как будто посмотрел фильм. отличная музыка, рождает массу образов

A first preview to Marsen Jules new album "Beautyfear" to be released in January 2014 on Oktaf Records.

With "Beautyfear" on Oktaf Records the German electronic musician Marsen Jules (CCO, 12K, Kompakt) delivers one of his most outstanding albums so far. Mastered by no one else than 12K-labelboss Taylor Deupree and with a coverpicture taken by the highly acclaimed photographer Erik Madigan Heck from NYC, the best conditions are laid for a lasting experience of abstract musical poetry and touching soundscapeism. Jules has never been this dense, subtile and fragile before. All twelve tracks on „Beautyfear“ were created during a week stay in a theatre workspace on one of the hills of Lisbon. The panoramic view over the dusty city in spring seemed to have been the perfect surrounding for this cloudy soundscapes, which at some points remind of Angelo Bandalamentis‘ work for David Lynch‘s "Mullholland Drive". „It‘s an album on the fragility of beauty“, as Jules describes briefly. Music that can neither be described as ambient music or experimental sound art, but more likely delivers a poetic approach to music, live and sound itself. With „Beautyfear“ Marsen Jules makes a great start into 2014 and with the already announced cooperation with Swedish filmmaker Anders Weberg and an upcoming release of his works from a residence at the legendary GRM studios in Paris, one should definitely keep an eye on what is coming next. ﻿

Releasdate: 27.01.2014
Pre-Orders: 01.01.2014
Label: OKTAF www.oktaf.com
Distribution: Kompakt

Marsen Jules - Beautyfear  -  Beautyfear III (First Album Preview)

from 'Thawlines' [CD|LP|DIGITAL]
Denovali Records · den372
available on all formats at https://denovali.com/johnlemke

Unfamiliar landscapes, dampened by snow and fog, frozen waterways, ghostly forests: in equal parts unsettling and rich with possibility - such is the world of ‘Thawlines’, the third solo album by John Lemke. Carved out at a glacial pace over six years, it distills the memories of a deeply impactful journey to Finland in 2011 into John’s most personal album to date.

During a time of inner turmoil, John’s first encounter with the harsh Finnish winter while visiting an old friend in Helsinki, served as the backdrop and catalyst for pivotal change. Inspired to write an album based on the experience some years later, a second trip with a residency near the Arctic Circle followed. Gathering field recordings and reflecting the original voyage, John experimented with first sketches in the solitude of the icy woodlands, before beginning to flesh out tracks in his Glasgow studio.

The practice of turning memories of places, situations and atmospheres into music, slowly evolved into a complex mosaic of textures and tones, sparking near endless permutations of each piece. About the process John says, ‘I always liked the idea of time as my main collaborator. Or put differently, collaborating with slightly different versions of myself over time. Most of the pieces on ‘Thawlines’ were crafted over a number of years, with long gaps in between recording, letting the ideas ferment somewhat in the meantime, or at least my notion of where they could go. The process let me look at each track from a multitude of angles and come at it with contrasting frames of mind, before understanding what the pieces truly needed to be. It was just a very natural way to work and let ideas grow. In many ways the album turned out as a celebration of the art of getting lost.’

The increasingly slow progression, partly due to John’s many soundtrack commitments, meant that more and more current experiences started seeping into the work as well. As John explains, ‘A lot of life has been digested in this record. From losses of loved ones to becoming a parent and everything in between.’ From a production point of view, John kept feeling drawn to sounds that evoked a certain childhood nostalgia in him such as the mellotron, unruly synths, reverb drenched vocals and era specific recordings of cello, drums and guitars.

Abandoning the rather electronic feel of People Do (2013) and Nomad Frequencies (2015) for a more band oriented sound, John enlisted the help of some of his favourite musicians in the form of Pete Harvey (Modern Studies) on cello, Clive Deamer (Portishead, Radiohead, Robert Plant) on drums and harpist Urška Preis (rouge-ah) to realise his vision. As John says, ‘The music somehow needed to run through the hands of others, which gave a sense of catharsis after such a drawn out, solitary process. It was exactly what was needed to bring the journey full circle’.

