- "For recording and mixing their eleventh studio album DEN, the Düsseldorf- and Berlin-based band Kreidler chose to work at the LowSwing studio, renowned for its round sonic character. The band has said that they were initially considering making a record without any drums. Fortunately, they did not follow through with that idea. Thomas Klein's playing is an essential component of the Kreidler sound. All in all, in addition to the musical subtlety and elegant dialogical interaction which is celebrated on DEN, it can be stated with enthusiasm that the band has not taken a single step back from its rhythmic force."
- Bureau B
"Early in 1994 KREIDLER was founded by Thomas Klein, Andreas Reihse, Detlef Weinrich and Stefan Schneider who was to leave KREIDLER some years later in order to form To Rococo Rot; his place on bass-guitar was taken by Alexander Paulick (of Coloma and Narrow Bridges) until 2001, and again from 2008 on.
KREIDLER's album Riva was released 1994 on a small Parisian label. This was to be the first of 21 releases to date . . . . ."
- Much more @ Soundcloud and http://www.ikreidler.de/kr1.html
Intriguing...Wonder if Jonah has weighed in on this. From AAJ review:
But what makes the album different than any that have come before is that, with the exception of one track, this is a collection of cover songs that cover a broad range of sources, from Jimmy Webb to Imogen Heap; from Freddie Mercury and Queen to traditional folk music; and from maverick Japanese composer Nobukazu Takemura to renegade free jazz progenitor Ornette Coleman. It should come as no surprise to anyone familiar with Hollenbeck's unshackled proclivities.
It's a great record, but then, I think all of Hollenbeck's large ensemble records are great. He's probably my favorite large ensemble composer/arranger right now. I saw this material performed in DC last month.
Brand new . . . Edward Ka-Spel once again expanding his musical territory: Edward Ka-Spel - One Last Pose Before the Ruin - "The ghosts of decades past are blocking the doors but you carry the future in the palm of your left hand. It promises a gentle landing, a transformation in soft colours. Hope. Eternity. Now, for the sake of posterity, one last pose before the ruin.....please." Beta-Lactam Ring Records
Christian Fennesz - 17.02.12 Live at the Marino Marini Museum, Florence, Italy
- "Christian Fennesz, Austria
Sound of silent movie masterpiece Berlin. Symphony of a Great City by Walter Ruttman (1927)
Second date, Friday, Feb. 17 at the Marini Marini Museum in Florence, with the Austrian Fennesz, without a doubt one of the most ironic and complex writers of the new generation. His sound is considered the most contemporary visual electronics, almost pictorial. He collaborated with different artists and musicians, like David Sylvian, Mike Patton and Mark Linkous of Sparklehouse. With a past as a punk guitarist, Fennesz combines the sound of his acid and distorted electric guitar with its glitches and noise generated from his laptop, consistently elegant and powerful, with an obsessive attention to detail and perspective, and more significantly on the border between experimentation electrical and winks. For International Feel he presents the sound of the masterpiece of silent movie Berlin. Symphony of a Great City the first film that has as protagonist a city, shot in 1927 by Walter Ruttmann. Fennesz will accompany the narration of a full day in Berlin, from dawn to midnight, for discovering life, work and leisure of the citizens. A film that is the controversial document of an era: the Roaring Twenties and the Central European culture to their full glory, a far cry from the economic disaster that would soon change the world. A pioneering and also decadent vision, which offers a starting point for a reflection on our times."
- Marino Marini Museum
Oboy - just learned about this one today. Out now or coming soon. If you have any appreciation of jazz vibes at all, you should give a listen to Jason Adasciewicz, he is really something new.
Nicole Mitchell's Ice Crystal project explores water and glass chemistry of flute and vibes, by combining the creative flutist with young luminary Jason Adasiewicz on vibraphone. Ice Crystal's sound reminds us of the legendary collaboration between flutist Eric Dolphy and vibraphonist Bobby Hutcherson, but with a Chicago twist. Expression of yet another color in Mitchell's kaleidoscope of approaches, Aquarius is blues-inflected serenity, playfully swinging to the ethereal. Mitchell may have migrated to California, but her Chicago story continues, as she teams up with veteran improvisers Joshua Abrams (bass), Frank Rosaly (drums) and Jason Adasiewicz to take free swing to the nth degree.
Participants: Mariam Wallentin: voice, Nadine Byrne: voice, organ, Emil Svanängen: voice, Nicolai Dunger: voice, Sofia Jernberg: voice
Niklas Barnö: trumpet, Magnus Broo: trumpet, Thomas Hallonsten: trumpet, organ, Mats Äleklint: trombone, Per Åke Holmlander: tuba
Anna Högberg: alto sax, Mats Gustafsson: tenor sax, Jonas Kullhammar: bass saxophone, Elin Larsson: tenor sax, Fredrik Ljungkvist: baritone sax, clarinet, Christer Bothén: bass clarinet, guimbri
Andreas Söderström: guitar, Reine Fiske: guitar, Sören Runolf: guitar, David Stackenäs: guitar
Sten Sandell: synth, harmonium, piano, Joachim Nordwall: electronics
Johan Berthling: electric bass, Joel Grip: bass, Joe Williamson: bass, Dan Berglund: bass Andreas Werliin: drums, Thomas Mera Gartz: drums, Johan Holmegard: drums, Raymond Strid: drums
- "Fire! is where Mats Gustafsson (The Thing), Johan Berthling (Tape) and drummer Andreas Werliin (Wildbirds & Peacedrums) go to stretch their instrumental skills and collaborate with prestigious guests like Jim O’Rourke and Oren Ambarchi.
Fire! Orchestra takes the project to the next level: a sonic behemoth comprising 28 members from Swedish jazz, improv and avant rock that should be unmanageable, but turns out to possess the elegance and lucidity of the righteous free jazz big bands of the past. Charlie Haden’s Liberation Orchestra. Carla Bley’s “Escalator Over the Hill”. Centipede. Sun Ra’s “Space Is The Place”. Chris McGregor’s Brotherhood Of Breath. Freddie Hubbard & Ilhan Mimaroglu’s “Sing Me A Song Of Songmy”. All these classic landmarks come to mind as you listen to their monumental “Exit!”.
