Davachi/Smith live on Katharsis (CJSW) June 26, 2016

From the album ‘Along a Vanishing Plane’ out September 16th on Western Vinyl

Pre-Order the album:
iTunes https://itunes.apple.com/us/album/alo...
CD + Vinyl: http://westernvinyl.com/shop/wv149

Christopher Tignor
Artist Page http://westernvinyl.com/artists/chris...
Website http://www.wiresundertension.com/
Facebook https://www.facebook.com/ChristopherT...
Twitter https://twitter.com/tignortronics
Instagram https://www.instagram.com/tignortronics/

“This music is first and foremost about what can be done together, live in a room, to both transcend and reclaim ourselves from the noise of public living. I’m waging a sort of secular, one-man liturgy here; a public act grounded in ritual. These songs offer wordless hymns and pulsing harmonic frameworks one might use to focus their own contemporary values. Instrumental music particularly offers the opportunity for personal interpretation and reflection. In this ever-fucked world, that seems perpetually in short supply. 

“To engage with ritual is to engage with time. I needed to create a way to play solo that would let me wield the temporal freedom of expressive instrumental music with the full palette of modern electronic forces. I banned backing tracks, click tracks, and even live looping - anything that would enforce a strict grid. I wanted time back in electronic music. 

“I also wanted the body back; our rituals begin with the physical. All sounds originate from me kicking a drum, playing the violin, or various natural percussion sources. I built software that lets me do all this, free here". This offers an unprecedented amount of control over this music’s elastic sense of time. Electronic music without the grid. There’s so much space in this music, it’s just essential - listening to a phrase decay in the room before proceeding. Likewise, there are no overdubs in these recordings; it’s just me, 6 mics, and 3 video cameras. 

“Yes, the whole record’s also on video: a Video Album. We avoided the recording studio, preferring a spacious hall in what was once a psych ward and then a schoolhouse. Again, I’m trying to pull you into the live ritual, into the room. A video isn’t a live event but it does evoke it. I bring my own artifacts: triangles, a pasture bell, and tuning forks in particular: I use these as first order musical instruments, beginning with a percussive strike and then, while resonating, processed through my bridge into shifting melodies. 
“So there’s a bunch of new stuff here. Real novelty isn’t an indication of quality but it does require a bit of bravery perhaps. We need to take chances. 

“But enough about not-me. I’ve been creating instrumental music a long time now, under my own name and via bands (Slow Six, Wires Under Tension). I’ve also built software a long time - yes, I do this for Google. I did my time in Princeton’s PhD program for music composition, NYU’s Masters of computer science program, and at Bard studying creative writing. I worked live sound for years at NYC clubs now gone (CBGB’s, Brownies) while immersing myself in minimalism, working sound for a music festival produced by Mr. Glass and assisting LaMonte Young. As a string arranger I get to work with lots of great artists including John Congleton, This Will Destroy You, and Meshell Ndegeocello to name a few. I’ve worked as a bike messenger, snowboard instructor, and Emergency Medical Technician...buy me a whiskey and I’ll tell you the rest…” 
– Christopher Tignor

Along a Vanishing Plane

Christopher Tignor - "We Keep This Flame"

Taken from the album 'Love Means Taking Action', ALT28.

Order: http://croatianamor-alter.bandcamp.com/

Croatian Amor - An Angel Gets His Wings Clipped (ALT28)

With a loud creak it rises from the old black casket and sits upright, wide eyed and thirsty for its next terrified victim... The Finders Kreepers Hallowe'en special is back! It's that time of year again where the B-Music crew's combined record collection of global ghoulisms sounds more relevant that ever. Complete with decapitated disharmony, maledictus melody, frankensteiner filled fuzz and our unique brand of humour which is literally dead in the water. Your faithful fantoms Vampire Votel, The Petergeist Mitchell and Grave Dug Shipton are joined, live in the tomb, by post punk 3D effigy Gerry H. Hologram, devil music expert Victor Brox and the mysterious Were-Worm. As if that wasn't enough to make your ears bleed, Finders keepers are also proud to present an exclusive meeting between Christopher Lee and Vincent Price. There'll also be a lot of medium rare vinyl and records that had previously vanished into thin air. I could sit here typing this sh*t all day to be honest, so in danger of not missing added trivia about Manc horror film director Cliff Twemlow and the Hells Angel of Sweden (courtesy of Alberto y Lost Trios Paranoias' CP Lee) we'd advise you to unleash your talismans and tune in your ouija boards. Tis the season to be screamin'.

Les Demons

The Second Inquisition

Finders Keepers Radio - Halloween Special

Ruins Of Time

Maninkari - Limbo

Richard Skelton ~ Noon Wood Hill
Clem Leek ~ Trois/London Bridge, Wednesday, 5.30PM
A Winged Victory For The Sullen ~ Steep Hills Of Vicodin Tears
Goldmund ~ Motion
Kyle Bobby Dunn ~ Statuit
Daniel Thomas Freeman ~ Elegy And Rapture (For Margaret)
Deaf Center ~ New Beginning (Tidal Darkness)
Christina Vantzou ~ 11 Generations Of My Father
Brian McBride ~ Supposed Essay On The Piano (B Major Piano Adagietto)
Petrels ~ Concrete

-
Be a dear and support the artists.

Mournful Songs (Mix)

Spectral folk and electronic ambience from the Oregon coastline.

Read more: https://www.residentadvisor.net/podcast-episode.aspx?id=621

Resident Advisor podcast

RA.621 Grouper

Composed, recorded and mixed by Èlg

Taken from "Les Particules" original soundtrack released by three:four records in digital and LP.

A film by Blaise Harrison
Les Films du Poisson / Bande A Part Films / Les Films du Losange

Les Particules

Buy on bandcamp

Les Particules - Original Soundtrack - La montée

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

Mournful Songs (Mix)

bluesforascorchedearth

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