Étude

Kollektiv Turmstrasse July 2013 Mix - Listen & Download NOW!! 

www.facebook.com/kollektivturmstrasse 
www.kollektiv-turmstrasse.de 
www.musik-gewinnt-freunde.de

Tracklist: 

1. Nicolas Jaar - Materials (Original Mix) 
2. Rennie Foster - Devil's Water (Miquell Santos Remix) 
3. Cristian Paduraru - 1st Class Sharing (Deep House Mix) 
4. Norman Zube - Aivioli (Hanne & Lore Mix) 
5. Cassius - The Sound Of Violence (Franco Cinelli Remix) 
6. Hunter Game - Blue Earth
7. Stimming - Cherry Blossom
8. Philip Arruda - Seeds Of Brooklyn (&me Remix) 
9. Ferrein - Meeting Sea (Robag Wruhme's Wolser Schelek NB Remix)
10. Yoko Duo - Close These Curtains (Stimming Remix) 


Kollektiv Turmstrasse - Mix July 2013

https://www.facebook.com/Petrels
http://petrels.bandcamp.com/
http://floatinglimb.com/
https://twitter.com/bowed_idly

Remix of the track 'Fragments of Self' from 'Fragmented Self' by Max Cooper and Tom Hodge.

http://www.fieldsldn.net/

When trying to make creative decisions based on the results of somebody else's process it makes you try things out that perhaps you wouldn't normally think of and I'd say with every remix I've ever done I've come away with something new.  Sometimes its interesting to take a track in a completely new direction but in the case of Max and Tom's collaboration I was immediately drawn to the subtle harmonic undercurrent of the synth lines beneath the main piano parts and figured it would be interesting to put together an arrangement that brought that to the fore. 

I started with a rough layering and overlay of the piano samples - trying to re-arrange them into different combinations than in the original to create something that had the same feel (on a side note, its always pleasing to work with recordings like this of instruments that sound played - i.e., you can hear the movement of the pedals and the fingers on the keys rather than a surgically-extracted sequence of notes) but that came to the main melodies from a different angle.  I can't really compete with Max's glitchy rhythmic production and since this is so distinctive it seemed like a bit of a cop-out to make too much use of these samples in any case so in the end the main part of what I used of the rhythm was a short kick drum sample that I processed in various ways to create the studded melodic cross-rhythm that I used for most of the middle of the track.

With the bare bones in place the majority of the rest of the work came from layering up the arrangement with the kinds of synths and strings that I make use of in my Petrels stuff.  Like I said, I was drawn to the low root synth line in the original that casts a subtle melodic shade over the piano lines so using this as a starting point I slowly built up the orchestration around it so as to make it much more of a focal point.  In the end, hopefully the result is something akin to a huge group of assorted musicians attempting a spontaneous live version of what essentially started as a duet performance. Well that was the idea anyhow.

Max Cooper & Tom Hodge - Fragments of Self (Petrels Remix)

Following the recent release of their "Beethoven 250" production which features on Coldcut's 0 Compilation, I'm very proud to be able to add this collection of ambient music from A Winged Victory For The Sullen's Adam Wiltzie to the Afterhours series.

As we turn the page on 2021, please enjoy this mixtape from Adam of AWVFTS.

Thanks,
-Josh
--

Order the 0 compilation here:
https://coldcut.lnk.to/AT0So

Connect with A Winged Victory For The Sullen:
@awvfts
https://www.instagram.com/awingedvictoryforthesullen/
https://www.facebook.com/awvfts
https://twitter.com/awvfts

Tracklist:
1 Labradford – Battered [kranky] 
2 Jon Hassell, Brian Eno – Delta Rain Dream [E.G. Records] 
3 Seefeel – Lux1 [Warp Records] 
4 Main – III [Beggars Banquet] 
5 Boards of Canada – Over the Horizon Radar [Warp Records] 
6 Adam Bryanbaum Wiltzie – Tyler and Jesse [Artificial Pine Arch Manufacturing] 
7 Jóhann Jóhannsson – Melancholia [Starr Score Holdings] 
8 Brian Eno – Ikebukuro [All Saints Records] 
9 Stars Of The Lid – The Artificial Pine Arch Song [kranky]

Connect with We Are Machine:
https://www.youtube.com/WeAreMachine
https://www.instagram.com/wearemachinemusic/
https://www.facebook.com/wearemachinemusic
https://soundcloud.com/wearemachinemusic

Buy 0 compilation

We Are Machine - Afterhours 014 - A Winged Victory For The Sullen

Avant-garde classical landscapes, left field electronics, bass productions and straight up Indie rock: the Anglo/German independent label Erased Tapes Records likes it multidimensional. Established by German-born Robert Raths in early 2007, the record company is currently managed by Raths and Sofia Ilyas in London. Over the years, Erased Tapes has become a melting pot for innovative and imaginative musicians including Ólafur Arnalds from Iceland, German composer Nils Frahm, Ukrainian music pioneer Lubomyr Melnyk, American multi-instrumentalist Peter Broderick, singer songwriter Douglas Dare, English film composer Michael Price and electronic artist Rival Consoles. For Carhartt WIP Radio Sofia Ilyas has produced a show that gains an insight into the labels musical approach, from classic to electronic and beyond!