“Exit!” was recorded in front of an over enthusiastic audience in January 2012 at the headquarters of Fylkingen, the legendary Stockholm avant garde music centre. But before you go thinking this is an impenetrable free jazz meltdown, listen again. “Exit!” follows in these mighty footprints, but it’s also an odyssey that takes its own route, with post-rock/krautrock diversions along the way. There is a way in to “Exit!”, and the way out is clearly signposted. Fire! is all about burning up tradition and blazing new paths and fresh approaches in improvised music – approaches informed equally by garage punk, electroacoustics and the noise of heavy industry.
On Clapping Music / Bandcamp:
- New album from Domotic (aka. Stephane Laporte and one half of Egyptology)
- "The man behind Domotic is Stephane Laporte. He blends electronic and analog keyboards on Pro-tools in such a way that he overcomes the digital medium. His music is therefore a play on contrasts and hides an intense and subtle work on audio design and programming. Behind the melodies lie a constant struggle between analog and digital."
- http://www.last.fm/music/Domotic
Due out March 1, F. S. Blumm & Nils Frahm, Music for Wobbling/Music Versus Gravity
A duo can be the most magical of things, and it seems like the meeting of minds between Morr Music veteran F.S.Blumm and contemporary classical darling Nils Frahm was a match made in heaven. The ease in which they perform together is the first noticeable thing on 'Music for wobbling Music versus gravity' – there is a discernable weightlessness to their sound as they circle around each other, moving and meeting, touching with their musical fingertips. This is lighthearted music, certainly, but Frahm's effortless melancholy pulls it back to the real world before there is any danger of things getting twee.
The album is a selection of overdubbed and edited improvisations, and every sound was recorded with microphones giving an indescribable air to the music that is a product of the space in the room. Breaths, fingers on keys and strings, chairs and feet – everything can be heard plainly and this becomes a defining part of the compositions themselves. It almost becomes an experience akin to listening to an aging folk recording, but instead of a group of locals, this is merely two friends creating their own homespun instrumentals. The perfect record for the winter months, 'Music for wobbling Music versus gravity' is a generous gift from two of Germany's most hard working talents, and it is guaranteed to warm even the coldest of hearts.
Or if you want something really wintry, new release by Aidan Baker, due out March 25 but streamable already at bandcamp. Titled Aneira.
Aneira (Welsh for 'snow') is one long, slowly changing piece created using only a 12-string acoustic guitar, manipulated and played with different tools, as a sound source in order to make sounds resembling that of ice moving or breaking and of wind or snowstorms. Aidan Baker also wrote a poem about Aneira, that will be inside the digipack.
(One would have been hard pressed to identify it as acoustic guitar without being told).
- "Based on the work of Wilhelm Reich and his encounters with UFOs, this influential album has been remastered and reworked from the original recordings, with new bonus tracks and new remixed versions. Originally released in 1997 on CD by Tegal Records (Ltd x 1000) and LP by Artware Productions, Germany (Ltd x 1000), all of the original subject matter has been taken to a new level with this digital recording from the analogue sources. This is the third and final warning to the sleeping beings of the earth. This album influenced many other electronic artists and has been hailed as one of the first recordings to be labelled dark ambient. Cold Spring Records - http://www.schlosstegal.net
The Endless Change Of Colour exists somewhere between our future and the mistakes and accidents weve made along the way. It is a celebration of both the system and the unexpected. Marsen Jules latest work is a generative music piece upon a single phrase of an old jazz record split into three audio streams. These streams are transformed into loops which break the original instrumentation down into sound resembling pure waves, harmonics and overtones.These loops play to different time signatures to create phasing patterns that continuously move and dance around each other in a constantly-evolving lattice of sound. Despite it being based on a very strict and limited set of rules the music could, in theory, be endless and ever-changing.
Here, the listeners discovery is a quiet and engaged one. Ripples and pulses set within a field of color that sometimes feels like water, sometimes like air and sometimes like glass. Electronic tones hum with warmth and the softness of slumber. The patterns are there, familiar to our modern ears, but theyre not always what they seem. The wandering mind steers this one along more than the generative grid on which it was based and The Endless Change Of Colour becomes exactly as its title suggests.
Released 19 February 2013
Nels Cline - guitar
Ellery Eskelin - tenor saxophone
Rob Sudduth - tenor saxophone
Ben Goldberg - contra-alto clarinet, Bb clarinet
Ches Smith - drums
- " I have been developing my abilities on the Eb contra alto clarinet (a weird member of the family, pitched below the bass clarinet) for some years, mostly in my work with the group Tin Hat. Somehow it occurred to me to have a band where I was the bass player, on this instrument.
Of course the group would need two of my tenor saxophone heroes (Ellery Eskelin and Rob Sudduth), a guitar genius (and now certifiable rock star) (Nels Cline), and the deeply tumultuous drummer Ches Smith.
So after finishing up the premier of my latest giant project, Orphic Machine, in March of 2012, I wrote a bunch of songs and assembled this crew at the Bunker studio in Williamsburg one day in May. We learned the tunes, rehearsed, and recorded them all in just a few hours, and the results are extraordinary -- raw, dire, and to the point."
- Bob Goldberg.
Un Festin Sagital - Sic Deus Dilexit Mundum (So God Loved The World)
- "Rock in opposition to Rock In Opposition. Un Festin Sagital's formulae are Sagittarian with surprises. The dense, electro-motorik opening statement that SEEMS like it will be thematic, is eventually reneged upon by tiny sounds orbiting disembodied voices. A congregation of folk-psych and noise follows on in the tradition of anti-tradition, pronating on the side of a rather thrilling, ghostly top tenor performing expert vocal routines on the uneven bars. Upon the arrival the album's truest progressive gnostication, it becomes clear that, while beautiful with a little bit of a Crimson tide running through it, UFS prefers its musical limbs remain dislocated. This is especially evidenced by the final reverberating drone of floating on the far side of the galaxy at journey's end. Along with copper and unmanufactured ferro-alloy materials, UFS are one of Chile's finest exports."
