La contrition du lièvre

Fourth track of six from the "Reves Verberes" album from 2023. "Et iterum" is Latin for "again and again". Once more, the main ingredient for this track is the use of a large Hammond organ reverb tank connected to a modular synth with a custom preamp. All the sounds come from the modular synth, with no sequencer or midi.

et iterum

Daniel Ruane - Tengu EP
Format: Dubplate / Digital
Cat.No. MNDUBPLATE01
Release Date: Physical 11 April 2019 / Digital 19th April 
Purchase here: meinenacht.bandcamp.com/album/tengu-ep

"Tengu is Meine Nacht's first venture into label territory, the debut EP comes from Daniel Ruane. Daniel's previous releases have been recognised for their mind bending, intellectual approach to 3D sound design and glitchy stop start methods.

The title track could be regarded as the frantic soundtrack belonging to an anxious generation. There's defiance within its warped and frightened structure; a passion for tearing down walls, dissecting normative systems and glitching madness that floats on the periphery of insanity.

It opens, full of optimism, with visions of an otherworldly utopia, before transcending into a manipulated fucked-step. Twisted rhythms, organic/robotic hybrids and mutant grooves, delivered with extraordinary accuracy, birth a form of experimentalism that is at home on the dance floor.

IV (CF_BD) shines a searchlight on a computerised battle. These are Ruane's biological impulses in mechanised form. A dextrous, rhythm provides a loose template for controlled chaos as lairy bass pressure, overdriven kicks and difficult rhythms treat the track like a statue of Perseus being carved out of stone".

Mastered by Declared Sound
Artwork by Thomas Murray

@daniel-ruane-2

Daniel Ruane - Tengu (MNDUBPLATE01)

Taken from E B U's debut album 'Hinge' -
... Available to preorder now:
ltd edition vinyl: rwdfwd.com
digital: nocorner.bandcamp.com

"Celebrating otherness, E B U casts a universe of her own both sonically and visually. Defying any one genre, she refers to her distinct sound as 'Swamp Pop'. Unnatural sounds and pitches exhale in melodic chants, ominous basslines resound and eerie loops fixate in this macabre ensemble. You are captive in her world. Moments of haunting clarity keep you wondering where she will take you next whilst strange narratives unfold. Her chameleonic visual display is charged with emotion, keeping you suspended in a state of flux as she orbits through the spectrum. Stimulated by human behaviour and existence she questions the very nature of being, and invites the audience to explore through her cathartic performance."

To our ears, her sound captures elements of the radiophonic qualities by electronic pioneers such as Delia Derbyshire, through to unlikely melody and harmony akin to that of Ryuchi Sakamoto or Laurie Anderson. 

It's an explorations of strange places with a weird & wonderful sphere, sonically capturing the colourful intensity of Alejandro Jodorowsky's Holy Mountain, or perhaps sounding like a much more out-there, much more convincingly extra-terrestrial Space lady... These are just vague comparisons though... Essentially, her sound is a total world of it's own. 

Hinge, E B U's debut album, is an outer body experience that will conjure up memories you never had before, images you can't quite place but somehow relate to, and a sense of sweet disorientation as you slip into a whirlpool of shapeshifting melody, harmony and frequency.

<< support here >>

E B U - Homeland

Nuova Musica Ostinata

Non mi è piaciuto

"Dérive des fluides" is an unfinished story of a boat drifting slowly and falling in the deep waters. A metaphoric image of a body, a mind, drawning into the abyss. 
Made with synthezisers, voice, theremin & sound collages from various movies.

Tucuxi - Dérive des Fluides

Slippery (demo)

"Customer’s Copy" is the debut LP of contorted cosmic jazz and eccentric minimal electronics by Exotic Sin. The duo of Naima Karlsson and Kenichi Iwasa first came together for a performance celebrating the art and music of Karlsson’s grandparents, Moki and Don Cherry, before continuing as an independent unit that still incorporates some of the Cherrys’ instruments as well as their synergetic integration of music with artistic practice.

