More information: http://shapeplatform.eu/2018/shape-platform-announces-2019-list-of-artists/

SHAPE Artists 2019

Akhtar Chanal, Washmallay, Coke Studio 7

Parisian DJ Betty Bensimon mashes electro, gqom, footwork and Sonic the Hedgehog on this rapid-fire showcase.

For more information and tracklist head here: http://www.factmag.com/2017/08/22/betty-bensimon-fact-mix/

FACT Mixes

FACT mix 615 - Betty (Aug '17)

- the second release in our series, curated alongside @classicaltrax 

- download: http://bit.ly/2Ebu2KB

-sounds from:

@strick
@iamquestionmarc
@jamesbangura
@jg_jour
@plvybxy
@mojogoro
@bl-nco
@yumeka-ah
@thisislenfant
@bamaoyende
@lighghtofficial
@pastichecph
@armasounds

Pineal Sounds & Classical Trax Presents : Slam Jam Vol. 2

Bamao Yendé - Zenga

'The King' is Chaines' commanding return to Slip: a claustrophobic, dank book of abstracted torch songs, festering in an uneasy grandeur.

The LP collects work diligently amassed in the 3 years since the British composer/producer's Slip debut 'OST', which housed contributions from 'cellist Oliver Coates and artist Mary Stark within melancholic, uncannily tactile productions. The intervening period has seen Chaines collaborate extensively with the London Contemporary Orchestra, with commissions performed at The Roundhouse, Union Chapel, Printworks, and Tate Modern.

'The King' sees Chaines' eccentric, singular language grasp a fresh immediacy and emotive potency. Chaines’ voice is more present than ever - creepy, seductive and pained on the Scott-Walker-does-ASMR of "Eraserhead", and diva-ghost of "Population 5120" - and their arrangements dissolve the symphonic into freakish forms - "Carpathia" and "Knockturning" spike pastoral organs and flutes with industrial menace and convulsing beatwork.

'The King' [SLP037] is available on LP and download from March 2018. Artwork by Chaines. Mastered by Giuseppe Ielasi. Distributed by Boomkat.

Chaines (Cee Haines) is a musician based in Manchester, UK, who writes rather peculiar electronica and electro-acoustic music. More recently, they have had their music toured by producer and cellist Oliver Coates (PRAH Recordings) across Europe and America, and large scale electro-acoustic premières given by the London Contemporary Orchestra and organist James McVinnie (Bedroom Community) in venues such as the Roundhouse, Royal Albert Hall, and Tate Modern. They have been in residency with SAY award winner Anna Meredith and Grammy Award winner Imogen Heap, improvising, performing and producing audio and video.

@chaines

www.fb.com/chainesmusic
www.slipimprint.co.uk

LP/DL

Eraserhead - Chaines

'ORTRESPOX' from C60 tape - 'Gwilly Edmondez: A Retrospective Mixtape Made Questionably & Unquestioningly by Himself' / 'Trouble Number' [SLP045]

The Godfather of Wild Pop.

'Trouble Number' is a major retrospective of four decades of peerless, visionary, and feral production from Gwilly Edmondez - the dad from Yeah You.

This 90 minute double-cassette package cherry picks from hundreds upon hundreds of hours of psychoanalysis through pop waste, performed by Gwilly upon himself since the founding of his '80s outfit Radioactive Sparrow.

Bewildering and basically incomparable in its entirety, 'Trouble Number' mongrelises strains of hip-hop, black metal, folk, power balladry, more more more, with a properly prophetic, popwise soul.

Pay your respects.

Says Gwilly:

Gwilly Edmondez just grew as a character project in the mid-1980s, offshoot from the to’l-spon/non-com/pop-kak invention-pool that was/is Radioactive Sparrow, itself founded by a group of Bridgend (13-year-old/non-voter) elements in 1980. Gwilly is a solo/collaborative improvisation that started out making fake, unwritten rock, then progressed in the 1990s to real unaccompanied rock, before settling into a mode of practice defined by sampling, tapes and vocals.

Over many years, Gwilly has struck up many material partnerships and misadventurist associations of, with the likes of James Joys, Val Persona, Faye MacCalman, Karl D’Silva, Tobias Illingworth, Laura Late-Girl, b-cátt, Odie Ji Ghast, THF Drenching, Tony Gage, Richard Bowers, People Like Us… But in the end none more so than Elvin Brandhi.

‘Gnarlage of Self’, the C30 album, was made on Newcastle’s hottest day in 2017, in an upstairs room in Heaton, recorded by Dario Lozano Thornton with Schoeps MK2/MK8 pair to Sonodore preamps in one take subsequently edited and disorganized by Dario.