>Conejo Verde (The Green Rabbit): The more stronger six gates of a lysergic apocalypse (most important electric guitars)
>Aztharoth: More low whispers of life, the earth is murmuring their formless passion (electric bass)
>Cinturon Negro (The Black Tide): Lucid madness of a tribal insanity (tenor sax)
>Aranos: Violins from the crazier feast in human history, more strings for the puppet-god (double bass, viola, trumpet and violin), little touches of quiet wildness (percussions, included a gong)
>Algotra: The insolent chaos of non rational life-sail (dissonant and sutile violins)
>Pintocabezas: Analogue perversion of paradise and the lust of Buddha (analogue noises and sitar)
>Fakuta: The nice daughter of god, is eve (sweet surrealistic voices)
>Tara: Voices from a bestial dream
>Thanatoloop (Michel Leroy Valdez): Sonic alchemy, sacred conception, digital screams of a horny saint, the acoustic distortion of six sacred gates, the piano of the hottest bar in hell, the voice of doG, the drums of the rite, some low vibrations of the underground, and disintegrated poetry (sound production, concept-composition, electric and acoustic guitar, violin, bass, keyboards, electronics, voices, percussion, lyrics and acoustic piano). - Chris McBeth @ Beta-Lactam Ring Records 2012 Bandcamp - http://templosagital.blogspot.dk/
ETA: - And the bonus Album accompanying the physical release: Un Festin Sagital - La Muerte Solar Line up: Michel Leroy (aka. Thanatoloop): Voice, Clean and Distorted Acoustic Guitar, Percussion, Theremin, Radiowaves, Electro/acoustic Noises, Mix and Production Conejo Verde: Electric Guitar and Voices Fernando Pinto: Electric Bass and Voices Ricardo Pérez: Drums, Percussion and Voices Gonzalo Díaz: Percussion and Voice Recorded by Paulo Rojas (live section) and Michel Leroy (studio section) Live section recorded live on SCD, Stgo, Chile, on summer 2008 Studio section recorded on Templo Sagital and FXS studio between 2007 and 2009.
The title is a tribute to surrealist poet, Gérard de Cortanze.
- One more fantastic 2012 BLRR release, just in @ Emusic
Also on Bandcamp: Troum - Grote Mandrenke - Grote Mandrenke is definitely a Troum with a view. The title refers to a massive Atlantic storm that killed upwards of 25,000 Europeans in the mid 14th century (about a decade after the plague showed up. HOORAY!). Troum, of course, bathe their devastating subject in swelling waves of melodic drone and sea-walls of sound. Appropriately, Grote Mandrenke is cinematic and melancholy; anthemic and brooding, and distinctly shoegaze, but in a way that you can look up, and you still see shoes. And bodies, floating in a foamy miasma of silted water and fish guts. In fact, this should be on a label called 5AD, because this is one awesomer. Buzzsaw ambience and measured percussive breaths comprise a perfect soundtrack for nature's dominion over man." Beta-Lactam Ring Records 2012
- "TROUM is a duo located in Bremen, Germany, established in early 1997. The two members "GlitH" and "Baraka[H]" were active before in the influental ambient industrial group MAËROR TRI (which existed from 1988 to 1996). TROUM is the old german word for "DREAM". The dream seen as a central manifestation of the unconscious symbolizes the aim of TROUM to lead the listener into a hypnotizing dream-state of mind, a pre-verbal and primal consciousness sphere. TROUM uses music as the direct path to the Unconscious, pointing to the archaic "essence" of the humans inner psyche. TROUM tries to create music that works like a direct transformation of unconscious matter.
TROUM's creations are influenced by post-industrial, minimal and drone-music. Both members use guitar, bass, voice, accordion, balalaika, flute, mouth-organ, melodica, gong, field recordings, pre-recorded-tapes and a diversity of sound-objects to build a kind of multi-layered and highly atmospheric dreaming-muzak. Their sound could be described as "dark atmospheric ambient industrial", "transcendental noise" or just "Tiefenmusik". TROUM doesn't work with synths, samplers or computer-soundsources, the sounds are created "by hand" to reach a broader sensibility. TROUM uses a spiral as their logo, expressing the trance-inducing potential of the music and the wish to reach inner, deeper spheres of the mind with it. Music as a door to unknown & alien dimensions. Music as an expression of the mystery of existence itself." http://www.troum.com
Just added to Emusic as Erik Skodvin releases:
Miasmah / Soundcloud: B/B/S/ - Brick Mask - "Berlin might be known as the home of modernist minimal techno, but beneath the teutonic shuffle of Berghain and the Panorama Bar there's something darker happening in the continental artistic hotbed. Here is where Miasmah boss Erik Skodvin (Svarte Greiner) came in contact with experimental don Andrea Belfi and drone metal stalwart Aidan Baker (of Nadja), and before long they were holed up in a studio, distilling their influences into one dense cloud of instrumental bleakness.
With Skodvin manning the guitar, Belfi on percussion and Baker on bass and guitar, we have the makings of a traditional band, but the result is anything but. 'Brick Mask' is the sound of each artist pushing each other past their regular comfort zones; Skodvin's signature bowed guitar sounds perfectly matched against Baker's rolling basses and Belfi's unpredictable, collapsing percussion. The best comparison might be Supersilent, but where the Norwegian super group hinge their sound on the fringes of jazz, 'B/B/S/' is rooted in metal, and Baker's doom expertise is occasionally allowed to reveal itself as his distorted guitar and bass tones erupt over the wrangled clatter of his two companions. Dark and gleefully theatrical, 'Brick Mask' is an album that revels in its influences and never gets bogged down in the past, and in that never ceases to be captivating."
And:
B/B/S/ - Half Moon - "Half Moon is the 7" accompaniment to the full lenght Brick Mask album. Both released 22nd of february on Miasmah."
Savvas Ysatis & Taylor Deupree - Origin - " Origin is the latest album from long-time collaborators Savvas Ysatis and Taylor Deupree. Released as a 12” LP Origin sounds quite unlike anything they’ve done in the past after nearly 20 years of releases together. Cryptic, noisy and warm, Origin searches for details in the layers." - 12k - Soundcloud
- "Savvas Ysatis, a native of Athens Greece, began an early fascination with the synthesizer in the late 70’s. Through the strong influences of Kraftwerk and Jean-Michel Jarre, Ysatis was inspired to pursue his own electronic identity. At age 15 he left Greece, and moved to New York City where he acquired his first equipment and began exploring their possibilities, while at the same time started to get involved with various electronic bands.
His own first release was under the name Omicron with the “Symbolis” EP (Instinct NYC, 1993), an underground trance-house record. In late 1993 he met Taylor Deupree of Prototype 909, forming a long-time collaboration that would eventually produce eight LP’s for the pair between 1994 and 1998 under the project names Seti, Futique (trip-hop electronica), Arc (Detroit style Techno), Skai (tech-House), and Savvas Ysatis & Taylor Deupree. Ysatis would record two additional solo albums for Instinct and two more for KK Records, Belgium between the years 1994 and 1997.
