15 November 2015

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Albums and Singles

Hugely sought-after techno classic  - the precedent to Butterfly Effect, originally released on Berlin’s legendary Chain Reaction and out-of-print for 15 years, now newly remastered from vinyl by Matt Colton at Alchemy. A massive personal favourite of Demdike Stare's, Shinichi Atobe's Ship-Scope was Chain Reaction's penultimate release in 2001 and, with the benefit of hindsight, also one of the legendary label's most sublime offerings.

Phase fwd to 2015 and DDS rightly put it back into circulation with this necessary reissue arriving in the wake of Atobe's much loved archival salvage, Butterfly Effect, which caused quite a ripple in late 2014.

Notable not only for its unusually sweeter, dreamier ambient tone - especially when compared with the rest of the CR#'s - but also for its happily lost-at-sea feel, connoting a deeply romantic and almost shoegazy late '90s / into-the-'00s deep techno aesthetic that would essentially become washed away with the advent and normalisation of mnml techno's pristine production values.

-via Boomkat

15 November 2015

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Albums and Singles

James Saunders spent close to a decade working on his #[unassigned] series. Comprising 175 variations of modular compositions for solo instruments, the project was designed to emphasize unique instrumentation, techniques, and spaces. Repetition was anathema and multiplicity prized—once performed, each arrangement would then be set aside in favor of the next configuration, never to be played again. The UK-based multinational ensemble Apartment House were the first to try an #[unassigned] composition in 2000 and they executed several different versions afterward, until the project was concluded in 2009. With assigned #15, they return to Saunders’s work, now presented as re-performable composition scored for seven musicians who play, among other things, viola, chamber organ, dictaphone, and shortwave radio.

Another Timbre

There’s a trace of contradiction in the idea of a once-performed composition. Composing usually entails repetition, regardless of whether variables are introduced to the score. It’s an activity that, either accidentally or purposefully, preserves a number of materials and actions for future use. Even something like John Cage’s Variations II, which requires its interpreter to arrange and measure a series of 11 transparent sheets in almost any way at all, can be repeated, in the sense that different configurations can be saved and attempted again after the first go.

Saunders went a step further with his #[unassigned] works and filed each one away after just a single rendition. What survived between the reshufflings were the constituent parts, the instructions that guided the flute player to sustain a series of long low tones in succession, or that asked the cellist to rub his or her strings without producing a pitch. The series both privileged and minimized the roles of time and structure in music. In one way, #[unassigned] persisted as an asterism of instructions, in another it survived because those instructions were intermittently organized so that a group could recognize and perform them in relationship to one another.

With assigned #15, Saunders exhumed an old #[unassigned] variant and recorded it with Apartment House at St. Paul’s Hall in the West Yorkshire town of Huddersfield. In an interview on the Another Timbre website, James says that he returned to this material because he wanted "explore the beauty of sound again," versus focusing on the processes that produce such sound. assigned #15, then, is music frozen into a particular shape.

It’s a decent image for what the album sounds like: a dense, opaque block of ice shaking under internal pressures. A constant machine-like drone rumbles throughout the piece, its source not easy to determine. It could come from the chamber organ, but it might be the product of the dictaphones and shortwave radio too. Similarly, some of the tapping, rhythmic sounds could be traced back to string instruments or they could as easily belong to the percussion section.

Bowed metal, quickly struck piano keys, scratch tones, rattling chains, and piercing train-whistle whines also find a place in the music. They move in and around each other with such ease that it’s hard to find where one section ends and the next begins, and that contributes to the performance’s heaviness. All of the softer sounds, like the fragile string and flute interaction in the album’s second half, congeal with the rougher-edged, glass-on-sandpaper textures, forming a tight grid of noise that never loosens, even as the work winds down and the chamber organ hums in relative isolation. The piece changes over time, but it never seems to move forward. Instead, it spins in place, or spins and simultaneously revolves. Different facets reflect off its surface as it moves through different positions, but its insides are always hidden. The music may be frozen in its course now, but the sound travels forward anyway, with or without the composer’s dispensation.

samples:

• assigned #15 [1]
• assigned #15 [2]
• assigned #15 [3]

08 November 2015

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Albums and Singles

Matmos announces new album Ultimate Care II, sound-sourced entirely from a washing machine

Harvesting the machine’s chugs,  drones,  splashes, and clanks, Matmos has crafted a work of sly humor and dazzling artistry

Since their formation 20 years ago, driven by their abiding belief in the musical potential of sound, the duo Matmos (Drew Daniel and M.C. Schmidt) have created a wide range of imaginative recordings and live performances. In addition to releasing a string of acclaimed electronic music albums, they have played the uterus and reproductive tract of a cow at the San Francisco Art Institute, canisters of helium at Radio City Music Hall while opening for Bjork, and John Cage’s personal collection of conch shells at Carnegie Hall. Their forthcoming album Ultimate Care II perfectly reveals their artistry; they made it entirely out of the sounds generated by a Whirlpool Ultimate Care II model washing machine in the basement of their home in Baltimore, Maryland.