‘Gwilly Edmondez: A Retrospective Mixtape Made Questionably & Unquestioningly by Himself’ started out as a kind of slapstick/slapdash best of… but quickly became its own entanglement of old stuff, new-but-unused stuff made for the C30, and bits of recent live sets. The first half, side one, tries to bungle blindly into the nature of supplication, confession and self-condemning introspection – find the self then kill it; side two starts on the other side of death inhaling wafts of cheap air freshener as a means to hallucinate a personal history that never could’ve happened anyway, before scrambling back through the rear end of personality only to be consigned to liturgical palliatives in a manner carried out by his countless forebears of the cloth. It could only end with “Walken’s Kiss”, a sardonically pronounced cliffhanger.

‘Trouble Number’ [SLP045] is available from May 2018 in a double cassette package - ‘Gnarlage Of Self’ (C30) + ‘Gwilly Edmondez: A Retrospective Mixtape Made Questionably & Unquestioningly by Himself’ (C60) - with download. Artwork by Gwilly Edmondez. Mix and Edits by Dario Lozano Thornton and Gwilly Edmondez. Distributed by Boomkat.

@gwillyedmondez

www.slipimprint.co.uk

2xCS/DL

ORTRESPOX - Gwilly Edmondez

TRACK LIST:

URSULA K. LE GUIN & TODD BARTON - MUSIC AND POETRY OF THE KESH
XENIA XAMANEK - SITIO LL
CTM - RED DRAGON
CAROLINE SHAW - PARTITTA FOR 8 VOICES - PARTITTA 2, SARABANDE
SUSUMU YOKOTA - AMANOGAWA
PHEW - AQUA
BOLI GROUP - WHITE TEARS
PEP LLOPIS - JARDINS AQUATICS
SHIRLEY COLLINGS & THE ALBION COUNTRY BAND - MURDER OF MARIA MARTEN
ALBERT GIMENEZ - JAVA
SMERZ - BAIL ON ME
LTJ BUKEM - DEMON'S THEME
SPEEDY J - SOMETHING FOR YOUR MIND
BASIC CHANNEL - PHHYLYPS TRAK
LTJ BUKEM - HORIZONS
ASTRID SONNE - ALSO

Smerz on NTS - Astrid Sonne guest mix 27.04.18

"AFRIPROGNOIZ" by KK NULL & Balazs Pandi duo "Demoncore" . Composed & performed by Kazuyuki Kishino (computer, synthesizer) & Balazs Pandi (drums). Decomposed & remixed by Kazuyuki Kishino @ prima natura studio November 2016.

KK NULL & Balazs Pandi / AFRIPROGNOIZ

https://chaines.bandcamp.com/album/the-king-live-arrangement-first-ever-studio-take

***NEW ALBUM ON BANDCAMP***

This track is from my first ever play through, in my office, of the live set I developed for my album 'The King'; a solo set, featuring laptop, vocals, fife, flute, clarinet, recorder, guitar, keys and other electronics.

Being the first ever run through, it's not a completely perfect version. There are some errors, and some parts have changed since I've come up with better ideas. But I think this take still stands up, and is an artifact of the development process of which I'm fond, and want to have for posterity.

3. Narthex (Knockturning Part iii)

'111 angelic MIDI cascade' is Ralph Cumbers' exquisite Slip debut: a finely forged collection of joyous electronic music built to surge and heal.

This is Cumbers' first deliberate Bass Clef album since 2012's 'Reeling Skullways' on Bristol institution Punch Drunk, and a forceful departure from the bubbling, rogue club 12"s since issued on The Trilogy Tapes, PAN, and Idle Hands.

Drums are almost entirely absent, making way for a braiding of soaring machine melodies, and taut harmonic threads. To be clear: this is no ambient record. No drifty clouds, no cocoons, no sonic platitudes.

Recorded in Rotterdam in August 2018, amidst an immersion in the history of clairaudience, scrying, and natural philosophy, '111' is a leap into pinpoint mysticism, with Bass Clef as happy alchemist.

'111 angelic MIDI cascade' [SLP052] is available from 31st January 2019 on cassette and download. Mastered by Stephen Bishop. Distributed by Boomkat.

@bassclefofficial
@magicanddreams

www.slipimprint.co.uk

CS/DL

emphasise empathise - Bass Clef

'brace, brace' is Julia Reidy’s soaring Slip return: a dread-tinged incantation unfurling from breath-down-the-neck field recordings, auto-murmured voice, synthetic hum, and irrepressible guitar kinetics.

Reidy's signature 12-string playing - precise, burrowing, rhapsodic - dominates the LP's outer cuts, framing a plaintive electric centre. Blooms of arpeggiations and desolate strums re-inflect slow-moving pitch sequences; the music feels at once on fire and graceful, inevitable.