In 1997, Ysatis returned to Athens with the intention on contributing to the development of the local electronic scene. He formed Sonar, an experimental tech-house label, with radio DJ Giannis Papaioannou, and joined singer/lyricist Elias Aslanoglou, in what eventually would turn into the project Allou: the fusion of Ysatis’ sound with Greek vocals. Recently signed by V2, the project‘s appeal holds much in store for those fans yet unaware of Ysatis’ excellent talent." - last.fm
Two new 1 track albums from the Line imprint: William Basinski & Richard Chartier - Aurora Liminalis - "Aurora Liminalis is a rich and nebulous soundtrack, the aural equivalent of undulating trails of light. Disintegrating spatial shifts incorporating the two artists’ distinct sonic palettes mesh to create a slow, deep ebb and flow… like some melting spectral transmission. The work has a distinct complex presence, difficult to resist its pull."
Simon Whetham - El Parque Está Situado En Su Propia Casa - "El Parque Está Situado En Su Propia Casa (the park is situated in it’s own house) is the result of a residency I participated in through March 2012 at Campos de Gutierrez, Medellin, Colombia where all 8 artists-in-residence exhibited works in one of the city’s more central art space, Plazarte."
- "My piece began as a performance on the exhibition’s opening night, using objects and recordings from Campos de Gutierrez. During the performance, and using transducers, I played sounds through an old guitar from Campos de Gutierrez and an oil drum found at Plazarte, both suspended from the ceiling. For the remainder of the month the piece continued to be exhibited in this way, playing subtle sounds captured during the performance and around the residency house through the objects.
The piece presented here is a composition which represents a combination of the two." – Simon Whetham, October 2012. - http://www.lineimprint.com/
Maybe Rise opens up a concrete sound space of two contradicting elements, firstly a harmonious but nondescript utopian location, secondly a highly symbolic and hyperrealist place of human action, derived from material recorded in the coastal rainforest, table lands and outback of Tropical North Queensland, Australia, in July 2011. The piece was commissioned by Radio Sonores, composed in Spring 2012 while constantly traveling and premiered on May 2, 2012, during the Guimar
Benjamin Dauer is a Washington DC musician who previously has worked/works with the projects Offsets (with Dominic Dixon of talkingmakesnosense) and The Dwindlers (with poet Michelle Seaman) as well as a solo artist. His releases have come on labels such as Feedback Loop and Distance Recordings as well as being a regular contributor to the Disquiet "Junto" project. He is also an active remixer with remixes done for artists like talkingmakesnosense, Specta Ciera and micromelancolie` (as featured on the Twice Removed Editions "Gravity Boat Editions" release). This release comes in a folded 310 gsm card sleeve in a clear wallet in a numbered edition of 50 copies and is a collection of Ambience laced with Field Recordings that are lush and reveal depth.
Benjamin Dauer's explorations in The Pace of Which will take you to many places with transformative and lush fabrics of soundhis work blurs the edges of the recognizable with richness beyond expected musical genre norms. I'm looking forward to the further results of his experimentation and play. Wajobu.com
This exceeds my highest expectations: Autechre - Exai
"This is Autechre operating at their highest level"
- BBC "With Exai they've created a work that reveals renewed work in their own identity and which should act as a compass for years to come"
- WIRE "Exai more consistently evokes the club than anything Autechre has done in the last decade"
- XLR8R "Exai could be Autechre's White Album"
- Sunday Times Culture Warp Records
"After a solid decade of releases that pushed their experimental tendencies (and their fanbase) to all possible extremes, Rob Booth and Sean Brown deliver a sharp return to their classic form with one of their most balanced yet eclectic albums since Chiastic Slide and LP5. Their love and emphasis on texture remains as powerful as ever, balancing crystalline synthetics with a naturalist fluidity that helps even the most dense and claustrophobic pieces breathe. What's most satisfying here is their returned embrace of knotted rhythmic complexity. While not as nostalgic or straightforward in its kineticism as 2010's excellent Move of Ten, the duo tips its cap to everything from house and industrial techno to more hip-hop oriented fare like footwork and electro; the results are powerful, yet like any Autechre album, it delivers in both quality AND quantity, stretching things across two lengthy CDs, never offering a direct line from points A to B. Personally, Exai feels as though it's meant to be ingested in small doses rather than in marathon sessions, but however one chooses to enjoy and process the record, one thing is for certain: the duo remains as enigmatic and in control as ever, crafting yet another impressive feast that caters to both the complex beatheads in their fanbase as well as those who enjoy the more intellectual ambient texture compositions in their catalogue, while simultaneously throwing them curveballs and surprises at the same time. That they remain so captivating and challenging after over twenty years of recording is to be commended. Even if you've been thrown off by some of their past few albums, this one is not to be missed."
- Other Music Newsletter.
- "One way for a long-running electronic-music act to ensure their listeners stay freaked out and confounded two emotional qualities that have been Autechres specialties since their dawning IDM days is to release a double-album that clocks in at a little over two hours. Another is to make a hectic opening track that falls apart so drastically that listeners might wonder if their playback systems have entered their death throes. So it goes about halfway through Fleure, the first of 17 pointedly eclectic tracks on Autechres superabundant Exai. The album begins its dissertation on variety with the English duos patented mix of abstract haphazardness and meticulous organization, and they expand outward exponentially from there. The 10-minute irlite (Get 0) opens with a grotty mix of refracted beats and noise before drifting into a spell of (comparatively) sumptuous groove science, almost like an Autechre version of house music. Melodies snake and swerve through almost every track otherwise, taking their time to develop and resolve, when they resolve at all. And the beats well, they bristle, bray, lean back, zoom forward, break up, and beam out toward the outer edges of the cosmos, where music so serious and austere might provide a suitable soundtrack."
- Emusic.
