ClmQrd

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I'm Lying on Your Shoulder

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				</a><br/>This song is written for my brother's picture of the birds flying by. Each bird was represented as a separate note then played on a piano. You can take a a look at this picture here: http://www.flickr.com/photos/kaff/5739477988/

Birds

Taken from the album 'Dysnomia', released worldwide on June 1, 2015 through Erased Tapes.

Order it on 2x LP, CD and Download here:
http://www.erasedtapes.com/store/index/ERATP068
or from iTunes here: http://snip.ftpromo.net/dawnofmidi

With Dysnomia, the Brooklyn-based group Dawn of Midi made up of double bass player Aakaash Israni, pianist Amino Belyamani and drummer Qasim Naqvi abandon improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, but when stepping back an undulating image reveals itself. “We didn’t want to create anything cerebral,” says Belyamani, “we wanted something visceral, something that would awaken our instinctive dance impulses.” 

“We wanted to make a record that sounded both musically futuristic and sonically vintage,” explains Israni, “and since the album never saw a proper international release, it is very exciting to see what might happen when more people are exposed to it. And to be aligned with Erased Tapes, whose enthusiasm for the music they release has done a lot for exposing unique instrumental and electronic music, makes it that much more interesting.”

TRACKLIST / CREDITS:

1. Io 2. Sinope  3. Atlas 4. Nix  5. Moon 6. Ymir  7. Ijiraq  8. Algol 9. Dysnomia
Written by Amino Belyamani and Aakaash Israni.

NORTH AMERICAN PRESS:

“Stellar… at a loss for words” – Spin
“Something totally unprecedented” – Pitchfork
“Perverse in a good way” – The New York Times
“Brain-bending, seemingly impossible” – Rolling Stone 
“Moving and addictive...a feat of innovation” – Interview Magazine
“A mysterious, vital sound with a pull all its own” – L.A. Times

MORE INFO:
www.dawnofmidi.com · www.erasedtapes.com

Dysnomia

Buy 2xLP/CD/DL

Dawn of Midi - Nix

From Late Night Tales, for Record Store Day 2015. 

http://recordstoreday.co.uk/

Follow Late Night Tales:

Web: http://latenighttales.co.uk
Facebook: http://www.facebook.com/latenighttales1
Twitter: http://twitter.com/LateNightTales
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YouTube: http://youtube.com/latenighttalestv
Instagram: http://instagram.com/latenighttalesofficial
Spotify: http://goo.gl/Q98T7d
Apple Music: https://music.apple.com/us/curator/late-night-tales/1233898093
Bandcamp: https://latenighttales.bandcamp.com/

Buy vinyl

Jon Hopkins - I Remember (Nils Frahm Dub Interrupt Remix)

‘Apologues’ will be released by Erased Tapes on September 11, 2015 on LP/CD/DL and can be pre-ordered from www.erasedtapes.com/store/index/ERATP075

Masayoshi Fujita, the Berlin-based Japanese vibraphone player, also known under his alias el fog came to the attention of label founder Robert Raths a few years ago. Not only because the vibraphone is an intriguing instrument, but also the way Masayoshi treats his instrument and draws ethereal and layered sounds, is what truly attracted him to Masayoshi’s work.

Having released more ambient-based/electronic recordings of the vibraphone under el fog, Masa became more interested in the sound of the vibraphone itself. He started to compose acoustic pieces and released the first solo album under his real name, titled ‘Stories’, in early 2013. ‘Apologues’ sees Masayoshi for the first time use an array of instruments besides his lead instrument – such as the violin, cello, flute, clarinet, French horn, accordion, piano and snare drum played by friends, but arranged by Masa himself.

In addition to the mallets, Masayoshi often plays the vibraphone with a violin or cello bow, like on ‘Tears of Unicorn’ and ‘Knight and Spirit of Lake’. He would also place bead strings on the vibraphone bars to create an ambient shimmer that can be heard on songs like ‘Moonlight’ and ‘Swallow Flies High in the May Sky’. The latter was composed to let the clarinet express its characteristics and tell its story, whilst the vibraphone takes a supporting role. “The clarinet sounds very warm and soft and very ‘spring’ to me”, says Masa.

