Sean McCann - Ten Impressions for Piano & Strings
Edition of 300 LP / Digital Download

Worldwide: Jan 16, 2015
US: Jan 20, 2015

Realized over a four year period, Sean McCann’s Ten Impressions for Piano & Springs is a document of transition and maturation. Slow moving cloud forms over corporeal landscapes, these impressions whisper of McCann’s imminent & decisive lean towards classical & avant-garde musics, culminating in 2013’s Music for Private Ensemble on his own imprint, Recital. Less a final statement on ambient music, more a meditation on change, discovery and process.

rootstrata.com/release/RS97

Sean McCann - Guardian

The Summoner comes 4 years since the last Kreng album Grimoire and 3 years since the massive retrospective box set Works for Abattoir Férme 2007-2011. A lot has happened in between, and this new recording can be seen as quite the departure from the aformentioned. 

His most personal album to date, The Summoner is based around the 5 stages of mourning and is made after a year of losing several close friends. Hard enough material to work on, he decided to add a 6th stage, entitled The Summoning to be able to arrive at the finalé, Acceptance. 

Conjuring up the spirit of György Ligeti, the first half of the album is made entirely of 12 string players being directed to play around, make noisey clusters and crescendoes, moving you between Denial, Anger, Bargaining and Depression. In fact, The Summoner is the first Kreng album NOT made by hordes of samples. Music to really dig deep in to. 

Following into the second part of the album, twists and turns are taken and it's hard to know where exactly you are. The Summoning's haunting organs and smoke-filled chambers lead you in to an earth- shaking wall of guitars, drums and bass courtesy of Belgian doom band Amenra. Leaving you in a state of shock, the album closes in an incredibly heartfelt and quiet way with the fittingly named Acceptance.

Kreng - Depression

Pre-order the vinyl: bit.ly/1Bzc1Ab

LA-based electronic duo OOFJ are elated to announce the release of their sophomore album Acute Feast (April 21 on Ring The Alarm Records).

The brainchild of real-life couple Jenno Bjørnkjær and Katherine Mills-Rymer, the LA-based electronic duo OOFJ met in New York City while Bjørnkjær was working on music for Lars Von Trier’s Melancholia. This chance encounter developed into both a romantic and sonic chemistry that would eventually lead to the couple collaborating on music that formed the foundations of OOFJ.

Equal parts glamorous and nightmarish, with a glittery seductive tone to it, Acute Feast hints at the otherworldly, almost hyper-real world that OOFJ don’t just reside in, but have orchestrated.

Acute Feast

Sailor

FRKWYS Vol. 13: Sunergy

Closed Circuit

from 'MYTH I - A Last Dance for the Things we Love' [CD|LP|DIGITAL]
Denovali Records · den262
available on all formats at [http://denovali.com/theeyeoftime]

THE EYE OF TIME is the solo-project of French musician Marc Euvrie. Euvrie's musical development is deeply connected with the French DIY punk and hardcore scene, though he has been classically trained as well. He started to play piano being 9 years old, composed his first pieces with 15 and studied cello at the conservatoire after finishing school. Euvrie was involved in several bands before he began to translate his personal reflection of our complex world into music, which initiated THE EYE OF TIME. His extensive self titled debut has been released in spring 2012 and exposed a dark look on the present, past and future. His last albums were promising a glimpse of hope (“Acoustic”) or pitch-black despair (“ANTI”). With “MYTH I : A last dance for the things we love" THE EYE OF TIME will release the first part of a three record album concept MYTH (MYTH II - A need to survive, MYTH III - The final chapter), which will be a synthesis of all his past works.

MYTH is a word with ambiguous meanings in the dictionary, but all these lead to the same conclusion. The Eye of Time's MYTH trilogy is about the path that humanity took over the ages and about how we could tell this epic story. We could decide to see things on the bright side, or to a have a more dramatical (in the literal sense) look on it. Like if one species is looking at another, and in a different era. MYTH is a feedback to the tragical events of our time, to what people have to endure nowadays in order to survive, as well as the refugees travels, and the resistance against capitalism that is growing all over the world. MYTH is also a particular way to see things, to take sides with history. When we talk about ancient political activists and revolutionaries, resistances to the established order, we make the choice to transform it into a myth, a history full of heroes. But the past is the present. And our present will be the past again. It is on us to take action in order to avoid our inevitable end.

Marc Euvrie recorded “MYTH I : A last dance for the things we love" completely on his own. Being away from home, dealing with family issues, his music served him as deep introspection about himself and the world. An introspection impregnated with minimalistic moments, where piano and cello write the story of loneliness and calm. At the same time evolving dramaturgies emerge, driven by rumbling beats, accompanied by both grim and hopeful melodies; just to be aware that irrationality gives birth to our myths and that myths, in turn, affect our very own existence.