Nels Cline - acoustic guitar
Elliott Sharp - acoustic guitar - "Talk about a meeting of the minds, this is an inspired pairing of two of the experimental and avant-garde scene's greatest guitarists. Cline may be best known these days as the lead guitarist of Wilco, but he has a long and illuminating pedigree in the world of experimental music, while Sharp (best known for his long-running band Carbon) has been a fixture in NYC's no-wave / avant scene for over thirty years. Most of this five-track album is actually a lost album that was recorded in 1999 and intended for release for one label, then another, that both tanked before they could release the album; fortunately for the rest of us, PE head banana Bryan Day somehow heard the recording and offered to put it out, and here it is, with the original four tracks followed by a live recording at The Stone in 2007. Anybody who's heard either man play probably has an inkling of the experimental sound of this album, but even those in the know will probably be thrown for a loop by their decision to play strictly acoustic guitars. As a result, the studio tracks sound very much like John Fahey in one of his more out-there moments; amazing neo-folk guitar runs do battle with warped chords, strange progressions, and unorthodox sounds. Even more amazing is how tuneful it is in spite of its abject weirdness; they have a highly unusual approach to the concept of guitar duets, to be sure, but they express their ideas with considerable style and a surprising level of melodicism. The live track that rounds out the album is in a similar vein, albeit a tad more avant than the preceding material and a bit closer to the quixotic sound familiar to PE listeners; it's choppy and less melodic, turning less on melodic content and more on perverse, staggered rhythms, but still every bit as mind-bending as the rest of the album. Definitely an eye-opener." Public Eyesore Records
New from Origin records and cheap at eMu - AAJ review here. I didn't know about Branker's history - he works as a composer/director, rather than a player, after a stroke some years ago. (He is also Director of Jazz Studies at Princeton.)
Making a special point of getting this one after reading review by fecking dipshit gun-nut blogger who liked the music, but had political objections to Branker's writing a "Ballad for Trayvon Martin"
Branker has quietly been assembling a seriously impressive set of recorded music since focusing on composing and arranging. His talent lies in his ability to take complex music and offer it as simple expressions. What this means is that youll get very engaging jazz that is very easy to connect to and just enjoy listening for the sake of listening. On his newest, he has a solid line-up of Ralph Bowen on tenor sax, Andy Hunter on trombone, Elis Asher on trumpet, Jim Ridl: piano & Rhodes and Donald Edwards on drums. Some moments where he plays with some contemporary R&B funk, but mostly just solid modern jazz, both fiery and emotive.
- "Sometimes what you don't do is as important as what you do. Brandt Brauer Frick have made name for themselves producing techno without the technology, using classical instruments in preference to synthesizers and computers. It's a negative that's had positive results. On the Berlin trios third album Miami', it's again what Brandt Brauer Frick are not doing that is once again important: they aren't slavishly following the formula of its two predecessors. "Mr Machine (2011's sophomore album) the record made with the (ten piece classical) ensemble, especially was very planned and strict," they say. "We wanted to be more spontaneous this time. We wanted to do something very different, more dark and more rough. We wanted to write songs rather than tracks that slowly evolve."
Another major difference is the appearance of a number of guest vocalists who had a big influence on the direction the album took. There are appearances from Jamie Lidell, Om'mas Keith (Grammy nominated producer of Frank Ocean's Channel Orange', Kanye West, Jay Z), Gudrun Gut (Einsturzende Neubauten and German punk band Malaria!), Erika Janunger and Russian DJ and producer Nina Kraviz.
The new album is accompanied by a new stripped down live show - no ensemble this time, just the three protagonists and a specially built stage set. The visuals will be created by Brandt Brauer Frick affiliated production company Park Bennett, who make all of the bands videos and also came up with the overall visual concept for the album inspired by Fluxus art of the '60s." !K7 Records Broken Pieces feat. Jamie Lidell & Plastic Like Your Mother feat. Om'Mas Keith @ Soundcloud
Comments
krill.minima has a new album out, Sekundenschlaf[/url]. Also on emusic.
Sounding nice so far. Very mellow, rather mesmerising, as one might guess from the title (German for a sudden brief attack of drowsiness).
A great new digital only (so far) from The Long Dead Sevens, following their 2008 album The White Waltz & Other Stories on Beta-Lactam Ring Records - Yippee Ki-Yay!
Jennifer Hames - Paul J. Rogers - Nick Cliff - Ian Turner - Sarah Miller - Jack McCarthy
- "The Desolate Market are very excited to announce the release of the digital download album by The Long Dead Sevens, 'Stolen Flowers'.
A 7 track album of stealing flowers, insane sea captains, dirty, dirty bible rooms and the skinning of oxen.
Just as the tear dries . . . . . . ."
Desolate Market Records
- "For recording and mixing their eleventh studio album DEN, the Düsseldorf- and Berlin-based band Kreidler chose to work at the LowSwing studio, renowned for its round sonic character. The band has said that they were initially considering making a record without any drums. Fortunately, they did not follow through with that idea. Thomas Klein's playing is an essential component of the Kreidler sound. All in all, in addition to the musical subtlety and elegant dialogical interaction which is celebrated on DEN, it can be stated with enthusiasm that the band has not taken a single step back from its rhythmic force."
- Bureau B
"Early in 1994 KREIDLER was founded by Thomas Klein, Andreas Reihse, Detlef Weinrich and Stefan Schneider who was to leave KREIDLER some years later in order to form To Rococo Rot; his place on bass-guitar was taken by Alexander Paulick (of Coloma and Narrow Bridges) until 2001, and again from 2008 on.
KREIDLER's album Riva was released 1994 on a small Parisian label. This was to be the first of 21 releases to date . . . . ."
- Much more @ Soundcloud and http://www.ikreidler.de/kr1.html
Intriguing...Wonder if Jonah has weighed in on this. From AAJ review:
Edward Ka-Spel once again expanding his musical territory:
Edward Ka-Spel - One Last Pose Before the Ruin
- "The ghosts of decades past are blocking the doors but you carry the future in the palm of your left hand. It promises a gentle landing, a transformation in soft colours. Hope. Eternity. Now, for the sake of posterity, one last pose before the ruin.....please."
Beta-Lactam Ring Records
Christian Fennesz - 17.02.12 Live at the Marino Marini Museum, Florence, Italy
- "Christian Fennesz, Austria
Sound of silent movie masterpiece Berlin. Symphony of a Great City by Walter Ruttman (1927)
Second date, Friday, Feb. 17 at the Marini Marini Museum in Florence, with the Austrian Fennesz, without a doubt one of the most ironic and complex writers of the new generation. His sound is considered the most contemporary visual electronics, almost pictorial. He collaborated with different artists and musicians, like David Sylvian, Mike Patton and Mark Linkous of Sparklehouse. With a past as a punk guitarist, Fennesz combines the sound of his acid and distorted electric guitar with its glitches and noise generated from his laptop, consistently elegant and powerful, with an obsessive attention to detail and perspective, and more significantly on the border between experimentation electrical and winks. For International Feel he presents the sound of the masterpiece of silent movie Berlin. Symphony of a Great City the first film that has as protagonist a city, shot in 1927 by Walter Ruttmann. Fennesz will accompany the narration of a full day in Berlin, from dawn to midnight, for discovering life, work and leisure of the citizens. A film that is the controversial document of an era: the Roaring Twenties and the Central European culture to their full glory, a far cry from the economic disaster that would soon change the world. A pioneering and also decadent vision, which offers a starting point for a reflection on our times."
