reasons. As difficult as it proved to settle on a final (and very concise) selection, we both turned to these special albums most often throughout the year. 2014 has been a year which has produced so many absolutely wonderful and truly special albums, here’s our personal selection of some of these (with a selection of ten albums and five re-issues).

Words: Mark & Craig Carry, All artwork: Craig Carry

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Albums of the year:

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Grouper ‘Ruins’ (Kranky)

‘Ruins’ was made while U.S. musician and artist Liz Harris was on an artist residency (set up by Galeria Zé dos Bois) during 2011 in Portugal’s Aljezur region. The location would provide a striking influence to Harris’s subsequent recordings (recorded in typically minimal fashion: a portable 4-track, Sony stereo mic and an upright piano) while the sense of both departure and a new-found freedom flow throughout ‘Ruins’ and its majestic and dreamlike eight tracks. During her Aljezur residency, Harris would embark on daily hikes to the nearest beach where she would encounter the ruins of several old estates and a small village. As Harris has said: “The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.”

‘Ruins’ is a stunning achievement which proves all the more astonishing considering the already extensive (and consistently breathtaking) recorded output of Grouper since the mid 00’s. ‘Clearing’ is arguably Harris’s most singularly beautiful song conceived to date. As Harris sings: “What has been done / Can never be undone” over a gorgeously delicate piano line we embark on yet another wholly unique and deeply personal odyssey under the stewardship of Harris’s very heart. Like a silent witness we hold our breath as we remain under Harris’s spell throughout (from the timeless ballad ‘Holding’ to the closing epic drone-heavy tour-de-force ‘Made of Air’). ‘Ruins’ is a quietly breathtaking force of nature: an album made as much by Harris’s own hands as by the moonlight’s illumination in the night sky or the evening sun’s last rays of faded half-light.

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‘Ruins’ is available now on Kranky.

https://www.facebook.com/pages/Grouper/
http://www.kranky.net/

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Caribou ‘Our Love’ (City Slang/Merge)

One of my most memorable moments of this past year was undoubtedly witnessing Caribou’s storming live set at 2014’s Body & Soul festival. A euphoric feeling ascended into the summer evening skyline as each transcendent beat and luminous pop-laden hook flooded our senses. The majority of 2010’s glorious LP ‘Swim’ was revisited, from the tropicalia-infused ‘Odessa’ to the hypnotic ‘Sun’ and all points in between. Dan Snaith & co’s set further confirmed the legendary status of Caribou; whose innovative and utterly compelling sonic creations (where elements of krautrock, dance, jazz, soul, hip-hop, and electronic soundscapes form one irresistible, mind-blowing sound spectrum) have long served a trusted companion for the independent music collector.

This year marked the highly anticipated fifth Caribou studio album, ‘Our Love’, which, in many ways, nestles beautifully between its predecessor ‘Swim’ and Snaith’s more techno-oriented project of Daphni. Lead single ‘Can’t Do Without You’ is an instant classic with a seamless array of melodic patterns and soulful vocals that evokes the soul-stirring songbook of Al Green as much as it spans the history of the dance floor. Several of the songs were co-written by gifted Canadian composer/violinist Owen Pallett (whose own solo record ‘In Conflict’ has been one of the most original, daring and innovative records of 2014) and Pallett’s distinctive violin-led melodies coalesce effortlessly with Snaith’s visionary dance structures.

Numerous remixes have since seen the light of day (where new perspectives and insights are drawn and re-configured) with the latest example being Carl Craig’s techno mix of ‘Your Love Will Set You Free’. Much in the same way as ‘Swim’, I know (and firmly believe) ‘Our Love’ will remain as vital and significant for many more years and decades to come.

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‘Our Love’ is available now on City Slang (EU) and Merge (USA).

http://www.caribou.fm

http://cityslang.com
http://www.mergerecords.com

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Sharon Van Etten ‘Are We There’ (Jagjaguwar)

When Jersey-native and New York-based songwriter Sharon Van Etten first announced the arrival of ‘Are We There’, Van Etten’s fourth full-length and follow-up to her 2011 seminal work ‘Tramp’, she had these words to share: “I really hope that when someone puts my record on that they hear me.” Of course, Van Etten’s wishes have clearly been fulfilled. If there’s one thing we can firmly establish by now it is this: Van Etten makes music from the real world; a world of real events and real people with real feelings. Subsequently, steeped in a sometimes harsh reality, Van Etten’s songs are imbued with fears, struggles and (often) much pain. Much like Chan Marshall’s pre ‘The Greatest’ recorded output, Van Etten bravely examines her own life’s immediate surroundings and relationships to share her most innermost confessions and feelings for us all to bear witness. Through Van Etten’s songs we too can find our own deepest feelings long hidden in the shadows of some forgotten, distant dream.

‘Are We There’ is Van Etten’s first self-produced album (The National’s Aaron Dessner produced its predecessor ‘Tramp’) and features a host of wonderful musicians, including: Torres’s Mackenzie Scott on vocals (who toured extensively supporting Van Etten); Heather Woods-Broderick (on strings and vocals); Mary Lattimore (harp) as well as Van Etten’s trusted and formidable rhythm section (Zeke Hutchins on drums and David Hartley on bass). The use of vocal harmonies (Van Etten, Scott and Woods-Broderick) is a pure joy to witness. The resultant musical arrangements are stunningly cohesive and yet genuinely innovative, providing for many moments of challenging and divine musicianship — at times wonderfully dense and strikingly tactile (‘Our Love’ or ‘Every Time The Sun Coms Up’) — other times remain starkly sparse (‘I Know’) but, importantly, such intricacies of musicianship and arrangements only ever serve the song.

“Everybody needs to feel” sings Van Etten on ‘Your Love Is Killing Me’. It’s a sentiment that best serves the phenomenal and beloved artist that is Sharon Van Etten and ‘Are We There’. It’s another step to becoming your own true self. It’s a destination no one is ever likely to realistically reach but striving for it is proving to be Van Etten (and her sacred songbook)’s true towering achievement.