The cover artworks of the MYTH album trilogy display pictures of Emin Özmen, a winner of the world press photo award. His work is focused on the situation in Kurdistan, Syria, Turkey and the "refugees". His work has been published by Time magazine, The New York Times, BBC, Guardian, among others.

MYTH I : A last dance for the things we love

The Eye of Time - Mass

Carrion

from 'Non Places' [CD|LP|DIGITAL]
Denovali Records · den293 
available on all formats at [http://denovali.com/waelder]

Wælder are moving between ambient, industrial and pop. Their rhythms and soundscapes of voices, obscure samples and distorted field-recordings build spaces of barren material and soft ground, which teem and crawl - strange and harmonious. To present their music live, Wælder are mixing analogue and digital effects with guitar, synthesizers, vocals and loops. Rhythms and atmospheres blur, dissolve and re-assemble. Their live shows are often framed by visuals, generated in collaboration with various visual artists.

Founded 2013 in Vienna by Moritz Nahold and Jan Preißler, Wælder has since played numerous concerts, collaborated with various artists and composed music for theatre, film and installations. In addition to their EPs 'Firn' and '&' they released 'Anachronie' in 2015 on the label Kreismusik. Wælder’s second album 'Non Places' will be released on 26.01.2018 via Denovali Records.

Non Places was recorded and produced in different locations at different times in Vienna and Berlin. Wælder experimented independently with their tracks, later reassembling them over the internet. The eight pieces tell this process and at the same time create an independent perspective on the process of their creation. A church organ, detuned in manuals and registers, a vacuum cleaner embedded in the sound of a piano, and precisely programmed patterns of electronic devices are just a few of the elements found on the album. The name Non Places comes from the eponymous publication Non-Lieux (Eng. non-places) by the French anthropologist Marc Augé. By means of the happenings in the specific space of Vienna / Berlin and the exchange about the nonspecific space of the Internet, the countless server rooms crossed by shared audio data have been interpreted as monofunctional places, without relation and history. If music and the process of creation are two different places, then Non Places is the gap-bridging perspective. What happens and sounds is an experiment of space, body, form and purpose.

Non Places

Waelder - Loss

from 'The Death of Our Invention' [CD|LP|DIGITAL]
Denovali Records · den297
available on all formats at [http://denovali.com/birdsofpassage]

The Death of Our Invention

Birds of Passage - Without the World

Cover of a song by Birds Are Indie (Coimbra, PT) 
Original version available here: http://birdsareindie.bandcamp.com/

Written by Joana & Jeronimo 
Arranged & played by me 
Rhythmic seagulls recorded in Ramsgate, Kent, UK

Words:

Needless to say she’s on the move (I’ll go this way)
Needless to say she’s on her way to him (La da da)
Needless to say she’s on her back (I’ll turn this way)
Needless to say she’s on the run &
Running out of love 

The northern sky was passing by (La da da)
I tried to figure out the colour of your eyes
The northern sky was passing by (La da da)
What do you mean by “What”?
What do you mean by “What do you mean”?

Needless to say she’s on the move (I’ll go this way)
Needless to say she’s on her way to him (La da da)
Needless to say she’s on her back (I’ll turn this way)
Needless to say she’s on the run &
Running out of love 

The northern sky was passing by (La da da)
I tried to figure out the colour of your eyes
The northern sky was passing by (La da da)
I’d like to figure out the touch of your skin
What do you mean by “What”?
What do you mean by “What do you mean”?

Running out of love

Needless to Say [Benoît Pioulard version]

Rebecca Foon • "Dreams To Be Born"

Artist: Tangents
Title: Old Organs
Album: Timeslips
Release Date: Sep 4, 2020 

Pre-order: https://tangents.bandcamp.com/album/timeslips

Enigmatic Australian ensemble Tangents return with a new studio album two years after the release of New Bodies. The Australian Music Prize-nominated New Bodies thrust Tangents’ peculiar blend of furious improvisation and precision production into the international spotlight. More tension and intention pervade Tangents’ fourth album, Timeslips, demonstrating a thoughtful maturation of spontaneous ideas and more deliberately abstract assembly. With breathtaking, rhythmic drumming and adept production driving the various moods, Timeslips emerges from greater live performance and carefully constructed compositions. The brittle skittering mallets of “Exaptation,” raucous guitar of “Debris,” and processed trumpet of “Vessel” add new timbres to their existing palette of jazz drums, melancholy piano, throbbing cello and swirling glitched ambience. Mostly recorded in a single day, just before guitarist Sia Ahmad left the band, only the bravest, most intense moments from the original session remain intact on Timeslips. The tonal rumble of a 100-carriage coal train winding through New South Wales’ Bylong Valley signals the album’s slow close, recalling Tangents’ earlier references to the Australian environment on New Bodies and Stateless.

Tangents - Old Organs

We are an independent record label based in Montréal, releasing experimental music we care about in the most careful ways we can.

Rebecca Foon • "Dreams To Be Born"

Constellation Records