Tracklist:
Lubomyr Melnyk - The Six Day Moment
Michael Price - A Tenderness
Douglas Dare - Seven Hours
Kiasmos - Looped
Rival Consoles - Odyssey
Ólafur Arnalds - Endalaus II
Nils Frahm - For - Peter - Toilet Brushes - More
Peter Broderick - These Walls Of Mine II
Codes In The Clouds - Don't Go Awash In This Digital Landscape
World's End Girlfriend - Teen Age Ziggy
Ólafur Arnalds & Nils Frahm - A1
A Winged Victory For The Sullen - Steep Hills Of Vicodin Tears
The British Expeditionary Force - Pleasantly Confused

Carhartt WIP Radio March 2014: Erased Tapes - Radio Show

Canto Ostinato is the new volume of classical minimalism from musician and producer Erik Hall. Written for four pianos in 1979 by Dutch composer Simeon ten Holt, the piece is freshly framed as an intimate, hour-long solo performance consisting of multitracked grand pianos, electric piano, and organ. Modern yet warm, ethereal yet tangible, Hall’s Canto Ostinato expertly bridges a revered piece of meditative concert repertoire with a tactile and highly personal studio setting.

Chicago-born and Michigan-based, Erik Hall is known as a multi-instrumental pillar for the groups NOMO, Wild Belle, and his own songwriting moniker In Tall Buildings. He has composed music for feature films, and as a producer/engineer he has shaped records for Natalie Bergman and Western Vinyl labelmates Lean Year. In a 2020 creative pivot, he chose to reinvent composer Steve Reich’s monumental contemporary classical masterpiece Music for 18 Musicians as a solo undertaking, applying the piece’s score to the familiar keyboards, guitars, and synthesizers in his studio. “At the time I think I was working through my identity as a musician and an artist,” Hall explains, “and on a level there was some sort of exorcism of a long held pop spirit.” The album was celebrated for being “freshly thrilling” and “legible in history but assertive of the moment” (Pitchfork) and “beguiling, meditational, and magical” (Electronic Sound). It won the 2021 Libera Award for Best Classical Record, and it quickly joined the canon of the piece’s quintessential recordings.

“There is a pseudo-meditational benefit to working on a longform piece that’s built on repetition,” Hall says. “Every stage— from internalizing the music, to executing the performance, to editing and mixing the record— requires deep and sustained presence of mind. I’ve always been drawn to a hallucinatory combination of harmony and repetition, and I found the entire process addictive.”

An apt second chapter, Canto Ostinato is inherently vast, and its score gives great creative license to the performer. Comprising 106 sections, complete freedom is given to repeat each one as many or as few times as desired. Additional leeway is given with regard to dynamics, articulation, and even instrumentation. On the heels of his previous, rather maximal arrangement, Hall chose to limit this album’s palette to three foundational keyboards of his studio: a 1962 Hammond M-101 organ, a 1978 Rhodes Mark I electric piano, and his family-heirloom 1910 Steinway grand piano. “This particular piece brought the added challenge of rekindling my dexterity as a pianist, something I haven’t maintained in earnest since I was a teenager,” he admits. The ensuing five-note rhythmic motif— the piece’s primary building block— is steady and workmanlike, forgoing virtuosic flare for depth, texture, and resonance, and eventually giving way to the stunning gratification of a gorgeously lyrical left turn.

As with Music for 18 Musicians, Hall employed no loops nor quantization nor any programmed or sequenced instruments of any kind. Every part was performed live in a room and captured with microphones, one at a time, each informed by, and reacting to the last. In this way the record breathes with interplay and an organic humanity, complete with flaws, noise, and the faint sound of turning pages. The recording quality is nonetheless toneful and saturated, characteristic of Hall’s production style and straying from the usual transparency of classical albums by using gear with tubes, transformers, and various stages of compression in the signal path. Always there is unmistakable realism and the feeling of being present in the room, sitting among the keys, hammers, and tines.

Ten Holt said: “Time, patience and discipline are the prerequisites for making a genetic code productive." His landmark composition provides Hall once again with a wondrous space in which to reverently embody this sentiment and deftly convey the elegant beauty of this music.