“With this album the main idea was to evoke images, atmospheres, sceneries and stories in the listener, the images that have accumulated in myself. At the same time it was an exploration of the unexplored beauty of the vibraphone, and also a pursuit of the charm of the instrumentation and the music itself. Erased Tapes releases a lot of great stuff and naturally became my favourite label of late. And I thought it would fit well to my music.” – Masayoshi Fujita

OFFICIAL WEBSITES: masayoshifujita.com · erasedtapes.com

Apologues

Tears Of Unicorn

Buy LP/CD/DL

Masayoshi Fujita – Tears of Unicorn

from 'Nomad Frequencies' [CD|2xLP|DIGITAL]
Denovali Records · den237
available on all formats at [http://denovali.com/johnlemke]

An ardent moulder of sound, John Lemke began carving out a very unique music blend on his debut album 'People Do' (2013) and its follow up EP 'Walizka' (2014). Informed by his work as a sound designer & composer for documentary films and his natural inclination towards fusing rhythm with rich textures and emotive melodies, he set out on a musical path that had been long in the making and is ever evolving.

The quest for unusual, inspiring sound sources has always been at the heart of John's process, however the genesis of his second album 'Nomad Frequencies' was rooted in much more inadvertent circumstances. In the summer of 2014, forced to indefinitely evacuate his Glasgow flat and studio due to structural damage from one hour to the next, with nothing more than a laptop and a bag of clothes, John embarked on a six month odyssey of soul searching, couch surfing and spending an extended period of time in his old hometown of Berlin for the first time in years - it was to be an odyssey that would help ferment and distill the ideas of his second album on which work had just begun. 

A year of particular global turmoil and upheaval, combined with John's personal, albeit very minor, 'displacement', caused a lot of questioning, frustration and anger, which somehow found its way onto the new material: a more confrontational, at times aggressive sound, paired on the other hand with a yearning for harmony, balance and space. Other influences came less from the world of music, but rather in visual form, through the densely textural art of Anselm Kiefer and the political, yet poetic musings of film maker Adam Curtis.

Intent on refining his sound toward a more minimal, bolder style, John set out to limit his sonic palate to a handful of carefully chosen elements. At the centre of this new direction remains the muted piano already introduced on his debut, but in a much more purified and raw form. This organic base is adorned by the warm fuzzing and wavering of analogue synthesisers, tape echoes, meditative tuning forks, field recordings from John's 'exile' period and percussion based on his rigid approach to sampling, which started developing on 'Walizka'. The guiding principle of his orthodox style of recording and sampling is to only use home-made sounds by utilising his own field recordings, applying contact microphones or hydrophones to objects and instruments, running them through different kinds of speakers and re-recording the sounds to arrive at a 'lived in' quality, often misunderstood as plainly 'lo-fi'. Touches of viola and woodwinds parts (Kim Moore of WOLF and Andrew Baker respectively) provide melody fragments and subtle details throughout the journey.

With John's healthy disregard for genre boundaries, the array of influences on 'Nomad Frequencies' is vast, but never over-powering. From the meditative tuning fork that starts proceedings on 'Of Elsewhere', the dub echoes to the hints of minimalism, free jazz explosions to the Lynchian atmospherics, all elements serve nothing more than the album's narrative journey between friction and harmony, best appreciated in its entirety. A rhythmic backbone collides with rich ambience and melody, often infectious and jarring at the same time, forging a soulful whole which most likely only reveals its true self after multiple spins.

Nomad Frequencies

John Lemke - Vessel

Listen to an exclusive “Solo Piano Edit” of 'Them' by Nils Frahm, taken from his approaching Late Night Tales album. The original version appears on his score of the film 'Victoria'. 

"This is the main theme from my first feature film score and it soundtracks the part where they finally kiss in the club… I soloed this piano part in the track and listening to it on its own, I almost preferred it to the original version, so I was pleased that I had the chance to use this alternative version on my mix." - Nils Frahm

Follow Late Night Tales:

Web: http://latenighttales.co.uk
Facebook: http://www.facebook.com/latenighttales1
Twitter: http://twitter.com/LateNightTales
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YouTube: http://youtube.com/latenighttalestv
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Spotify: http://goo.gl/Q98T7d
Apple Music: https://music.apple.com/us/curator/late-night-tales/1233898093
Bandcamp: https://latenighttales.bandcamp.com/

Nils Frahm - Them [Solo Piano Edit] (Late Night Tales: Nils Frahm)

‘Loon’ will be released on Erased Tapes as a 12” vinyl as well as digitally on October 2nd. 
Pre-order it here: www.erasedtapes.com/store/index/ERATP072
or via iTunes: http://snip.ftpromo.net/loon

Containing five synthesiser-led pieces, ‘Loon’ was recorded in autumn 2014 across five days at Nils’s Durton Studio in Berlin, and continues on from the ambient sounds of ‘Stare’ but with the addition of more percussive elements and dub influences. For this new EP the duo wired an Oberheim 4 Voice and a Korg PS3100 to the mixing desk and performed live takes on both instruments. With all four hands on its pots, all mixes were recorded straight onto 2-track ½-inch tape.