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‘Are We There’ is available now on Jagjaguwar.

http://www.sharonvanetten.com/
http://www.jagjaguwar.com/

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Clark ‘Clark’ (Warp)

‘I Dream Of Wires’ is a documentary based on the phenomenal resurgence of the modular synthesizer; exploring the passions and dreams of people who have dedicated part of their lives to this electronic music machine. The splendid documentary — released earlier this year — features interviews with Ghostly’s Solvent (who co-wrote the film in addition to composing the film score), Carl Craig, Jeremy Greenspan (Junior Boys) and Warp’s Clark. Reflecting on this particular film now, I feel it is precisely this exploration of passions and dreams that filters into the dazzling music of  UK’s Chris Clark. The unique blend of utterly transcendent electronic creations is forever steeped in a rare beauty, filled with endless moments of divine transcendence.

This year marked the eagerly awaited release of new self-titled full-length (and seventh for Warp), following up 2012’s magical ‘Iradelphic’. The gifted producer’s meticulous touch can be felt throughout, from the cold-cut classic ‘Unfurla’ to the blissful synth-laden ‘The Grit In The Pearl’. Dance music for the here-and-now that breathes life and meaning into music’s endless possibilities.

As Clark has said: “Music is like sculpture. It’s like trying to capture a moment of ultimate momentum, and distill it forever”.

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‘Clark’ is available now on Warp.

http://throttleclark.com/
http://warp.net/

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Hauschka ‘Abandoned City’ (City Slang/Temporary Residence Ltd)

Witnessing Hauschka’s Volker Bertelmann — whether in live setting during his renowned concert performances or in recorded contexts — a certain sense of magic fills the air. Sylvain Chomet’s 2010 animated marvel ‘The Illusionist’ comes to mind, as we are left in wonderment to observe the artist’s vast collection of skills and unlimited wells of talent. Known worldwide as one of the most recognizable 21st Century proponents of what is known as Prepared Piano, Bertelmann has amassed a considerable body of work over the last decade, ceaselessly weaving his own singular path — and on his own terms — to wondrous effect (much like fellow modern composers and restless souls Nils Frahm and Max Richter or such Twentieth Century masters as Eric Satie, John Cage and Steve Reich). Importantly, the album itself draws from research Bertelmann made (after the discovery of a series of photographic prints depicting the subject of abandoned cities) on the number of actual vacated cities in existence (each track title references a particular city). As Bertelmann has said: “I was interested in finding a metaphor for the inner tension I feel when I’m composing music, a state of mind where I’m lonely and happy at the same time.”

‘Abandoned City’ proves a certain milestone in Hauschka’s recorded output to date. An intriguing sense of both adventure and discovery seeps through every pore of the album’s ten compositions. Like all of Hauschka’s art, nothing is as it first seems. As we delve further into this abandoned city Hauschka has built for us we begin to lose all sense of what we initially thought was important in the process. We lose all traces of ourselves for that beautiful instant we are under Bertelmann’s sacred spell and that is what Hauschka’s divine art forever manages to do.

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‘Abandoned City’ is available now on City Slang (EU) and Temporary Residence Ltd (USA).

http://hauschka-net.de/

http://cityslang.com/
http://temporaryresidence.com/

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Steve Gunn ‘Way Out Weather’ (Paradise Of Bachelors)

The flawless North Carolina-based independent label Paradise of Bachelors has yet again been responsible for a string of modern-day Americana masterpieces, not least the latest tour-de-force from the ever-prolific, Brooklyn-based guitar prodigy and songsmith, Steve Gunn. This year’s ‘Way Out Weather’ feels like a natural culmination where every aspect of Gunn’s deeply-affecting songs — poignant story-telling quality, immaculate instrumentation and intricate musical arrangements — is heightened as the towering eight creations hits you profoundly and stirs your soul. 2013’s ‘Time Off’ was the starting point of Gunn’s song-writing path, having collaborated closely with Kurt Vile, Michael Chapman, Mike Cooper, The Black Twig Pickers and a host of others in recent times.

A timeless feel permeates every corner of the record. The recording sessions took place at Black Dirt Studio in Westtown, New York, featuring a formidable cast of musicians (and Gunn’s long-term collaborators) further adding to the widescreen, cinematic sound to ‘Way Out Weather’s sprawling sonic canvas. Longtime musical brothers and kindred spirits Jason Meagher (bass, drones, engineering), Justin Tripp (bass, guitar, keys, production), and John Truscinski (drums), in addition to newcomers Nathan Bowles (drums, banjo, keys: Black Twig Pickers, Pelt); James Elkington (guitar, lap steel, dobro: Freakwater, Jeff Tweedy); Mary Lattimore (harp, keys: Thurston Moore, Kurt Vile); and Jimy SeiTang (synths, electronics: Stygian Stride, Rhyton.)

On the utterly transcendent album closer, ‘Tommy’s Congo’, shades of Sonny Sharrock beautifully surfaces beneath the artefacts of time. The deep groove and rhythm interwoven with this vivid catharsis is nothing short of staggering. The cosmic spirit captured on the closing cut — and each of these sublime recordings — permanently occupies a state of transcendence. As each song-cycle unfolds, the shimmering worlds of Dylan’s Rolling Thunder Revue or the Stones’ ‘Exile On Main St.’ fades into focus. ‘Way Out Weather’ is dotted with captivating moments from the ways of a true master.

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‘Way Out Weather’ is available now on Paradise Of Bachelors.

http://steve-gunn.com/
http://paradiseofbachelors.com/

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Caoimhín Ó Raghallaigh & Dan Trueman ‘Laghdú’ (Irishmusic.net)

2014 has been a remarkable year for Ireland-based composer Caoimhín Ó Raghallaigh. Firstly, January saw the release of contemporary quintet The Gloaming’s stunning self-titled debut album via Real World Records. Subsequent concerts would be performed across the globe (including Sydney’s Opera House) to mass celebration and widespread critical acclaim on both sides of the Atlantic. As well as touring with his other band, the Irish/Swedish quartet This Is How We Fly, across both Ireland and Europe, Ó Raghallaigh also performed a series of truly special solo concerts (entitled “In My Mind”, a solo fiddle and film show) across the length of Ireland for the month of October. Despite the hectic touring schedules, Ó Raghallaigh also released two stunning works: the solo album ‘Music For An Elliptical Orbit’ (via Dublin-based label Diatribe Records) and the mesmerizing ‘Laghdú’, a collaboration with U.S. fiddle player Dan Trueman.