Harvesting the machine’s rich vocabulary of rhythmic chugs, spin cycle drones, rinse cycle splashes, metallic clanks and electronic beeps, Matmos have crafted a work of sly humor in which one of the quintessential sounds of everyday life is transformed into an unlikely source for a surprisingly listenable suite of music. Dan Deacon, Max Eilbacher and Sam Haberman of Horse Lords, Jason Willett (Half Japanese), and Duncan Moore (Needle Gun) all took part, either playing the machine like a drum, processing its audio, or sending MIDI data to the duo’s samplers. The result is a suite of rhythmic, melodic and drone-based compositions that morph dramatically, but remain fanatically centered upon their single, original sound source. Ultimate Care II swirls with perverse paradox: it is at once funny and sad, bouncy and creepy, liquid and mechanical.

Ultimate Care II will be released on February 19, 2016.

More information will eventually be found here.

08 November 2015

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Albums and Singles

I’m going to do something I never do – I’m going to write this press release in the first person.

This is a very special release and it’s been a long time coming. I met Arash Moori when we both attended the same Art School in Birmingham in 2000. We quickly realized that we both liked music – I think it was a shared love of To Rococo Rot or Metamatics that sparked the first conversation – and within weeks of meeting each other we were DJing fairly regularly. We kicked off a number of nights in the city, some successful (Default, which birthed the Type label), some not (Left Handers Disco, which confounded punters who didn’t understand how well Kelis mixed with snd). Arash was also kind enough to teach me some production tricks as I was putting together my first album.

Over the years, Arash pieced together a deeply personal palette of electrical sounds from strobe lights, fluorescent lights, radios, plasma balls and electronic devices. He exploited the peculiarities of these devices to create harsher and more aggressive sounds. This gave way to a series of live performances using minimal hardware and self-built devices to structure, shape and trigger sounds rather than resorting to samples. The computer was an editing device, not a compositional one.

Heterodyne is the culmination of these experiments. The resulting tracks are far more than academic exercises: Arash has taken years of theory and woven together a spiky collection of coarse techno and disorienting drone. The raw electrical textures and rhythms he spent years collecting are framed by analogue synth pads and oscillators which add contrast and levity. It’s a demanding listen, certainly, but a rewarding one.

This is an album I’ve seen develop for longer than any other and it’s a pleasure to unleash it on the world. Our own collaboration LP (touted for release on City Centre Offices in the early 00s) will never see the light of day, but Heterodyne may be one of the most personal records I’ve released on Type to date. Enjoy.

-John Twells, October 2015.

More information can be found here.

08 November 2015

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Albums and Singles

Italian artist Andrea Taeggi’s latest full-length is a rich exploration of tense, rhythmic minimalism. Unlike his work with Koenraad Ecker as Lumisokea and his material under the Gondwana moniker, Mama Matrix Most Mysterious showcases Taeggi’s interest in finding strength in simplicity. Taeggi was able to limit himself by working on old modular synthesizer systems – the Buchla and the Serge to be exact. “I needed to adapt to them,” he admits. “I don’t actually master them, which isn’t necessarily a disadvantage.”

This playfulness buoys Mama Matrix Most Mysterious throughout, distancing it from the litany of self-involved modular synth LPs filling the shelves right now. Rather, the Serge and Buchla systems allowed the Italian producer to realize his rhythmic and timbric visions. Taeggi filters decades of beat-driven electronic music through these machines to come up with a record of chattering bass-heavy experiments that sound like little else. You’d struggle to dance to it, but Taeggi’s sound is so physical that you can almost feel the electricity running through the circuits. And isn’t that exactly what electronic music should be about?

More information can be found here.

08 November 2015

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Albums and Singles

Christopher Bissonnette:

"This new series of works reflects an evolution of my adeptness with modular synthesis. As with my previous release Essays in Idleness, Pitch, Paper & Foil was constructed from a range of synthesis and compositional techniques. The goal with this album was to form a collection that exhibits more restraint than previous works. Modular synthesis can be an unruly medium and taming it in order to produce delicate or subtle tones can be challenging. As with Essays, I have allowed the artifacts of the process to find their way into the finished product. Tape noise, distortion and by-products of the random sequencing method all contribute to the character of the final recordings."

Kranky:

Continuing the explorations of the analog synthesizer first revealed on his last album, Bissonnette's deft touch in recording and mixing is a joy to experience. While most contemporary analog synth slingers find themselves unable to not overload the sound-field with the endless array of possibilities the instrument provides, Bissonnette provides a master class in economy and control.