- Marino Marini Museum
Berlin. Symphony of a Great City.(1927).Walter Ruttman @ Youtube - Wikipedia
Oboy - just learned about this one today. Out now or coming soon. If you have any appreciation of jazz vibes at all, you should give a listen to Jason Adasciewicz, he is really something new.
Mariam Wallentin: voice, Nadine Byrne: voice, organ, Emil Svanängen: voice, Nicolai Dunger: voice, Sofia Jernberg: voice
Niklas Barnö: trumpet, Magnus Broo: trumpet, Thomas Hallonsten: trumpet, organ, Mats Äleklint: trombone, Per Åke Holmlander: tuba
Anna Högberg: alto sax, Mats Gustafsson: tenor sax, Jonas Kullhammar: bass saxophone, Elin Larsson: tenor sax, Fredrik Ljungkvist: baritone sax, clarinet, Christer Bothén: bass clarinet, guimbri
Andreas Söderström: guitar, Reine Fiske: guitar, Sören Runolf: guitar, David Stackenäs: guitar
Sten Sandell: synth, harmonium, piano, Joachim Nordwall: electronics
Johan Berthling: electric bass, Joel Grip: bass, Joe Williamson: bass, Dan Berglund: bass
Andreas Werliin: drums, Thomas Mera Gartz: drums, Johan Holmegard: drums, Raymond Strid: drums
- "Fire! is where Mats Gustafsson (The Thing), Johan Berthling (Tape) and drummer Andreas Werliin (Wildbirds & Peacedrums) go to stretch their instrumental skills and collaborate with prestigious guests like Jim O’Rourke and Oren Ambarchi.
Fire! Orchestra takes the project to the next level: a sonic behemoth comprising 28 members from Swedish jazz, improv and avant rock that should be unmanageable,
but turns out to possess the elegance and lucidity of the righteous free jazz big bands of the past. Charlie Haden’s Liberation Orchestra. Carla Bley’s “Escalator Over the Hill”. Centipede. Sun Ra’s “Space Is The Place”. Chris McGregor’s Brotherhood Of Breath. Freddie Hubbard & Ilhan Mimaroglu’s “Sing Me A Song Of Songmy”. All these classic landmarks come to mind as you listen to their monumental “Exit!”.
“Exit!” was recorded in front of an over enthusiastic audience in January 2012 at the headquarters of Fylkingen, the legendary Stockholm avant garde music centre.
But before you go thinking this is an impenetrable free jazz meltdown, listen again. “Exit!” follows in these mighty footprints, but it’s also an odyssey that takes its own route, with post-rock/krautrock diversions along the way. There is a way in to “Exit!”, and the way out is clearly signposted. Fire! is all about burning up tradition and blazing new paths and fresh approaches in improvised music – approaches informed equally by garage punk, electroacoustics and the noise of heavy industry.
Throughout both long halves of “Exit!”, Mariam Wallentin (Wildbirds & Peacedrums) and Sofia Jernberg chant ritualistic lyrics written by Arnold de Boer of Dutch avant rock institution, The Ex."
- Rune Gramofon - http://matsgus.com/archives/1791 - http://www.fylkingen.se/node/1556
- New album from Domotic (aka. Stephane Laporte and one half of Egyptology)
- "The man behind Domotic is Stephane Laporte. He blends electronic and analog keyboards on Pro-tools in such a way that he overcomes the digital medium. His music is therefore a play on contrasts and hides an intense and subtle work on audio design and programming. Behind the melodies lie a constant struggle between analog and digital."
- http://www.last.fm/music/Domotic
Due out March 1, F. S. Blumm & Nils Frahm, Music for Wobbling/Music Versus Gravity
Or if you want something really wintry, new release by Aidan Baker, due out March 25 but streamable already at bandcamp. Titled Aneira.
(One would have been hard pressed to identify it as acoustic guitar without being told).
- "Based on the work of Wilhelm Reich and his encounters with UFOs, this influential album has been remastered and reworked from the original recordings, with new bonus tracks and new remixed versions. Originally released in 1997 on CD by Tegal Records (Ltd x 1000) and LP by Artware Productions, Germany (Ltd x 1000), all of the original subject matter has been taken to a new level with this digital recording from the analogue sources. This is the third and final warning to the sleeping beings of the earth. This album influenced many other electronic artists and has been hailed as one of the first recordings to be labelled dark ambient.
Cold Spring Records - http://www.schlosstegal.net
Released 19 February 2013
Nels Cline - guitar
Ellery Eskelin - tenor saxophone
Rob Sudduth - tenor saxophone
Ben Goldberg - contra-alto clarinet, Bb clarinet
Ches Smith - drums
- " I have been developing my abilities on the Eb contra alto clarinet (a weird member of the family, pitched below the bass clarinet) for some years, mostly in my work with the group Tin Hat. Somehow it occurred to me to have a band where I was the bass player, on this instrument.
Of course the group would need two of my tenor saxophone heroes (Ellery Eskelin and Rob Sudduth), a guitar genius (and now certifiable rock star) (Nels Cline), and the deeply tumultuous drummer Ches Smith.
So after finishing up the premier of my latest giant project, Orphic Machine, in March of 2012, I wrote a bunch of songs and assembled this crew at the Bunker studio in Williamsburg one day in May. We learned the tunes, rehearsed, and recorded them all in just a few hours, and the results are extraordinary -- raw, dire, and to the point."
- Bob Goldberg.
Eb contra alto clarinet:
http://bagproductionrecords.org - Review by Jonah - music
Un Festin Sagital - Sic Deus Dilexit Mundum (So God Loved The World)
- "Rock in opposition to Rock In Opposition. Un Festin Sagital's formulae are Sagittarian with surprises. The dense, electro-motorik opening statement that SEEMS like it will be thematic, is eventually reneged upon by tiny sounds orbiting disembodied voices. A congregation of folk-psych and noise follows on in the tradition of anti-tradition, pronating on the side of a rather thrilling, ghostly top tenor performing expert vocal routines on the uneven bars. Upon the arrival the album's truest progressive gnostication, it becomes clear that, while beautiful with a little bit of a Crimson tide running through it, UFS prefers its musical limbs remain dislocated. This is especially evidenced by the final reverberating drone of floating on the far side of the galaxy at journey's end. Along with copper and unmanufactured ferro-alloy materials, UFS are one of Chile's finest exports."