‘Laghdú’ (an Irish word which translates as: a lessening, a decrease, a reduction) is a hugely significant work for many reasons. Most notably, it was Trueman who first introduced Ó Raghallaigh to his beloved ten-string hardanger d’amore fiddle (custom-made in Norway by Salve Håkedal) during September 2000. It is the simple dialogue and deep connection which exists between the pair (both performing identical instruments and identical baroque bows) which is a pure joy to savor. Two traditional pieces are performed by the pair (‘The Jack of Diamonds Three’ and ‘Fead an Iolair’) while the remainder of ‘Laghdú’ comprises original compositions written and arranged by Trueman and Ó Raghallaigh. The dynamic range is nothing short of staggering — from the near-silent to the nigh-on orchestral, at times exploding joyously from their hybrid 10-string fiddles, at times barely there — holding time still in the process. The resultant eleven heavenly tracks occupy both the realms populated by the most ancient forms of traditional music as well as those thrillingly in-between spaces carved out and inhabited in modern neoclassical composition of the most utterly enchanting and truly sacred kind.

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‘Laghdú’ is available now via Irishmusic.net HERE.

http://www.caoimhinoraghallaigh.com/
http://www.manyarrowsmusic.com/
http://irishmusic.net/

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Christina Vantzou ‘N°2’ (Kranky)

‘N°2’ is the second solo album by the Brussels-based artist and Kansas-born composer Christina Vantzou and, like its predecessor, ‘N°1’, was issued by the formidable Chicago-based independent label Kranky. Written over a period of four years, ‘N°2’ finds Vantzou reunited with Minna Choi — of the San Francisco-based Magik*Magik Orchestra — and regular contributor Adam Wiltzie (A Winged Victory For The Sullen, Stars Of The Lid) who Vantzou effectively began her musical career with when the duo made music as The Dead Texan (Vantzou was keyboardist as well as film-maker, illustrator and animator). A wide sonic palette is used throughout, from the gentle ripple-flow of piano notes on the album’s penultimate track, ‘Vostok’ and prominence of harp on the achingly beautiful ‘VHS’ to the rapturous crescendo of strings of ‘Going Backwards To Recover What Was Left Behind’ where an emotion-filled sadness engulfs every pore. Elsewhere, slowly shifting layers of brass and woodwind drifts majestically in ‘Brain Fog’ before brooding strings come to the fore, resulting in a cathartic release of energy. Layers of angelic voices appear and disappear throughout, forming not only a monumental symphonic movement but also an other-worldly choral work.

Indeed, the most appropriate analogy to imagine while attempting to surmise the sheer magic of ‘N°2’ is the act of making those frame-by-frame animations Vantzou has so patiently and laboriously created in the past: while they are meticulously worked on, over such a long and painfully slow process, the results yielded are both stunningly imperfect and remarkably pure. It’s a characteristic which runs through all of Vantzou’s breathtaking art (from her drawings and sleeve artwork to her dreamlike slow motion film works) which truly heightens all that surrounds you.

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‘N°2’ is available now on Kranky.

http://www.christinavantzou.com/
http://www.kranky.net/

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Birds Of Passage ‘This Kindly Slumber’ (Denovali)

New Zealand-based composer Alicia Merz has been quietly amassing a soul-stirring collection of albums under her Birds Of Passage moniker over the past five years or so. ‘This Kindly Slumber’ — released by German independent label Denovali Records — is Merz’s third solo full-length album and features Merz’s spellbinding lyricism (at times recalling Mark Linkous or Daniel Johnston in their open honesty and raw emotion). Like Grouper’s Liz Harris, Birds Of Passage’s power emanates from minimal musical arrangements (vocal takes are often first takes) where a sense of both purity and intimacy is conjured by Merz throughout, providing for an unforgettable listening experience. As we delve into the innermost caverns of ‘This Kindly Slumber’s mysterious and complex maze of real and imagined landscapes; the sensation one feels is akin to the finest of Murakami’s fictional prose or the most ancient of children’s nursery rhymes and folklore tales. Interestingly, Merz holds a deep fascination with nursery rhymes since a very young age and ‘Ladybird, Ladybird’ is combined with ‘And All Of Your Dreams’ to powerful effect. Elsewhere, the deeply personal ‘Yesterday’s Stains’ contains an openness and honesty rare in music.

‘This Kindly Slumber’ is a life-affirming journey which finds Merz navigating the darkest of nights while facing her gravest of fears. On the other side of this kindly slumber we realize that even the darkest of shadows lie closest to light: through the sacred and secret songs of Birds Of Passage we learn that in every moment of hopelessness exists hope. For that, we can be eternally grateful.

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‘This Kindly Slumber’ is available now on Denovali.

http://birdsofpassagemusic.com/
http://www.denovali.com/

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Marissa Nadler ‘July’ (Bella Union/Sacred Bones)

‘July’ (which documents Nadler’s life events from one July to the next) is the ever-prolific U.S. songwriter’s latest opus of longing and hope. The album can be read and interpreted autobiographically but, crucially, like all of Nadler’s songbook, songs are masterfully left open to the listener’s interpretation. Interestingly, Randall Dunn (Earth, Sunn O))), is at the helm of production duties on ‘July’; providing a first-time collaboration for the pair. Accompanying Nadler is Eyvind Kang (strings), Steve Moore (synths) and Phil Wandscher (Jesse Sykes, Whiskeytown) on lead guitar. However, as is always the case with such a truly unique songwriter, it is Nadler’s breathtaking voice and impeccable lyricism which quietly dominate proceedings. Like such kindred spirits as Missourri songwriter Angel Olsen or British folk legends Vashti Bunyan and Bridget St. John, Nadler’s music captivates the mind (and heart) of each and every listener fortunate enough to cross paths with her. From album opener ‘Drive’ to the forlorn closing piano ballad ‘Nothing In my Heart’, immediacy and directness prevails throughout ‘July’. Transcendental moments abound, from the poetic lyricism to ‘We Are Coming Back’ (“Still I live many miles away / So I can miss you a little everyday”) to the brooding tour-de-force ‘Dead City Emily’ which combines both gut-wrenching honesty (“I was coming apart those days”) and heart-stopping beauty as, ultimately, the prevailing sense of hope outlasts all struggle and inner-conflict (“Oh I saw the light today / Opened up the door”).