More information can be found here.

08 November 2015

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Albums and Singles

Since his self-titled LP debuted on Peak Oil in 2012, M. Geddes Gengras has amassed a following for his distinctive take on synthesis, with releases on Umor Rex, Leaving, and Opal Tapes. New Lines is his anticipated homecoming to Peak Oil.

“New Lines” sees Gengras delve deeper into the copper plated, arpeggio spewing nooks and crannies of his prodigious modular synthesizers, dragging them across vast expanses of infinity oscillations via stops in Detroit techno’s neo-romantic strings (“Bushi”) and Manchester’s early 90s grime-soaked IDM clatter (“Cris Rose”).

When absorbed in its entirety, New Lines is an expansive step forward for Gengras’ futurist sonic explorations.

More information can be found here.

08 November 2015

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Albums and Singles

In 2015, Room40 is proud to announce the release of a series of works from American guitarist and composer Norman Westberg.

Best known for his work with the seminal outfit SWANS, Westberg’s output beyond that group is sprawling and restless. His name recurs and ripples through many interconnected micro-histories surrounding New York City’s music and art scenes. From appearances in film works associated with the Cinema Of Transgression, through to his participation in bands such as The Heroine Sheiks and Five Dollar Priest, Westberg’s name is woven deeply into the fabric of New York over the past three decades.

His debut release with Room40 is 13. Originally recorded in 2013, Thirteen has previously only been available in an ultra-limited hand made edition of just 75 copies.

The Room40 edition of 13 has been completely re-mastered and edited and is available for the first time digitally, as well as in an elegant physical edition.

A note from Lawrence English:

“Norman Westberg’s guitar playing with SWANS has influenced a generation of musicians across genres. I can personally attest to how his particular approaches to that instrument, in creating both harmony and brute force, have challenged and ultimately influenced my own sonic preoccupations.

What Norman has created with his solo works is an echoing universe of deep texture and harmonic intensity. His solo compositions generate an affecting quality that drives the listener towards reductive transcendence.

His guitar, as singular source, becomes transformed through a web of outboard processes. He transforms vibrating strings completely, taking singular gesture and reshapes it through webs of delay, reverb and other treatments. To me, these works echo many of the concerns of American minimalism and sprawl towards the work of bands such as Stars Of The Lid. Norman has created a very dense and powerful statement of intent with these recordings and I couldn’t be more pleased to have some small part in helping to share them.”

More information can be found here.

03 November 2015

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Albums and Singles

In association with Yesmissolga and Elica Editions, Robot Records is very pleased to announce a vinyl release of the long-fabled Stapleton/Heemann duo collaboration. This historic live recording took place on 21 November, 2009 at the Ancient Synagogue in Ivrea, Italy. Apart from working together over many years on various Current 93, Nurse With Wound, and the H.N.A.S. Melchior sessions, this live document captures a rare moment where two old friends meet completely independent of thematic material, engaged in a near telepathic mysterious one-to-one improvisation, where textural worlds merge, hot, on the spot. While one may discover an intriguing intersection between each of their respective solo works, the real magic of this duo encounter evokes something strangely unfamiliar and all together new. With this generous edit of the highly acclaimed concert, Painting With Priests exhibits a rare session of both artists' eccentric talents in a palette of colors and mystery across a highly detailed musical canvas. Front cover features new artwork by Stapleton, with back cover featuring a previously unpublished drawing by Heemann.

LP version available here: www.robotrecords.com

01 November 2015

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Albums and Singles

Swans continue their remastered reissues series on Young God Records/Mute with the release of White Light from the Mouth of Infinity and Love of Life on Dec. 4 2015.

The two albums will be initially released as a limited vinyl box set, presented in the original restored artwork, which includes paintings by Deryk Thomas. The 2500 micron black lined box - with original logo in silver foil block in black paper - will also include 2 rare posters, a CD of outtakes and contemporaneous live recordings and a download code for both albums.

In addition, White Light from the Mouth of Infinity and Love of Life will be available as a 3xCD set (which will include the bonus disc), individual vinyl albums and digitally.

White Light from the Mouth of Infinity, Swans’ seventh studio album originally released in 1991, is considered the starting point for the second section of Swans' inimitable history. Described as "…the glistening, glimmering sounds of the pensive countryside" by Stereogum, this will be the first time White Light from the Mouth of Infinity has been available on vinyl since its original release on Young God Records in 1991. The vinyl issue will include the track "Blind," not included in the original release.

Love of Life, the band’s eighth studio album, followed soon after in 1992. According to Allmusic’s Ned Ragget, "Love of Life continues the astounding creative roll Swans found themselves on … yet another Swans masterpiece." The vinyl version of this album has also been unavailable since its original release.

More information can be found here.