Erik Hall - "Canto Ostinato - Sections 17 - 30"

BandCamp

Oxford Drama (raw mix)

I tried to reinterpretate a classic piano piece from the French composer Eric Satie

  

Gnossiennes Reinterpretation

For today's exclusive track premiere, I am featuring a piece from the second volume of music by a UK trio called Quiet Places, consisting of Dennis White, Charlie May, and Dave Gardner. Their debut release, appropriately titled Volume 1, showed up on my radar back in 2020 [has it really been that long?] by way of Ryan Griffin's meticulously curated A Strangely Isolated Place imprint, the output of which I consistently and hungrily consume. As is foreshadowed with the title, we are now gifted with Volume 2 of this group's creations, featuring four long-players, each taking up an entire side on this gorgeous marbled 2x12" release [the piece you are hearing today is not on the album, and is a digital-only special bonus track]. As I described the first volume three years ago, the swirling atmospheres in a haze-inducing daydream,  the humming synth pads with the layers built upon each one, and the kaleidoscope of sampled snippets are back again in Volume 2 to snatch me back from this reality and drop me into times when Boards of Canada, Global Communication and The Future Sound of London soundtracked my days. On their latest for ASIP, the trio once again command the sonic artistry and deep knowledge of the stylistic snapshots that are stitching up my memories into a cohesive whole. This is a welcome escape from the bombardment of the "usual", a future flashback into the past of the present, a twist in the fabric of space where time becomes a loop.

Volume Two

TRACK PREMIERE : Quiet Places - The Empty View

The Lost Flowers of Alice Hart (Prime Video Original Series Soundtrack)

June Remembers

1) Intro : Translation in english : Clouds...At certain moments I found out that lots of people attracted by it, they found sort of protection with haschich...What kind of protection ? Some sort of a cloud, a cocoon. It's true. Can you explain it ? No I can't but when you get high like that you cannot see things for what they are. You embellish things a lot and the things that you can't embelish, you forget them.

Fingers in the noise in 2h02

Diamonds

the final song on the Album "In The Beginning"

Marbert Rocel Shop

With your love

The title track from TONGUE
https://friendsoffriends.lnk.to/4vLBcEM

LA Times
http://www.latimes.com/entertainment/music/la-ca-ms-california-sounds-anenon-daedelus-jasper-bones-20171117-story.html

Tongue

„Amygdala“ is Koze’s Sgt. Pepper. It’s an unreal 78-minute walk through Koze’s mind, complete with moods, intensities, sounds and scenes as yet unheard of. It feels more like a double album, urging you to turn over and change the records time and time again. "Amygdala" amazes by its sheer musicality, deepness, and its  ethereal sound design; it’s a kaleidoscope of a great variety of soundscapes where you keep discovering new nuances even after listening to it a thousand times. Nobody else could unite artists like Caribou and Dirk von Lotzow, Hildegard Knef and Mathew Dear, Ada and Milosh in such an organic way and on one and the same record as Koze did. There’s never been anything like it.

He weaves new garments around the a capella parts of his guests, garments that only he can tailor, and that’s how the album, for all the diversity of its artists, sounds consistently homogeneous and in the true style of Kosi Kos. It’s all about “the courage to dare”, about letting voices resonate undisguised in all their authentic peculiarity.  About creating  truthfulness.

How much can you cut out, when does the flame die down? On the other hand, under which circumstances could it even burn for ever?

The album, which in large parts has been composed in a Spanish fishing village, starts off with Balinese gamelan sounds from which a relaxed discoid bass peels off, caressed by mystic backwards basslines, balafon resonances and slide guitar chords. You can hear the ceaseless chirping, twittering and cheeping from all the treetops of Koze's exotic jungle.

DJ Koze feat. Caribou - Track ID Anyone?

20 Years Cocoon Recordings

Kikaqu

Exclusive mixes, directly from the artist.
 
Launched in 2008, Carhartt WIP Radio serves as a platform for spotlighting artists and record labels around the world. Each episode is curated by the artists or labels themselves, offering a one-hour mix of carefully selected tracks – past, present and forthcoming. From Sahel sounds to adventures in bass; hip hop to eclectic electronics; or house to techno, versatility is key.
 
Accompanying each episode is an interview that delves into the stories behind the artists, offering a glimpse into their creative processes and unique perspectives on the music industry.
 
Listen to the show on the official Carhartt WIP Radio App for iOS: bit.ly/W5yC1D.
And visit www.carhartt-wip.com/journal/music for updates on Carhartt WIP Music projects.

Carhartt WIP Radio March 2014: Erased Tapes - Radio Show

Carhartt Work in Progress

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