Like on ‘Stare’, their first collaborative affair in 2012, they simply followed what was laying in front of them, and this time they were driven by some new synths, a kick drum and tape effects. Indulging in dub, the tracks where all performed rather than engineered, with Ólafur riding a few elements on faders and Nils bringing effects in and out. After running several mixes, they went for the five strongest moments from this session. The release was announced on a joint website www.arnaldsfrahm.com together with the launch of an intimate 45-minute studio film titled ‘Trance Frendz’, featuring another seven improvisations.

“Nils got some new synths and we thought we’d try them out. We loved them so much that we didn’t actually end up using anything else to make these songs.” – Ólafur Arnalds

“When I was young I was smuggled to Goa parties by my brother. The music played there in the late nineties had a somewhat deep effect on me. ‘Loon’ is almost a blurry memory of these times. In other words, it is what I’d like to remember that music sounded like back then. In fact it sounded probably really cheesy.” – Nils Frahm

Loon

Four

Buy 12"/DL

Ólafur Arnalds & Nils Frahm – Four

‘Loon’ will be released on Erased Tapes as a 12” vinyl as well as digitally on October 2nd. 
Pre-order it here: www.erasedtapes.com/store/index/ERATP072
or via iTunes: http://snip.ftpromo.net/loon

Containing five synthesiser-led pieces, ‘Loon’ was recorded in autumn 2014 across five days at Nils’s Durton Studio in Berlin, and continues on from the ambient sounds of ‘Stare’ but with the addition of more percussive elements and dub influences. For this new EP the duo wired an Oberheim 4 Voice and a Korg PS3100 to the mixing desk and performed live takes on both instruments. With all four hands on its pots, all mixes were recorded straight onto 2-track ½-inch tape.

Like on ‘Stare’, their first collaborative affair in 2012, they simply followed what was laying in front of them, and this time they were driven by some new synths, a kick drum and tape effects. Indulging in dub, the tracks where all performed rather than engineered, with Ólafur riding a few elements on faders and Nils bringing effects in and out. After running several mixes, they went for the five strongest moments from this session. The release was announced on a joint website www.arnaldsfrahm.com together with the launch of an intimate 45-minute studio film titled ‘Trance Frendz’, featuring another seven improvisations.

“Nils got some new synths and we thought we’d try them out. We loved them so much that we didn’t actually end up using anything else to make these songs.” – Ólafur Arnalds

“When I was young I was smuggled to Goa parties by my brother. The music played there in the late nineties had a somewhat deep effect on me. ‘Loon’ is almost a blurry memory of these times. In other words, it is what I’d like to remember that music sounded like back then. In fact it sounded probably really cheesy.” – Nils Frahm

Wide Open

Ólafur Arnalds & Nils Frahm - Wide Open

0:00 Wharton Tiers — Great Awakening
3:30 Sufjan Stevens — Out of Egypt, Into the Great Laugh of Mankind, and I Shake The Dirt from My Sandals As I Run
7:45 Porn Sword Tobacco — Carl Zeiss Driving To Work
10:20 Fennesz — Transit
15:00 Owen Pallett — Export 3 (“The Great Elsewhere” sung by Shara Worden)(Dmitry Evgrafov Edit)
18:00 Foreign Fields — Subtle Weight
22:15 Nina Simone Who Knows Where The Time Goes
27:00 Ted Lucas — Baby Where You Are
30:30 Nick Efremov — Глубоко (suggested by author, otherwise it can be written with latin letters as Gluboko)
33:25 Tom Tykwer/Johnny Klimek/Reinhold Heil — Death Is Only A Door
37:10 Andrey Petrov — Unnamed Melody
37:40 Ricky Eat Acid — Hanging Out In A Valley
40:00 Sibylle Baier — Forget About
42:30 Ricky Eat Acid — Dreams of Algeria (Outside your house…)

Dmitry Evgrafov Mix

My aim here is to give a listener a new look at the classical music. Whilst much music from that time is boring and excessive but through years my interest was to gather some compositions that are hundreds of years old but that sound really contemporary. For example, there are two compositions from Nikolay Rimsky-Korsakov that were written in the 19th century but sound like a soundtrack for a good 2016 movie. There are also two of my personal reworks of classical compositions by Georges Bizet and Edward Grieg, to make them modern-day in a weird and subtle way. I have included a number of beautiful contributions from XX and XXI century composers including Arvo Part and Daniel Bjarnason as well as the orchestral rendition of Aphex Twin and two pieces from modern Russian composers — Pavel Karmanov and Valery Gavrilin.