As the lyrics of ‘Drive’ return to my mind: “Still remember all the words to every song you ever heard”; I feel those very words reflect the empowering feeling in which the cherished songbook of Marissa Nadler ceaselessly awakens (and continues to re-awaken) in me.

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‘July’ is available now on Bella Union (EU) and Sacred Bones (USA).

http://www.marissanadler.com/

http://bellaunion.com/
http://www.sacredbonesrecords.com/

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Reissues of the year:

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The Moles ‘Flashbacks And Dream Sequences: The Story Of The Moles’ (Fire)

Looking back on 2014, the first sounds which come to my mind is Australian band The Moles and the magical first-time discovery of their music in the form of their first retrospective ‘Flashbacks And Dream Sequences: The Story Of The Moles’, released via Fire Records. The double-album is packed to the brim with impeccably constructed pop songs, heart-breaking love songs and just about every shade and nuance in between (spanning punk, shoe gaze and indie rock). ‘Flashbacks and Dream Sequences: The Story of The Moles’ contains the band’s two studio albums; debut full-length ‘Untune The Sky’ (originally released in 1991) and follow-up ‘Instinct’ (the latter was heralded by The Sea And Cake’s Archer Prewitt as being “as close to perfection as any Beatles or Beach Boys record and it stands on its own as a classic in my book”) and a whole plethora of b-sides and rarities, culled from various EP’s and singles. Led by Richard Davies (who later would join Eric Mathews and form Cardinal), The Moles were formed in Sydney in the late 80’s and unleashed a resolutely unique songbook which would prove hugely influential on a whole host of diverse bands (The Flaming Lips, The Sea And Cake). The original band line-up consisted of Glenn Fredericks, Richard Davies, Warren Armstrong and Carl Zadra, friends from law school who were fans of Flying Nun, The Fall and The Go Betweens, drawing their name from a reference to ‘Wind In The Willows’ and spy novels (John Le Carré and Graham Greene).

What’s most apparent on this defining release is that the truly unique vision (in both Davies’s songwriting and The Moles’ music) deserves to be known — and embraced — the world over. “It’s always an adventure. There’s an element of a well that never runs dry,” Richard Davies told us earlier in the year, on discussing The Moles. It’s a sentiment which could not be more true for The Moles and their utterly visionary and absolutely essential music.

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‘Flashbacks And Dream Sequences: The Story Of The Moles’ is available now on Fire Records.

[Richard Davies Facebook Page]
http://www.firerecords.com/

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Lewis ‘L’Amour’ (Light In The Attic)

When Light In The Attic Records reissued the much-fabled, timeless cult-classic ‘L’Amour’ by Lewis (originally released in 1983 on the unknown label R.A.W.) not much was known about the whereabouts of its esteemed author, not least the actual identity of “Lewis”, for that matter. The sense of mystery only deepened when consulting the album’s liner notes: Was Lewis still alive? What has he been doing in the intervening years? What other musical treasures are lying around only awaiting to be discovered written by this elusive figure? Crucially, without even beginning to dig any further into biographical detail (or absence thereof), it’s clear that, on listening to ‘L’Amour’, Lewis created nothing short of a bona-fide masterpiece. Heartbreak is immediately evident from Lewis’s lonesome, brooding, ghostly baritone from album opener ‘Things Just Happen That Way’ (“I took her hand / She took my heart”) while a sparse set-up of whispered voice together with only piano, synthesizer (or an occasional plucked guitar) remains throughout — recalling Waits or Springsteen at their most hushed and introspective best — creating a defining album of heartbreak — and love — in the process.

And what about the biographical gaps? Indeed Lewis was, as it turned out, a pseudonym. Lewis’s true identity has proved to be that of Randall Wulff (as confirmed by famed L.A. photographer Ed Colver, who had shot the über-cool cover-shoot for L’Amour’s album sleeve). However, for the purposes of the Light In The Attic liner notes, the mystery remained unsolved (after a long two-and-a-half year search). That is, until August 2014, when the real-life Randall Wulff was found (read Light In The Attic’s amazing article HERE) — alive and well and still quietly making his own masterful music — in what must have been the year’s most enchanting and heart-warming of stories.

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L’Amour’ is available now on Light In The Attic.

http://lightintheattic.net/artists/691-lewis
http://lightintheattic.net/

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One Of You ‘One Of You’ (Little Axe)

One of the most stunning re-issues of recent times came this year via the Portland, Oregon-based label Little Axe Records (a label founded when Mississippi Records split into two labels in 2011), with it’s issuing of a self-titled LP by One Of You. The author’s name and identity remains anonymous but we do know this startling collection was made by a Czech immigrant to Canada who set up her own Scarab label in the early ‘80’s, releasing music under the pseudonyms One of You and The Triffids. Having fled her homeland in the late sixties to emigrate to Canada for hopes of a better future and life there, One Of You’s music would be imbued with a prevailing sense of loss, regret and much hardships. The music itself, written in both Czech and English, and arranged in typically minimal fashion (synthesizer, guitar, organ) touches upon outsider folk, folk-psych, Eastern European folk and minimalist music traditions. One Of You’s deeply affecting, timeless music yields moments of powerful intensity while a whole spectrum of emotions, images and textures are unleashed beautifully upon the listener all at once.

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‘One Of You’ is available now on Little Axe.

http://littleaxerecords.bandcamp.com/album/one-of-you-s-t
http://www.littleaxerecords.com/

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K. Leimer ‘A Period of Review (Original Recordings: 1975-1983)’ (RVNG Intl)

RVNG Intl. is a Brooklyn-based music institution that operates on few but heavily fortified principles, dealing with forward-reaching artists that ceaselessly push the sonic envelope. From visionary luminaries such as Julia Holter, Holly Herndon, Blondes, Maxmillion Dunbar et al, RVNG Intl. has consistently delivered some of the most adventurous, enthralling and breathtaking records this past decade. One of the label’s cornerstones has become the awe-inspiring archival series which has featured (and celebrated) musical pioneers Craig Leon, Ariel Kalma and K. Leimer. The third installment of the archival series — released earlier this year — was Seattle-based sound sculptor, K. Leimer and a vast treasure of ambient voyages entitled ‘A Period of Review (Original Recordings: 1975-1983)’. I simply cannot think of a more special musical document to have graced my life this past year than Kerry Leimer’s resolutely unique and deeply human canon of pioneering ambient music.

