An Ending, A Beginning  -  Dustin O'Halloran
from    Late Night Tales    by    Bonobo
d l b  rework

An Ending, A Beginning - Dustin O'Halloran & Bonobo (Alex Dlb Rework)

from 'Nomad Frequencies' [CD|2xLP|DIGITAL]
Denovali Records · den237
available in September 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 - The Unwinding

ARCHANGEL

Sylvan

Taken from his forthcoming album 'Spells' out June 10 on Erased Tapes.

Pre-order the LP/CD/DL here: www.erasedtapes.com/store/index/ERATP085
iTunes: http://snip.ftpromo.net/spells
Spotify: http://snip.ftpromo.net/goldentimes
Bandcamp: http://snip.ftpromo.net/spellsbc
or any other good record store worldwide

"It's just incredible" – Mary Anne Hobbs, BBC 6 Music
“Strangely upbeat nocturnes" – The Wire

‘Spells’ merges programmed piano pieces with live instruments, combining the controllable technical world and the often unpredictable aspects of live improvisation. In some ways it continues where his underground debut ‘Gravity’ left off, though a lot of weight is lifted, making room for a lighter and more energetic listen. Friend and fellow Erased Tapes artist Nils Frahm mixed and mastered both albums. Ben is not a master pianist like his dear friend, but his sound collages are so meticulously designed that after hearing the result an impressed Nils declared: “from now on, if anyone asks – this is a real piano”. 

His intricate, humanised programming – enhanced by drummer Achim Färber, cellist Anton Peisakhov and harpist Lara Somogyi, and a considerate selection of echoes, delays and compressors – has been used to create a hybrid sound that intends to deceive, question and challenge existing listening habits. Utilising the contrast between reduction and decoration, ‘Spells’ can be seen as a quest to find out how much or how little composition is required to constitute a song. Why the ear can and should be deceived about the authenticity of instruments. What significance these instruments have within this process, and why the personal perception of balance and sound exclude ultimate truths. 

Linking the two albums are the four movements of ‘Nocturne’, an ever-developing conversation that on occasion flirts with the grandeur of compressed rock drums. The first single, ‘Golden Times 1’, received a world premiere by BBC 6 Music’s Mary Anne Hobbs, proclaiming it as "incredible." An alternative version of ‘Sleepers Beat Theme’ – composed for the soundtrack to a short film about the Trans-Siberian Express – opened Jon Hopkins’ Late Night Tales album from 2015, who noted “I thought it was such a calming and sensitive piece that sounded to me like the beginning of something...the warmth and depth of the sound entrances me every time”. 

Though ‘Spells’ and ‘Gravity’ are his first albums recorded under his own name, as acclaimed electronic producer HECQ he’s released nine albums since 2003, exploring everything from ambient to breakcore. He has simultaneously established himself as a trusted composer and sound designer, working for a wide array of clients including Amnesty International and Marvel Comics; composing for feature films, games, art installations and convention opening titles.

After embracing this demanding line of work, in 2010 Ben felt the need to explore his roots and early education, which inspired these albums under his own name. Born in 1981 as the third child of opera singer Deirdre Boysen and actor Claus Boysen, his classical music training on piano and guitar began when he was seven years old; the works of Bruckner, Wagner and Bach laid an important foundation. Rediscovering this music shared with his parents – united with the sounds of Autechre, Cristian Vogel and Jiri.Ceiver to Pink Floyd and Godspeed You! Black Emperor – brought back an understanding of why he wanted to write music in the first place.

“Finding my views understood, reflected and welcomed by Erased Tapes was an encouraging experience, crowned by the offer to release ‘Spells’ and re-issue ‘Gravity’ with them. Through many caring conversations with Robert I felt that there’s no better home for the existing ideas and no better cradle for new ones.”  – Ben Lukas Boysen 

TRACK LISTING:  	

01. The Veil  02. Nocturne 3  03. Sleepers Beat Theme  04. Golden Times 1
05. Nocturne 4  06. Keep Watch  07. Golden Times 2  08. Selene

Spells

Golden Times 1

Buy LP/CD/DL

Ben Lukas Boysen – Golden Times 1

first excerpt from upcoming 'elephant' by Dag Rosenqvist.

Cello by Aaron Martin
Saxophone by Lisen Rylander Löve
Mastered by Taylor Deupree

order here - https://dronarivm.bandcamp.com/album/elephant

Buy CD

Dag Rosenqvist - Come Silence (from 'elephant' CD)

LNT: http://po.st/olafurLNT  
iTunes: http://geni.us/LNTolafurarnalds
Bandcamp: http://po.st/olafurBC 

Standing at the intersection where techno meets classical music, Ólafur Arnalds directs the new Late Night Tales.

“When I was asked to do the next installation of the Late Night Tales series I thought "This will be fun and easy, only a couple of days work. No problem!". Six months later, I was still pulling my hair out in some kind of quest to make the perfect mix. As someone who has never really done mixes before, I learned a lot of things along the way and the whole experience was very inspiring. I decided to approach the mix in a similar way as I would one of my scores. This is the soundtrack of my life. I included songs from many of my friends and collaborators and tried to deliver a mix that represents who I am as an artist and where my influences are coming from - both personally and musically.” - Ólafur Arnalds, March 2016

Follow Late Night Tales:

Web: http://latenighttales.co.uk
Facebook: http://www.facebook.com/latenighttales1
Twitter: http://twitter.com/LateNightTales
SoundCloud: http://soundcloud.com/latenighttales
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/

Late Night Tales: Olafur Arnal

Ólafur Arnalds - RGB (Late Night Tales: Ólafur Arnalds)

Taken from the forthcoming album 'Asylum For Eve', released February 10th 2017.

Featuring new material and reworked soundtracks, the album drifts from plaintive piano-led passages to brisk chamber music and back again, tied together by the textured layering of found sounds and instruments that distinguishes Thomas’s music.

After tracking down an old Bechstein Model 9 upright piano for ‘Asylum For Eve’, Thomas set about modifying and preparing it with cardigans, screws and nails in order to provide the textures and timbres which characterise the album’s dense, affecting sound. Techniques employed for the album include the intricate layering of bowed guitars and ukuleles, and fingerpicked violins, banjo and charango. It’s processes such as these, coupled with Hill’s high quality composition and musicianship, that see the album at once expansive and intimate.

Asylum For Eve

Buy on iTunes

Thomas William Hill - Cirrostratus

James Maloney studied music at Oxford University and after graduating in 2011, found his own voice in minimalist composition and songwriting, which led him to the sounds and style present on Gaslight. The album is a vibrant piece of work that is built around an old piano, accompanied by a trumpet, vibraphone, glockenspiel, and subtle electronics. This is a music defined by spacious atmospheres, vibrant tones, and comforting chords, a bold soundworld crafted by Maloney on his debut record that make it a triumphant and original foray into minimalist territories. Maloney adeptly weaves a broad range of styles and influences into his compositions: gentle nods to cinematic orchestrations meet hints of post-rock sonorities, with infusions of mellow jazz and modern classical germs.

Gaslight is released on CD and digital on July 7. Pre-order: http://hcdi.gs/2s5lU8E

Gaslight

Blink

Pre-Order

TRACK PREMIERE : James Maloney - Blink

String Quartet No. 1

Fiona Brice String Quartet No. 1 - Mvt.1 (Holographic Field Rework)

Rauelsson - Fluvial

Latest releases & playlists: https://bigoandtwigetti.co.uk/links
Licensing enquiries/send a demo: info@bigoandtwigetti.co.uk

Fiona Brice String Quartet No. 1 - Mvt.1 (Holographic Field Rework)

bigo & twigetti