>Conejo Verde (The Green Rabbit): The more stronger six gates of a lysergic apocalypse (most important electric guitars)
>Aztharoth: More low whispers of life, the earth is murmuring their formless passion (electric bass)
>Cinturon Negro (The Black Tide): Lucid madness of a tribal insanity (tenor sax)
>Aranos: Violins from the crazier feast in human history, more strings for the puppet-god (double bass, viola, trumpet and violin), little touches of quiet wildness (percussions, included a gong)
>Algotra: The insolent chaos of non rational life-sail (dissonant and sutile violins)
>Pintocabezas: Analogue perversion of paradise and the lust of Buddha (analogue noises and sitar)
>Fakuta: The nice daughter of god, is eve (sweet surrealistic voices)
>Tara: Voices from a bestial dream
>Thanatoloop (Michel Leroy Valdez): Sonic alchemy, sacred conception, digital screams of a horny saint, the acoustic distortion of six sacred gates, the piano of the hottest bar in hell, the voice of doG, the drums of the rite, some low vibrations of the underground, and disintegrated poetry (sound production, concept-composition, electric and acoustic guitar, violin, bass, keyboards, electronics, voices, percussion, lyrics and acoustic piano).
- Chris McBeth @ Beta-Lactam Ring Records 2012
Bandcamp - http://templosagital.blogspot.dk/
ETA: - And the bonus Album accompanying the physical release:
Un Festin Sagital - La Muerte Solar
Line up:
Michel Leroy (aka. Thanatoloop): Voice, Clean and Distorted Acoustic Guitar, Percussion, Theremin, Radiowaves, Electro/acoustic Noises, Mix and Production
Conejo Verde: Electric Guitar and Voices
Fernando Pinto: Electric Bass and Voices
Ricardo Pérez: Drums, Percussion and Voices
Gonzalo Díaz: Percussion and Voice
Recorded by Paulo Rojas (live section) and Michel Leroy (studio section) Live section recorded live on SCD, Stgo, Chile, on summer 2008 Studio section recorded on Templo Sagital and FXS studio between 2007 and 2009.
The title is a tribute to surrealist poet, Gérard de Cortanze.
Also on Bandcamp:
Troum - Grote Mandrenke
- Grote Mandrenke is definitely a Troum with a view. The title refers to a massive Atlantic storm that killed upwards of 25,000 Europeans in the mid 14th century (about a decade after the plague showed up. HOORAY!). Troum, of course, bathe their devastating subject in swelling waves of melodic drone and sea-walls of sound. Appropriately, Grote Mandrenke is cinematic and melancholy; anthemic and brooding, and distinctly shoegaze, but in a way that you can look up, and you still see shoes. And bodies, floating in a foamy miasma of silted water and fish guts. In fact, this should be on a label called 5AD, because this is one awesomer. Buzzsaw ambience and measured percussive breaths comprise a perfect soundtrack for nature's dominion over man."
Beta-Lactam Ring Records 2012
- "TROUM is a duo located in Bremen, Germany, established in early 1997. The two members "GlitH" and "Baraka[H]" were active before in the influental ambient industrial group MAËROR TRI (which existed from 1988 to 1996). TROUM is the old german word for "DREAM". The dream seen as a central manifestation of the unconscious symbolizes the aim of TROUM to lead the listener into a hypnotizing dream-state of mind, a pre-verbal and primal consciousness sphere. TROUM uses music as the direct path to the Unconscious, pointing to the archaic "essence" of the humans inner psyche. TROUM tries to create music that works like a direct transformation of unconscious matter.
TROUM's creations are influenced by post-industrial, minimal and drone-music. Both members use guitar, bass, voice, accordion, balalaika, flute, mouth-organ, melodica, gong, field recordings, pre-recorded-tapes and a diversity of sound-objects to build a kind of multi-layered and highly atmospheric dreaming-muzak. Their sound could be described as "dark atmospheric ambient industrial", "transcendental noise" or just "Tiefenmusik". TROUM doesn't work with synths, samplers or computer-soundsources, the sounds are created "by hand" to reach a broader sensibility. TROUM uses a spiral as their logo, expressing the trance-inducing potential of the music and the wish to reach inner, deeper spheres of the mind with it. Music as a door to unknown & alien dimensions. Music as an expression of the mystery of existence itself."
http://www.troum.com
Miasmah / Soundcloud:
B/B/S/ - Brick Mask
- "Berlin might be known as the home of modernist minimal techno, but beneath the teutonic shuffle of Berghain and the Panorama Bar there's something darker happening in the continental artistic hotbed. Here is where Miasmah boss Erik Skodvin (Svarte Greiner) came in contact with experimental don Andrea Belfi and drone metal stalwart Aidan Baker (of Nadja), and before long they were holed up in a studio, distilling their influences into one dense cloud of instrumental bleakness.
With Skodvin manning the guitar, Belfi on percussion and Baker on bass and guitar, we have the makings of a traditional band, but the result is anything but. 'Brick Mask' is the sound of each artist pushing each other past their regular comfort zones; Skodvin's signature bowed guitar sounds perfectly matched against Baker's rolling basses and Belfi's unpredictable, collapsing percussion. The best comparison might be Supersilent, but where the Norwegian super group hinge their sound on the fringes of jazz, 'B/B/S/' is rooted in metal, and Baker's doom expertise is occasionally allowed to reveal itself as his distorted guitar and bass tones erupt over the wrangled clatter of his two companions. Dark and gleefully theatrical, 'Brick Mask' is an album that revels in its influences and never gets bogged down in the past, and in that never ceases to be captivating."
And:
B/B/S/ - Half Moon
- "Half Moon is the 7" accompaniment to the full lenght Brick Mask album. Both released 22nd of february on Miasmah."
Savvas Ysatis & Taylor Deupree - Origin
- " Origin is the latest album from long-time collaborators Savvas Ysatis and Taylor Deupree. Released as a 12” LP Origin sounds quite unlike anything they’ve done in the past after nearly 20 years of releases together. Cryptic, noisy and warm, Origin searches for details in the layers."
- 12k - Soundcloud
- "Savvas Ysatis, a native of Athens Greece, began an early fascination with the synthesizer in the late 70’s. Through the strong influences of Kraftwerk and Jean-Michel Jarre, Ysatis was inspired to pursue his own electronic identity. At age 15 he left Greece, and moved to New York City where he acquired his first equipment and began exploring their possibilities, while at the same time started to get involved with various electronic bands.