A glimpse into Leimer’s creative process is touched upon on the compilation’s liner notes: “The loop provided an instant structure – a sort of fatalism – the participation of the tape machine in shaping and extending the music was a key to setting self-deterministic systems in motion and held clear relationship to my interests in fine art.”

‘A Period of Review (Original Recordings: 1975-1983)’ offers the perfect entry point (across an exhaustive double-album and thirty spellbinding tracks) into the beautifully enthralling and ever-revolving world inhabited by the special soul of Mr. Kerry 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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Fikret Kızılok ‘Anadolu’yum’ (Pharaway Sounds)

Although technically issued at the tail end of 2013, legendary Turkish folk singer Fikret Kızılok (1947-2001)’s exquisite collection of singles from 1971-75 (compiled into a 14-track set entitled ‘Anadolu’yum’ and issued by Pharaway Sounds, a subsidiary label of Light In The Attic Records) proved — like the many equally formidable Pharaway Sounds releases — a true haven for music lovers. Merging genres and fuzing styles almost at will (as evidenced by the immense musical arrangements drawing from such diverse sources as Western influences, India and his own native Turkey), Kızılok’s diverse appetite and deep appreciation for music shines through in every one of this magical compilation’s fourteen tracks. From the heavenly and beautifully forlorn Anatolian folk masterpiece ‘Anadolu’yum (1972&1975)’ to the irresistible sitar-aided ‘Gün Ola Devran Döne’ (1971), Kızılok’s musical path would be dictated by numerous external obstacles of the day (namely, the political unrest of his native Turkey throughout the 1970’s) while a pressure to conform to audience’s expectations (Kızılok was a pop phenomenon in Turkey, regularly charting instant hits) proved immense in the intervening years, while he would become most often associated with his best known love ballads from his considerable 1970’s output.

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‘Anadolu’yum’  is available now on Pharaway Sounds.

http://lightintheattic.net/

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All designs and artwork by Craig Carry: http://craigcarry.net

With very special thanks to all the wonderful musicians and labels for the true gift of their music. And a special thank you to all our readers for reading during the year.

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Web: http://fracturedair.com

Facebook: https://www.facebook.com/FracturedAir
Twitter: https://twitter.com/Fractured_Air
Mixcloud: http://www.mixcloud.com/Fractured_Air/

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Time Has Told Me: The Moles

with 4 comments

Interview with Richard Davies.

Who knows what can be included in the palette? It’s always an adventure. The idea of The Moles — anonymous, spies, double agents, elusive, ambiguous — always makes a Moles record an excuse for imagination first.”

—Richard Davies

Words: Mark Carry

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This year marked the release of legendary Australian band The Moles’ first comprehensive retrospective collection, courtesy of independent label, Fire Records. ‘Flashbacks and Dream Sequences: The Story of The Moles’ contains the band’s two studio albums; debut full-length ‘Untune The Sky’ and follow-up ‘Instinct’ (the latter was heralded by The Sea And Cake’s Archer Prewitt as being “as close to perfection as any Beatles or Beach Boys record and it stands on its own as a classic in my book”) and a whole plethora of b-sides and rarities, culled from various EP’s and singles.

Led by Richard Davies (who later would join Eric Mathews and form Cardinal), The Moles were formed in Sydney in the late 80’s and unleashed a resolutely unique sound of orchestral pop, psych, garage and indie gems that inspired many bands (such as The Flaming Lips) and wowed audiences worldwide. The original band line-up consisted of Glenn Fredericks, Richard Davies, Warren Armstrong and Carl Zadra, friends from law school who were fans of Flying Nun, The Fall and The Go Betweens, drawing their name from a reference to ‘Wind In The Willows’ and spy novels (John Le Carré and Graham Greene).

A series of EP’s were released at the turn of the 90’s – ‘Untune The Sky’ and ‘Tendrils and Paracetamol’ – that would eventually see the release of the band’s first full-length release in 1992 (also titled ‘Untune The Sky’). The Moles re-located to New York, where they released a pair of seven inch singles (packaged together as the Double single EP). A move to London followed that lasted a year (that would include recording a John Peel session and many great gigs) and in 1994, the original line-up of The Moles split.

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‘Flashbacks and Dream Sequences: The Story of The Moles’ is out now on Fire Records.

http://www.firerecords.com/

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Interview with Richard Davies

It’s wonderful to ask you some questions about the music of The Moles, Richard. Please take me back to the late 80’s in Sydney where The Moles began? I would love for you to discuss the music scene happening in Sydney during this time. Also, can you recount your memories of forming the band The Moles, and who played with you in the original line-up?

Richard Davies: The Sydney music scene was a no-goer. It was crap. Lots of crappin’ covers bands doing songs not worth covering. Not organic in any sense. Really, a drag. There were a couple of good bands, one called Crow, and The Moles. (We weren’t “good” but we were good). Not much going on at all. Had to get out of there to do anything of interest!

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One of the great hallmarks of The Moles is how richly diverse and utterly compelling the songs are; belonging very much to the here and now, packed with such a freshly innovative sound. I would love to gain an insight into the creative process and particularly, your song-writing please? I feel that you must have a myriad of ideas and inspiration ceaselessly surrounding you, and writing non-stop. Would that be the case?

RD: I must say your questions are particularly celtic. It seems I can’t help writing. Also I like impact in music, intensity. Not intensity that comes from relentless distorted guitars and screamed vocals. That kind of intensity is reductionist – although done with wit, like say, The Stooges, it has artistic merit as well. So, I am restless, and I like surprises.

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Growing up and indeed during the formative years of your musical-upbringing, what records made a biggest impact upon you, Richard? Were you heavily immersed in music from a young age? I’d love to know what instruments you first learned to play? 