Preferring the stark contrast of analog/digital, acoustic/electric, and natural/unnatural sounds, Karlsson contributes synthesizers in addition to piano, celesta, and bells, while Iwasa collides anachronistic 90s Yamaha keyboard and guitaret with contrabass recorder, drums, kalimba, and three of Don Cherry’s instruments: one of his trumpets as well as two of his “zen saxophones,” handmade woodwinds appending reed mouthpieces to plastic plumbing parts, also called Don’s kettles after their high-pitched sound. With such timbral juxtapositions, the spirit of Exotic Sin is reminiscent of a number of leftfield jazz-meets-electronics ‘70s duos from Don Cherry’s maverick collaborations with Jon Appleton and Terry Riley to Anthony Braxton’s work with Richard Teitelbaum, İlhan Mimaroğlu and Freddie Hubbard’s "Sing Me a Song of Songmy," and Muhal Richard Abrams’ electronic works. On album opener “Dot 2 Dot,” Karlsson’s measured, monastic piano sets an elegiac stage for kettle bends and absurdist electro-percussive filtering courtesy of Iwasa before a flourish of cascading ebonies and ivories together with restorative circular trumpet motifs bring the sidelong piece to a majestic resolution. Named after the character from Ridley Scott’s 1989 film Black Rain, the schizosphere of “Charlie Vincent” interfaces ominous, dystopian synthesizer with permuted organ swells before album closer “Canis Minor” sets gentle sail for a distant bed of lonesome stars.

A visual artist as well as an archivist and coordinator for the Cherry estate, Karlsson continues to learn and study Don’s compositions and approach to piano with her uncles Eagle-Eye and David, who were taught by Don himself, and his use of short piano compositions as loose scaffoldings for improvisation is prevalent across the record’s three otherworldly unfurlings. Improvisor and multidisciplinary artist Kenichi Iwasa is also known for his legendary Krautrock Karaoke night, his contribution to Beatrice Dillon’s 2020 album Workaround, and collaborations with visual artists and musicians from Linder Sterling to members of Can, Neu!, Faust, Cluster, and Wire. Recorded and mixed, with additional alto flute, woodwinds, and contrabass recorder by Robbie Lee.

Exotic Sin - Canis Minor

Taken from The Henning Christiansen Archive release HC3 Opus 201 L´ESSERE UMANO ERRABANDO LA VOCA ERRABANDO LP

The third release on The Henning Christiansen archive label features a previousely unreleased work from 1991. The Wandering Human Being - The Wandering Voice, as the title suggest is a piece for voice and featurues Carlo Quartucci, Carla Tatò, Ursula Reuter Christiansen and Henning Christiansen. 

Ursula and Henning met the couple Carlo Quartucci and Carla Tatò through the curator Johannes Gachnang on a visit to Genazzano in Italy 1983 and became close friends, collaborating on a variety of projects, most notably on Carlo and Carla’s epic adaptation of Heinrich von Kleist's play Penthesilea (forthcoming on The Henning Christiansen archive). 

The Wandering Human Being - The Wandering Voice came about from a conversation between the four of them whilst on a beach on the island of Møn in the eastern sea in Denmark, looking south. Here they all laughed at the realisation that on the other ide of Europe in this direction was Sicily where Carlo and Carla lived. The island Sicily, The island Møn. As Henning says “The human-being was wandering from sea to sea”. Henning saw no difference in their way over life ‘over there’ and mused on the means of which we cross over oceans and move around facilitating awareness of the same family of human being. People from islands meet people from islands and they can all look across vast waters and laugh together. 

Human-basic-technology

This conversation and collective realisation of the simplicity of it all lead to this work which is one of the finest in Henning’s vast catalogue. L´essere Umano Errabando La Voce Errabando is a mantra for four voices, the sound of the ocean, a pvc tube, effects and wind instument. The piece moves in an organic hypnotic fashion lulling and rolling, ebbing and flowing over the two sides of the record. Rudimentary phrases in various languages interlope and weave a mystical music, as primitive as it is ‘contemporary’. 

The Wind, The Stars, etc are repeated over in random untrained fashion. The two couples from different countries weave voices, words and language into a common sonic fabric which eradicates identity, the idea of ‘national’, the idea of country, the idea of difference.  

Unlike anything else in Henning’s output L´essere Umano Errabando La Voce Errabando is a calm and meditative work which rolls along two sides wrapping the listener in a random melancholic meditative mantra. Only Henning Christiansen could summon such haunting, beautiful, gothic music carved from political hope.

Exotic Sin - Canis Minor

Blank Forms

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