Perhaps most surprising is how organic 'brace, brace'’s expanded palette feels. Reidy's electronics are subtly eerie extensions, alien resonances of her playing, both embedding her instrument and making it somehow unreal. This strange smear of body and apparition is neatly nailed in Reidy's sung-to-herself vocals, coaxed out and encroached upon by autotune.

Succeeding issues of her work by Feeding Tube and Room 40's A Guide To Saints, 'brace, brace' is a definitive statement from a blazing, restless talent. 

The LP tours with visuals from Suze Whaites. Whaites' projection environment is built from the coruscant light sources and surface reflections with which her video footage is made, creating mutable vistas at once microscopic and panoramic, domestic and sublime.

'brace, brace' [SLP046] is available on vinyl LP and download from February 2019. Mixed and recorded by Sam Slater. Mastered by Joe Talia. Artwork by Suze Whaites. Distributed by Boomkat.

www.julia-reidy.com
www.slipimprint.co.uk

of neither [excerpt] - Julia Reidy

'Joyrobix' is Brummy-abroad Joe Snape’s flooring return to Slip: a songbook of nimble, aching pop that wrings raggedy solace from dejection and displacement.

Begun as a danceable refix of pieces for chamber ensemble toured the last three years, production on 'Joyrobix' stalled sharply in 2016. Instead of a self-confident exercise in documentation, the record twisted into a darker, more lyrical original: a period portrait of dislocation and burnout following Snape's move to the US in 2015.

There’s still plenty of fun to be had. Between the adult contemporary guitars, gospel grooves, and Broadway melisma, the tropes of a musical America are present, correct, and indefatigably uptempo.

But even at his most playful, Snape sounds like a musical mind running on fumes, the optimistic experimentalism of 2015's 'Brittle Love' audible only through a weary cloud, and the black dog never altogether quieted. Nor could it be: 'Joyrobix' sounds like a working-out – here manic, there taciturn – of a New World dream gone sideways.

'Joyrobix' [SLP047] is available on vinyl LP and download from April 4 2019. Mastered by Giuseppe Ielasi. Artwork by Suze Whaites. Distributed by Boomkat.

www.joesna.pe
www.slipimprint.co.uk

Joyrobix

Behind Glass - Joe Snape

This is a sort of cover of the first section from Georg Philipp Telemann's Fantasia in E major for solo flute. I've always been in love with this movement and wanted to ask Cee to add their own flavour to it. This version's got a full on lullaby feel, but not as saccharine. To me it's nostalgic AF.

Telemann Affetuoso (feat. CHAINES)for Jenny

CHALICES is the combined force of writer, poet and performer Alice Godliman and musician CHAINES.

On 'Conference Room B 10pm' CHAINES takes their cue from horror podcasts such as The Black Tapes Podcast and Alice Isn't Dead, combining a fondness for the spooky spoken word with deranged tinkerings in modular synthesis. 'Gravewalking' and 'Red' - collaborative tracks with Godliman - use the lens of mythology and superstition to explore two different moments of nostalgia and relationships.

chaines.co.uk/chalices

'Gravewalking' [SLP061] available from October 2020 as a photo with/or download.

Music by CHAINES
Text & Voice on 'Gravewalking' and 'Red' by Alice Godliman.
Mastered by Rupert Clervaux

PIC/DL

Gravewalking - CHALICES

Sound, Heterogeneous Art and Performance in Europe.

'THE KING' out on Slip Imprint, March 15th 2018;

https://boomkat.com/products/the-king-ce3b3a7c-395d-496a-a262-380e68d2e71a

The King is Chaines’ commanding return to Slip: a claustrophobic, dank book of abstracted torch songs, festering in an uneasy grandeur.

The LP collects work diligently amassed in the 3 years since the British composer/producer’s Slip debut ‘OST’, which housed contributions from ‘cellist Oliver Coates and artist Mary Stark within melancholic, uncannily tactile productions. The intervening period has seen Chaines collaborate extensively with the London Contemporary Orchestra, with commissions performed at The Roundhouse, Union Chapel, Printworks, and Tate Modern.

The King sees Chaines’ eccentric, singular language grasp a fresh immediacy and emotive potency. Chaines’ voice is more present than ever – creepy, seductive and pained on the Scott-Walker-does-ASMR of “Eraserhead”, and diva-ghost of “Population 5120” – and their arrangements dissolve the symphonic into freakish forms – “Carpathia” and “Knockturning” spike pastoral organs and flutes with industrial menace and convulsing beatwork.

'OST' - http://slipimprint.bandcamp.com/album/ost

'SPLIT' HERE - http://slipimprint.bandcamp.com/album/split

3. Narthex (Knockturning Part iii)

CHAINES

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