RD: I played nothing properly until I was about 20. I twanged on a terrible Korean guitar, the brand was called ‘Kapok’, which is kind of like the sound it made, when I was 15. Just one string, aping Beatles basslines and Johnny Cash lead guitar. Upon reflection that was more sophisticated than I imagined.

My Dad, Welsh old-school chain smoking WWII veteran, would come in and say “Put down that bloody twanger”.

When he wasn’t telling me to leave the bloody twanger alone (and I mean guitar by that) we would both listen to Simon and Garfunkel, The Bee Gees, and even The Beatles at a stretch. He would drink scotch on New Year’s Eve and shed tears to Handel’s Messiah, though he was an atheist. I never had the chance to ask him to explain that discrepancy. I inherited a couple of records from my sister Anne, Sam n Dave, The Exciters’ “Tell Him”, and one early crackling Parlophone vinyl single by The Beatles.

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The debut full-length album, ‘Untune The Sky’ was released in 1992, after a string of EPs. The album opener — and my first taste of witnessing the indie-pop brilliance of The Moles — ‘Bury Me Happy’ is a scintillating and heartfelt slice of indie-bliss. Do you have any particular memories of writing this song, and indeed recording the track in the studio? It’s such a perfect opening to a remarkable record. 

RD: When I was in my early twenties I was a slow learner on the social front. A little behind the pace. Now I realize my shyness was likely due to my deafness, which is quite profound. My friends would go to the student union bar and chug beers and try to pull girls. I would smile a lot and sip Coca Colas. I think that environment and my quiet reaction to it was what that song was about.

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What was the recording process like for ‘Untune The Sky’. What was the set-up like? I imagine a lot of the tracks were recorded in one or two takes, as there is such a raw and immediate feel to these takes. 

RD: Most recorded very quickly. We were bootstapping it. That was the only way to make a record, nothing deluxe for The Moles and their ilk. In one studio, the engineer was very upset that we wanted to try a thing called an “over-dub”.

Since there was no window from the control room to the recording “area” I should have appreciated his concern. There were some rats in the studio however.

He complained that a band should “come in, do a cover, and get out”, and not screw around or waste his time with stuff like writing their own songs or recording overdubs.

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Is there a song you’re most proud of from ‘Untune The Sky’, Richard?

RD: ‘What’s The New Mary Jane’ is, as has been described, the crown jewel of the recorded output of The Moles, although I’m partial to ‘Accidental Saint’ and a few of the others too. I like ‘Wires’ and ‘Curdle’, they get the job done.

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I love the aesthetic and flow to the record, and how the songs are formed from such a vast sonic canvas.  Also, I love the hidden details embedded in the songs, for example ‘Curdle’ which contains some audio-recording/found sounds during the intro. How important was this aspect to the music-making process for you? 

RD: Who knows what can be included in the palette? It’s always an adventure. The idea of The Moles — anonymous, spies, double agents, elusive, ambiguous — always makes a Moles record an excuse for imagination first.

I love the concept. The name and the idea is a license. There’s an element of a well that never runs dry.

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The instrumentation, which is really daring and adventurous is another reason why the record sounds so ahead of its time and resolutely unique. Were there particular techniques you employed during the recording sessions?  I love the addition of brass on tracks like ‘Surf’s Up’ and the worlds of sound that are so effortlessly unleashed. Was the song-title an ode to The Beach Boys’ album? (One of my favourite moments of ‘Untune The Sky’ arrives on the chorus refrain of ‘Surf’s Up’ where you sing “Let the waves roll over me”). 

RD: ‘Surf’s Up’ was about a recurring dream I had for many years of taking a nap at the part of the beach where the waves roll onto the sand, and the water is warm, and it is very calming and soothing. It always helped me wake up refreshed and enthusiastic.

The Moles are music-and-ideas-first by necessity. They never did and never will depend on business strategies, tactics, log-rolling, posturing, name-calling, back biting, and petty fighting, which seems to happen to even the most aesthetically “pure” bands the longer they are around.

The only thing The Moles possess now that they never did before is connections — to powerful and imperious musical neptunes who cast their mighty tridents upon certain objects, and in certain directions, and lo, I’m answering these questions for you.

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I must say the album centrepiece for me, must be ‘Lonely Hearts Get What They Deserve’. The backing harmonies and piano/organ sounds are breathtakingly beautiful. There is a vivid sense of loneliness etched across the sprawling canvas of sound. Also, your vocal delivery is immense, charged with raw emotion. I would love for you to talk me through the construction of this song and your memories of writing/recording it? 

RD: That was the first song I wrote that was ‘complicated’. It was complicated musically, and emotionally. It was the second or third song I tackled. It came out of a troubled period with a girlfriend in my early twenties, the usual thing that people get mixed up in with relationships, finding out what is involved in being in love beyond the first few weeks. I had it written in a little brown notepad along with ‘Bury Me Happy’ and ‘Accidental Saint’, which came out of the same period. It was an intense time, more happy than is reflected in the song.

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A short time after the release of ‘Untune The Sky’, the group re-located to New York, where you released a couple of seven-inch singles. Following this, you moved to London and gathered critical acclaim from all corners. Was there a feeling of dismay, following the release of the debut record and despite receiving unanimous praise, commercial sales wouldn’t follow? Did The Moles tour a lot during your stint in the UK? What were your impressions of the music world at this time? 

RD: The Moles, at the time we were praised, were working in factories, a candle factory in London on the 11.00 PM-7AM shift. I was stealing tomatoes off street stalls to add to the pasta for dinner.

A bloke from Spiritualized’s record label said “Mate, we shall set you up, I’ll shall give you 70,000 pounds.” Well, OK…

“Come down to the office and we’ll get you sorted, yeah?” Well, alright.

“See that bloke over there? That’s Brett Anderson mate…” Well, OK…

I was already 28 and knew, despite my sensitive artistic nature, that the joke’s on all of us. No-one gets off free. I’m no more of an angel than anybody else, no less of a shyster.