As a long odyssey comes to its conclusion, the yield can finally begin a life of its own.

Thawlines

Apparition

John Lemke - Apparition

Opus 131 - (We Play) Shadow Games In Abandoned Streets

Music from the forthcoming EP by Luke Abbott and Jack Wyllie of Portico. 

Released via Buffalo Temple (BFFT003) on 25th September available on 12" vinyl and digitally.

Xantako

Resina is the alias of Karolina Rec, a cellist/ composer based in Warsaw, who signed to 130701 having sent in this album as a hugely impressive demo late last year. A very accomplished performer with a background in Polish underground music, this eponymous album is her solo debut and sees a rich, atmospheric re-imagining of a Polish music rooted in a feeling for indigenous nature / landscape and realised via an intuitive, experimental approach to playing.

A fantastic debut release, ‘Resina’ is an immersive and deeply enchanting album, which unveils a unique and striking new talent. 

more info at 130701.com

Resina

Resina - Tatry I

from 'Electric Stutter' [CD|2xLP|Digital]
Denovali Records · den281
available on all formats at [http://denovali.com/orsonhentschel]

Almost one year after his debut LP Feed The Tape, Orson Hentschel enters new musical terrain wearing old shoes. His second LP Electric Stutter, which is almost 55 minutes long, is only loosely connected to his debut. Whereas Feed The Tape was strongly shaped by Classical Minimal Music, Hentschel now incorporates influences of Trip-Hop and Electronic Pop Music. Since his childhood, he considers artists like Massive Attack, Portishead and Björk as some of his most important sources of inspiration. The influence of this kind of popular music is clearly audible. Hentschel’s new tracks are shorter, more shaped and reduced in the density of their sound material. Pattern-oriented repetitions, which where in the focus of Feed The Tape, now fulfil the function of sophisticated sub-components of the overall composition and are subordinate to the melodic forms or merge with them. Also the amount of sample-based material has decreased in order to create space for synthetically produced sounds with melodic character. Electric Stutter is more complex and more detailed than Feed The Tape. At the same time the reduced density of sound material and the higher amount of melodies form a kind of music that is more easily accessible.

Whereas the Düsseldorf-based composer started off with classical piano, he by now concentrates on electronic and experimental music and film compositions. Even though Hentschel has experienced a classical education, his composition techniques are anything but traditional. His creative starting point is rarely rooted in musical ideas, but consists of finding appropriate sound material. His sources are diverse: sounds and samples like soundtracks, film sounds, music albums or internet findings encounter polyphonic vocal-music from the 14th century and composition techniques of Minimal Music such as Steve Reich. In his compositions Hentschel draws a cross-section through the history of music and its genres in order to form his own musical expression. Considering his studies of music science in Düsseldorf and previously in Vienna and Dresden, his musical time-jumps appear less surprising.    

Describing Orson Hentschel only as a composer of contemporary music does not do him justice. In his self-conception as an audio-visual artist he creates his own live show, combining lights, visuals and fog to a stunning atmosphere, which cannot be eluded. Supported by live-drummer Lukas Baumgart, Hentschel delivers a sound, whose energy is physically palpable and electrifies the audience. A live-show generating an intense experience, going to the limit and erasing any sense of time. Orson Hentschel moves perceptions not merely through sheer volume, but with driving repetitions and extensive tension.

Electric Stutter

Orson Hentschel - Fade In, Fade Out

Track included on the CD GO SERIES 89 - L.E.V. Festival 2012 compilation.

Originally released on "Redsuperstructure" (r-n 134) by Raster Noton

http://www.levfestival.com 
http://www.go-mag.com

www.raster-noton.net


04. Robert Lippok - Whitesuperstructure

Mirall

Rauelsson - Sierra

Premiering on the Ransom Note: https://bit.ly/2MyJojX

"An enchanting new album." - The Ransom Note 

Heinali is the alias of self-taught composer and sound-designer Oleg Shpudeiko from Ukraine. Now well established under the name he brings along his latest full length ‘Iridescent’ due for release on October 12th on Injazero Records. 