TRACKLIST:
0:00 Georges Bizet — Carmen (Dmitry Evgrafov’s Rework)
2:22 Edward Grieg — Funeral Song (Dmitry Evgrafov’s Rework)
4:14 Nikolay Rimsky-Korsakov — Sadko. Introduction
5:44 Nikolay Rimsky-Korsakov — The Legend of the Invisible City of Kitezh. Introduction
10:00 Hanan Townshend — Water Theme No. 3
11:50 Aphex Twin — rhubarb orc. 19.53 rev
18:10 Pavel Karmanov — Interlichkeit
24:00 Arvo Pärt — Miserere
28:52 Daníel Bjarnason — Solitudes I. Holy
31:18 Hanan Townshend — Awareness
33:04 Gabriel Faure - Cantique de Jean Racine, Op.11
38:10 Valery Gavrilin — Perezvony
42:15 Wojciech Kilar - Exodus (Excerpt No. 1) 

Dmitry Evgrafov  - Mixtape #2 Classical

From the album "Woven Tide" by From the Mouth of the Sun (Dag Rosenqvist & Aaron Martin):

http://www.experimedia.net/?artists_id=2741&typefilter=artist

Sitting in a Roofless Room (From the Mouth of the Sun)

In Hour 2 we welcome  Moscow-based Dmitry Evgrafov who began self-releasing his music at the age of seventeen. In 2015, the young pianist / composer signed to FatCat’s 130701 imprint, releasing the album ‘Collage’, followed by a seven-track EP, ‘The Quiet Observation’, a year later. A further year on, his latest release ‘Comprehension Of Light’ album marks a sizeable step forward for Dmitry, witnessing an increased maturity in his writing alongside an expanded breadth of palette and will sit comfortably alongside 130701 alumni Max Richter, Jóhann Jóhannsson, Dustin O’Halloran and Hauschka. He had this to say;
"This mixtape is an exploration of stylistic, emotional and cultural boundaries that are associated with different kinds of sounds/instruments/tonal structures. Also, it’s a journey through the music that excites me and I would like to share it with you because I think that these gems deserve to be heard by more people."

The Solid Steel website http://solidsteel.net/ for track lists and archive shows.
You can follow Solid Steel on
fb.me/solidsteelradio
instagram.com/solidsteelradio
twitter.com/SolidSteelRadio
Email solidsteel@ninjatune.net

Go to Hour 2 here https://soundcloud.com/ninja-tune/solid-steel-radio-show-1122017-hour-1-walton/s-Q6AO0

Hour 2 - Dmitry Evgrafov https://twitter.com/methrow

0:00 | Masakatsu Takagi — First Echo
1:24 | Mark Isham — Sympathy and Acknowledgement
5:52 | 8m² stereo — 5.12
8:56 | Holden — Self-Playing Schmaltz
13:34 | Westhoff —  Sonata For Violin And Continuo III — Arranged By Christian Badzura — Imitazione delle Campane
15:44 | Dmitry Evgrafov — Wandering
18:55 | The Dave Brubeck Quartet — Koto Song
21:38 | Kronos Quartet & Asha Bhosle — Rishte Bante Hain (Relationships Grow Slowly)
25:30 | Biosphere - As The Sun Kissed The Horizon
26:12 | Benoît Pioulard — Pidgin
26:58 | GoGo Penguin — To Drown in You
31:49 | METAKONGLOMERAT — Untitled
35:42 | Dmitry Evgrafov — Old Unity
37:58 | Mark Pritchard — Dawn Of The North
38:10 | Lera Auerbach - 24 Preludes for Vioin and Piano. No. 15 in C sharp major. Adagio
39:33 | The Westerlies — Saro
43:16 | Michael Praetorius, Jan Sandström— Es ist ein Ros entsprungen
46:38 | Abul Mogard — Half Light of Dawn
52:20 | ActThreeOverworldRadioStationTwo.wav
53:07 | Boards of Canada — Everything You Do is a Balloon
54:05 | Laurie Spiegel — The Unquestioned Answer
56:08 | Francis and the Lights — Off Switch
57:23 | Francis and the Lights — Gardening
58:36 | Masakatsu Takagi —Tender Smile

ClmQrd

aliette