I have received kindly compliments and salutations from all kinds of artists, writers, filmmakers, musicians, and poets. I also remember, back in those days, standing at a bus-stop in Stoke Newington in the rain. A filthy crotchety old bastard, the kind that only London can produce, was standing next to me and he thought I was too close to him with my umbrella, and he said “Yer, you’re no good at all, you’ll ‘ave a coom-down mate.” That’s the first and only thing he said to me.

It’s all part of the fun.

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This year marked a special retrospective release of The Moles, entitled ‘Flashbacks And Dream Sequences’ containing a treasure chest of bonus material from various EPs and singles. It must be a lovely feeling for you to see this musical document of The Moles been given the light of day? Looking back on the music of The Moles today, does your perspective of these songs change for you, in any way? 

RD: When I play Moles songs, I am putting on the cowl. There is a particular attitude. It fits me better than most other incarnations. It is the most natural habitat.

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Following The Moles, you of course went on to create utterly timeless sonic creations, alongside Eric Matthews in Cardinal; a collaborative project with Robert Pollard (Guided By Voices) under the name of Cosmos, and your own outstanding solo records. Do you feel there is a common thread inter-woven in all these works? With the virtue of hindsight, in what way do you think the chapter of The Moles led its way into the musical projects that followed? 

RD: At this stage The Moles feel like where I am most comfortable.

 


 

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Flashbacks and Dream Sequences: The Story of The Moles’ is out now on Fire Records.

http://www.firerecords.com/

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Written by markcarry

September 9, 2014 at 10:21 am

Mixtape: ‘Do Not Wait For Better Times’ [A Fractured Air Mix]

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‘Do Not Wait For Better Times’ [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/do-not-wait-for-better-times-a-fractured-air-mix/

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Tracklisting:

01. The Peep Show ‘Do Not Wait For Better Times’ [Tenth Planet]
02. The Moles ‘Lonely Hearts Get What They Deserve’ [Fire]
03. Craig Leon ‘Nommo’ [RVNG Intl]
04. K. Leimer ‘Lonely Boy’ [RVNG Intl]
05. Sharon Van Etten ‘Break Me’ [Jagjaguwar]
06. Emerald Web ‘Dreamspun’ [Stargate]
07. Mary Lattimore & Jeff Zeigler ‘The White Balloon’ [Thrill Jockey]
08. Amen Dunes ‘Lilac In Hand’ [Sacred Bones]
09. The Necks ‘The Boys III’ [‘The Boys’ OST / Fish Of Milk]
10. Erik K Skodvin ‘Shining, Burning’ [Sonic Pieces]
11. Hildur Guðnadóttir ‘Heyr Himnasmiður’ [Touch]
12. Ela Stiles ‘Anything’ [Fire / Bedroom Suck]
13. Caoimhín Ó Raghallaigh ‘what what what’ [Diatribe]
14. Margaret Barry ‘She Moved Through the Fair’ (Long Version) [Rounder]
15. Robbie Basho ‘Leaf in the Wind’ [Gnome Life]

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

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

Mixcloud / Facebook / Twitter

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Mixtape: I Think I Knew [A Fractured Air Mix]

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I Think I Knew [A Fractured Air Mix]

A selection of some of our favourite music released in the first six months of 2014.

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-think-i-knew-a-fractured-air-mix/

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Tracklisting:

01. William Tyler ‘Whole New Dude’ (Excerpt) [Merge]
02. John Murry ‘Glass Slipper’ [Ruby Works]
03. The War On Drugs ‘In Reverse’ [Secretly Canadian]
04. Marissa Nadler ‘Firecrackers’ [Bella Union / Sacred Bones]
05. The Delines ‘The Oil Rigs At Night’ [El Decor / Cortez]
06. Cate Le Bon feat. Perfume Genius ‘I Think I Knew’ [Wichita / Turnstile]
07. The Moles ‘This Is A Happy Garden’ [Fire]
08. Greg Gives Peter Space ‘Electric Eel River’ [Erased Tapes]
09. Hauschka ‘Thames Town’ [City Slang / Temporary Residence]
10. Roll The Dice ‘In Deference’ [Leaf]
11. Trans Am ‘I’ll Never’ [Thrill Jockey]
12. Jamie xx ‘Girl’ [Young Turks]
13. Caribou ‘Can’t Do Without You’ [City Slang / Merge]
14. Hydras Dream ‘The End’ [Denovali]
15. Yann Tiersen ‘Meteorites’ [Mute]

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

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

Mixcloud / Soundcloud

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Ten Mile Stereo

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Real Estate ‘Atlas’ (Domino)
New Jersey’s beloved Real Estate returned this year with ‘Atlas’, the follow-up to their sophomore classic, ‘Days’, the album which propelled the band to worldwide recognition. Recorded with producer Tom Schick (Rufus Wainwright, Mavis Staples, Low) at Wilco’s Chicago studio, The Loft, ‘Atlas’ features core trio Martin Courtney (guitar/vocals), Matt Mondanile (guitar) and Alex Bleeker (bass/vocals) joined by new full-time members Jackson Pollis (drums) and Matt Kallman (keyboards). The ten tracks cut from ‘Atlas’ confirms Real Estate as one of the most compelling and intriguing bands making music today.

‘Atlas’ is available now on Domino.

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John Matthias ‘Geisterfahrer’ (Village Green)
The award-winning musician, singer and composer John Matthias has previously released three albums to date: ‘Smalltown, Shining’ (2001) on the Accidental label, ‘Stories from the Watercooler’ (2008) via the Ninja Tune / Counter label and ‘Cortical Songs’ with Nick Ryan (2008), a work for string orchestra and solo violin which includes remixes by Thom Yorke, Simon Tong, Jem Finer, amongst others, on the Nonclassical record label. ‘Geisterfahrer’, available on the highly impressive London-based label Village Green, finds Matthias melding folk and classical music traditions to soul-stirring effect.

‘Geisterfahrer’ is available now on Village Green.

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Dean Wareham ‘Dean Wareham’ (Sonic Cathedral)
Legendary former Galaxie 500/Luna frontman Dean Wareham’s self-titled debut solo album is a breathtaking affair — produced by My Morning Jacket’s Jim James — featuring such irresistible gems as the delightful ‘My Eyes Are Blue’ and the nocturnal, introspective album closer, ‘Happy & Free’, Dean Wareham channels a highly intricate and hugely affecting lyrical masterclass across an impeccably realized, timeless record. Wareham’s self-titled debut full-length is effectively Wareham’s follow-up to last year’s wonderful EP-length ‘Emancipated Hearts’, also issued by London-based independent label Sonic Cathedral.