Having garnered rapturous responses to his earlier output and last year’s ‘Anthem’ Oleg continues to push the boundaries and experiment with altering mood and atmospheres of any space - with abstract yet deeply personal transmissions of ambient synthesiser work and subaqueous, minimal techno contortions. 

‘Iridescent’ consists of fragments of studio improvisation sessions recorded in 2016 and 2017, some of them recorded in one unedited take on a modular system and some layered and later morphed into compositions. As the title suggests Heinali crafts shimmering, incandescent portraits, rich in his unique characteristics and compositional liberty. 

Apart from the “musical sculptures,” that represent the bulk of this LP, Oleg was interested in the exploration of polyphonic capabilities of the modular system. ‘Rainbow Folding’, a loose homage to Terry Riley’s 'A Rainbow In Curved Air,' features an interplay of several independent, but distinct voices and their processed shadows — ‘ghost voices’. In 'Shadow Invention’ eerie atmospherics steal the spotlight and dominate the composition, ending in a cacophony of the ‘ghost voices’. 

Oleg says of the album, “it’s a kind of studio dairy. A reflection on the development of my relations with the hardware instruments and exploration of them as channelling vessels for my experiences and ideas.” 

“One can think of Iridescent’ as ‘musical sculpture’ analogy — when the body of music stays the same, but its surface is flickering with various colours over time — sometimes in a subtle manner, sometimes loud and clear. Or it can be understood in the context of various colours of polyphony, or as a liminal condition of the colour as if it’s being ‘stuck’ in the mist of twilight zone between neighbouring colour-states, so it can’t become a particular colour and is in a flickering kaleidoscopic state.” 

‘Iridescent’ bares Oleg’s style of sonic storytelling and austere, otherworldly textural embellishments that bring to mind Ben Frost, Akira Yamaoka, and Oneohtrix Point Never but also plants the seed for much more club ready electro. ‘Starling Reprise I’ is a scorching piece of ambient techno that conjures Four Tet, LTO and Susumu Yokota’s blissful, kaleidoscopic synth work whilst ‘Starling Reprise II’ retains the frosty, steely ambience that has become Heinali’s calling card. 

Cover artwork by Olga Gaidash.
Mastered by Taylor Deupree at 12k Mastering.

Pre-order

Heinali - Rainbow Folding

'Fear Of Floating' is the second single from Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne. The track, taken from Daniel's solo debut 'Lines of Sight', is a grand, transposing soundscape that places Daniel’s saxophone front-and-centre, allowing the abstract beauty of his meandering and contorting melody to breathe, amongst the chaotic backdrop of spiralling undulating effects. 'Fear Of Floating' perfectly encapsulates the atmosphere of the record; equal parts magnificent, unnerving, mind-bending and deeply satisfying.     
 
"Although the album wasn't written to follow a specific narrative, I felt it should have the feeling of a journey, leaving a place of chaos and noise and arriving somewhere both serene and unfamiliar. As the final track on the album, I wanted 'Fear of Floating' to be to be the opposite of the album’s beginning ('From Inside, Looking Out') by being much sparser, eschewing large dense textures and instead focusing on a single melodic 'voice' that gets bashed about by its surroundings, before finally washing up somewhere peaceful and alone." — Daniel Thorne
 
Praise for Lines Of Sight, out March 15th on Erased Tapes:
 
“Dizzying compositions that thrive on chaos and control.” Self-titled  

“Analogue and digital, improvisatory and programmed, tactile and gaseous, this ripples between worlds.” DJ Mag
 
Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles – effectively capturing what the birth (or death) of a planet might sound like.

Every strand is fresh, vital and purposeful. The description ‘seamless’ might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical and a touch of jazz come together, each occupying their own space while acquiescing with the whole.

Pre-order 'Lines of Sight' on LP/CD/DL: https://idol.lnk.to/LinesOfSight

John Lemke - Apparition

Denovali

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