His own first release was under the name Omicron with the “Symbolis” EP (Instinct NYC, 1993), an underground trance-house record. In late 1993 he met Taylor Deupree of Prototype 909, forming a long-time collaboration that would eventually produce eight LP’s for the pair between 1994 and 1998 under the project names Seti, Futique (trip-hop electronica), Arc (Detroit style Techno), Skai (tech-House), and Savvas Ysatis & Taylor Deupree. Ysatis would record two additional solo albums for Instinct and two more for KK Records, Belgium between the years 1994 and 1997.
In 1997, Ysatis returned to Athens with the intention on contributing to the development of the local electronic scene. He formed Sonar, an experimental tech-house label, with radio DJ Giannis Papaioannou, and joined singer/lyricist Elias Aslanoglou, in what eventually would turn into the project Allou: the fusion of Ysatis’ sound with Greek vocals. Recently signed by V2, the project‘s appeal holds much in store for those fans yet unaware of Ysatis’ excellent talent."
- last.fm
William Basinski & Richard Chartier - Aurora Liminalis
- "Aurora Liminalis is a rich and nebulous soundtrack, the aural equivalent of undulating trails of light. Disintegrating spatial shifts incorporating the two artists’ distinct sonic palettes mesh to create a slow, deep ebb and flow… like some melting spectral transmission. The work has a distinct complex presence, difficult to resist its pull."
Simon Whetham - El Parque Está Situado En Su Propia Casa
- "El Parque Está Situado En Su Propia Casa (the park is situated in it’s own house) is the result of a residency I participated in through March 2012 at Campos de Gutierrez, Medellin, Colombia where all 8 artists-in-residence exhibited works in one of the city’s more central art space, Plazarte."
- "My piece began as a performance on the exhibition’s opening night, using objects and recordings from Campos de Gutierrez. During the performance, and using transducers, I played sounds through an old guitar from Campos de Gutierrez and an oil drum found at Plazarte, both suspended from the ceiling. For the remainder of the month the piece continued to be exhibited in this way, playing subtle sounds captured during the performance and around the residency house through the objects.
The piece presented here is a composition which represents a combination of the two."
– Simon Whetham, October 2012. - http://www.lineimprint.com/
Loren (MazzaCane) Connors and Bill Orcutt: NATCH 8
Maybe Rise
opens up a concrete sound space of two contradicting elements, firstly a harmonious but nondescript utopian location, secondly a highly symbolic and hyperrealist place of human action, derived from material recorded in the coastal rainforest, table lands and outback of Tropical North Queensland, Australia, in July 2011. The piece was commissioned by Radio Sonores, composed in Spring 2012 while constantly traveling and premiered on May 2, 2012, during the Guimar
Nice new release from Benjamin Dauer on bandcamp.
Autechre - Exai
New album from The Green Kingdom, titled Dustloops : Memory Fragments, on the SEM label at bandcamp. Sounds nice so far.
Nels Cline - acoustic guitar
Elliott Sharp - acoustic guitar
- "Talk about a meeting of the minds, this is an inspired pairing of two of the experimental and avant-garde scene's greatest guitarists. Cline may be best known these days as the lead guitarist of Wilco, but he has a long and illuminating pedigree in the world of experimental music, while Sharp (best known for his long-running band Carbon) has been a fixture in NYC's no-wave / avant scene for over thirty years. Most of this five-track album is actually a lost album that was recorded in 1999 and intended for release for one label, then another, that both tanked before they could release the album; fortunately for the rest of us, PE head banana Bryan Day somehow heard the recording and offered to put it out, and here it is, with the original four tracks followed by a live recording at The Stone in 2007. Anybody who's heard either man play probably has an inkling of the experimental sound of this album, but even those in the know will probably be thrown for a loop by their decision to play strictly acoustic guitars. As a result, the studio tracks sound very much like John Fahey in one of his more out-there moments; amazing neo-folk guitar runs do battle with warped chords, strange progressions, and unorthodox sounds. Even more amazing is how tuneful it is in spite of its abject weirdness; they have a highly unusual approach to the concept of guitar duets, to be sure, but they express their ideas with considerable style and a surprising level of melodicism. The live track that rounds out the album is in a similar vein, albeit a tad more avant than the preceding material and a bit closer to the quixotic sound familiar to PE listeners; it's choppy and less melodic, turning less on melodic content and more on perverse, staggered rhythms, but still every bit as mind-bending as the rest of the album. Definitely an eye-opener."
Public Eyesore Records
Calidost
New from Origin records and cheap at eMu - AAJ review here. I didn't know about Branker's history - he works as a composer/director, rather than a player, after a stroke some years ago. (He is also Director of Jazz Studies at Princeton.)
Making a special point of getting this one after reading review by fecking dipshit gun-nut blogger who liked the music, but had political objections to Branker's writing a "Ballad for Trayvon Martin"
eta Jonah's take, just posted:
- "Sometimes what you don't do is as important as what you do. Brandt Brauer Frick have made name for themselves producing techno without the technology, using classical instruments in preference to synthesizers and computers. It's a negative that's had positive results. On the Berlin trios third album Miami', it's again what Brandt Brauer Frick are not doing that is once again important: they aren't slavishly following the formula of its two predecessors. "Mr Machine (2011's sophomore album) the record made with the (ten piece classical) ensemble, especially was very planned and strict," they say. "We wanted to be more spontaneous this time. We wanted to do something very different, more dark and more rough. We wanted to write songs rather than tracks that slowly evolve."
Another major difference is the appearance of a number of guest vocalists who had a big influence on the direction the album took. There are appearances from Jamie Lidell, Om'mas Keith (Grammy nominated producer of Frank Ocean's Channel Orange', Kanye West, Jay Z), Gudrun Gut (Einsturzende Neubauten and German punk band Malaria!), Erika Janunger and Russian DJ and producer Nina Kraviz.
The new album is accompanied by a new stripped down live show - no ensemble this time, just the three protagonists and a specially built stage set. The visuals will be created by Brandt Brauer Frick affiliated production company Park Bennett, who make all of the bands videos and also came up with the overall visual concept for the album inspired by Fluxus art of the '60s."
!K7 Records
Broken Pieces feat. Jamie Lidell & Plastic Like Your Mother feat. Om'Mas Keith @ Soundcloud