Dean Wareham’s self-titled debut solo album is out now via Sonic Cathedral.

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Linda Perhacs ‘The Soul Of All Natural Things’ (Asthmatic Kitty)
Over four decades on since Linda Perhacs released her masterful debut — 1970’s beloved ‘Parallelograms’ — comes it’s highly sought-after follow-up, ‘The Soul Of All Natural Things’. It’s perhaps fitting Perhacs (who has worked as a dental hygienist) has found a new level of appreciation (and amassed a huge number of fans) over the intervening years, much aided by being championed by the a new generation of musicians, with the likes of Devendra Banhardt and Four Tet’s Kieran Hebden vocal admirers, while the contemporary Los Angeles music scene — including Julia Holter and Nite Jewel — have similarly ensured the music of Perhacs has not been resigned to the realms of myth. ‘The Soul Of All Natural Things’ is a celebration of life’s perseverance and the soul’s undying spirit, and showcases Perhacs’ distinctive and poetic lyricism which has only grown in beauty over the last forty years.

‘The Soul Of All Natural Things’ is available now on Asthmatic Kitty.

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Alias ‘Indiiggo EP’ (Anticon)
In celebration of his forthcoming Anticon LP, ‘Pitch Black Prism’, Brendon Whitney (AKA legendary US beatmaker Alias) releases ‘Indiiggo’, an EP of all new productions. The first taste of music since 2011’s ‘Fever Dream’ (an album inspired by Whitney becoming a father), ‘Indiiggo’ comprises densely layered electronic beats and a highly nuanced sound which makes the wait for forthcoming ‘Pitch Black Prism’ all the less painful.

‘Indiiggo EP’ is available now via Anticon and can be downloaded for free HERE.

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Vermont ‘Vermont’ (Kompakt)
Vermont comprise the duo Marcus Worgull (Innervisions) and Danilo Plessow (Motor City Drum Ensemble) who release their debut collaborative work together via the forever dependable Cologne-based electronic label Kompakt. As Kompakt’s bio reads: “With Vermont, Marcus  Worgull and Danilo Plessow submit a noticeably mature work that seems to come from a well attuned production duo, effectively concealing the fact that this is their first collaborative effort…and a decidedly informal one at that: these cuts were not conceived with specific aesthetic goals in mind, but emerged from a series of loose jam sessions disclosing the trespassing spirit of the sonic adventurer.”

‘Vermont’ is available now on Kompakt.

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The Moles ‘Flashbacks And Dream Sequences’ (Fire)
One of the most amazing discoveries this year thus far has come from Australian underground legends The Moles. Led by Richard Davies, the band only released a pair of full-length albums, ‘Untune The Sky’ and ‘Instinct’, while Davies would later collaborate with Eric Matthews for Cardinal’s self-titled debut album, an orchestral pop classic from 1994. ‘Flashbacks and Dream Sequences: The Story of the Moles’ is the first comprehensive collection of The Moles’ entire recorded output and will be issued by British record label Fire Records. A special Record Store Day compilation release by Fire Records will be issued during April, featuring tracks by both Cardinal and The Moles (as well as the likes of Spacemen 3, ESG and The Lemonheads).

‘Flashbacks And Dream Sequences’ is available on 21 April via Fire Records.

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Tinariwen ‘Emmaar’ (Wedge)
‘Emmaar’ (which translates as “the heat on the breeze”) is the seventh international album by Malinese sensations Tinariwen. The album’s complexities and themes can be best expressed by the band’s website: “If Tinariwen pays homage to old times, it’s because their present is in flux. Turmoil has embroiled their region once again, as governments and powers rise and fall, almost with the regularity of the seasons. Mali, it seems, is the forgotten, or ignored, brother of the Arab Spring, but on ‘Emmaar’, Tinariwen tells about the trials of their people and tells the world of the plight of their families. Though the band’s success has brought them around the world, they rarely can go home, facing threats of incarceration and death by thugs in power. But like creatures of the desert, they adapt and carry on, after all, Tinariwen is a band born into chaos.”

‘Emmaar’ is available now on Wedge in Europe and via Anti- in USA.

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Moon Zero ‘Loss’ (Denovali)
Moon Zero is the alias for London-based composer Tim Garratt who releases his latest EP ‘Loss’, his follow-up to debut EP ‘Tombs’, this April via Berlin’s forever-inspiring label Denovali Records (Hydras Dream, Birds of Passage, Greg Haines). The inception of ‘Loss’ stems from Garratt’s time spent touring ‘Tombs’, his subsequent live shows would inform the basis for Moon Zero’s future recording. Loss was written & recorded last Autumn at St. George in The East Church in London, and features a wide range of instrumentation such ad drawbar organ, bass synth, vocals, fx processors and guitar pedals. As Garratt has stated: “I wanted to create a soundscape that had a propulsion to it, a sense of rhythm but without drums. I like sounds which are dynamic in terms of both volume and frequency range, they need to have a life to them and breathe.”

‘Loss’ is available on 25 April via Denovali Records.

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Damon Albarn ‘Everyday Robots’ (XL)
Blur frontman Damon Albarn releases his highly anticipated solo LP ‘Everyday Robots’ on 28 April. Thus far, videos for both its title-track and ‘Lonely Press Play’ have been unveiled, the latter shot by Albarn on a tablet in Tokyo, London, Dallas, Utah, Colchester, Iceland and Devon. The album is set to feature guest appearances from Brian Eno and Natasha Khan of Bat For Lashes. On his ‘Everyday Robots’ announcement last May, Albarn stated he would work with producer and XL Records label boss Richard Russell (who Albarn has previously collaborated with on the making of soul legend Bobby Womack’s ‘The Bravest Man in the Universe’ XL LP), when he described the collaborative process as follows: “Richard does the rhythmic side and I do everything else. It’s sort of folk soul.”

‘Everyday Robots’ will be released on April 28. Full details HERE.

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Written by admin

March 24, 2014 at 12:11 pm