Hauschka - Craco

This my latest remix of Icelandic band  Low Roar's song "Breathe In" from their latest album, 0 (2014). REMIX EP available April 17, 2015 on Tonequake Records. Details coming soon.




Low Roar-"Breath In" (Carmen Rizzo Remix)

On the 21st of March 2014 we will be celebrating 5 years of Home Normal. It has been an incredible journey to get this far and we never could have reached it without the kind support of talented artists and all the wonderful people who have ever bought one of our releases or attended one of our shows.

In this modern digital age with its constant stream of information, we've sought to work as quietly as possible, firmly rooting our ethos that things can be released in a subtle, quiet way. 'Organic' has always been the key word, and we are so thankful that people seem to still appreciate the natural path we've chosen, ignoring all the noise that surrounds our chosen way.

To celebrate this great landmark for us, we will be releasing our 5th year compilation 'Elements'. With over 60 artists from our past, present and future involved, this five disc compilation will be raising money for 5 different charities which are close to our hearts. All profits from Elements Three (火) will be donated to ecoACTIVE which is an innovative environmental education charity with a reputation for using hands-on, practical and fun approaches to explore complex issues of sustainability.

Mixed and mastered by Ian Hawgood
Design by togoshi + mondü

http://homenormal.bandcamp.com/album/elements-one-five

Landfall

from the upcoming "Some Kind of Champion" Sara Lov's (singer of Devics) 3rd album produced by Zac Rae and featuring collaborations with Dustin O'Halloran, Scott Leahy, Jonathan Price, Zac Rae and Hauschka.  Released October 30.

The Sharpest Knife (featuring Hauschka)

'Invitation To The Voyage' is the first single from Julia Kent's new album Asperities released October 30, 2015.

Pre-order Asperities and get a free download of 'Invitation to the Voyage' here: https://juliakent.bandcamp.com/album/asperities

Video by Carmen Jimenez: https://youtu.be/LEHKx5wjh3o

http://juliakent.com
http://theleaflabel.com/juliakent
https://www.facebook.com/juliakent.music
https://twitter.com/juliakent

Asperities

Invitation to the Voyage

Veteran Erased Tapes recording artist Peter Broderick set to release new studio album 'Partners' on 19th August 2016.

Order it on LP/CD/DL here: www.erasedtapes.com/store/index/ERATP088

In an email to Robert on February 3rd 2016: 

Dear Robert.

There’s a lot I’d love to tell you about this music.

The inspiration really came when I decided to learn to play John Cage’s In A Landscape on the piano . . . I listened to a recording I had over and over again, five seconds or so at a time, picking out every single note. Then cross referencing what I’d learned with other versions of the piece as well as the original score. The feeling of playing this piece really brought me close to the piano again, and brought new life to my own piano songs.

Beyond Cage’s music, his life and practice have interested me more and more, after having read about his love for foraging wild foods and using chance operations to compose music, in a sense taking his ‘self’ out of the music. I love his so-called ‘mesostics’ and began to write several poems using that method, around this phrase:

I    
N

A

L
A
N
D
S
C
A
P
E

When it came time to record in the studio, I rolled two dice to decide how many poems to read. I rolled 5. Then I assigned a number to each poem and rolled the dice to see which five poems would be read and in which order. That’s the first track Partners, which is also the last word of the last poem I selected through this chance-based process. Track two is my version of In A Landscape. I love playing that piece so much. Carried  is a piece I wrote in Berlin which I’ve played live from time to time. There was a soft vocal loop playing out through an amplifier in the room while I played the piano.

Under The Bridge is my first ever chance-based composition, written by assigning different numbers to different notes and then rolling dice to decide in which order to play those notes. Conspiraling is another piece I’ve been playing for a while. Actually a version of this was recorded in the session that became ‘How They Are’, but it didn’t quite feel right. I like to pretend my voice is like a synthesizer in this song. Then there’s Up Niek Mountain which is a piece I finished composing while in residence at a farm in the Netherlands back in 2010, and is named after one of the family farmers there, Niek, who passed away shorty after I was there. We miss you Niek. The last song is a cover of Brigid’s Sometimes. Brigid to whom I dedicate this recording.

And then there’s Tucker, Mr. Martine, who agreed to record this album without me ever hearing the mixes. We talked about all the sounds and he set up several devices with which to manipulate the sound live, as it was being recorded and mixed down to tape. Francesco also agreed to master the record without me hearing it. I like to imagine maybe one day, five or ten years from now, I’ll walk into a café or roadside diner and hear it for the first time, playing as background music while people eat.

OK surely that’s enough for now! Sorry for blabbing, Robert. Your support has really meant a lot to me. I’ve loved having you in mind while working on this project, knowing it could very well have a home on your sweeeeeet label. Hope all is well.

With love,
Peter

Partners

Sometimes

Buy LP/CD/DL

Peter Broderick - Sometimes

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 - Dreams are dead, but will be reborn with grounds, stones and ancient spells

Pre-order the album 'Aforger' out October 14th on LP/CD/DL here: http://phonofile.link/aforger

In a digital age where memories are mimicked by pixels and identity is as malleable as static, Douglas Dare’s new album Aforger questions the boundaries between reality and fiction. 

Inspired by recent events and revelations encountered in his life these songs depict Dare at his most vulnerable, whilst simultaneously reflecting our own obsession with reality and technology back at us.  

Aforger was mixed at the iconic Abbey Road Studios and produced by long-time collaborator Fabian Prynn. In the following conversation Douglas strips back the personal journeys and realisations which preceded its recording.

In a conversation with Douglas Dare on July 11th 2016:

The album title plays with the idea of a forger – someone creating imitations or copies, and reimagines them as the creator of something that’s no longer real. Prior to writing the record, I came out to my father and came out of a long relationship, both were hugely challenging for me and questioned my idea of identity and reality. These thoughts leaked out into the record and formed the core of Aforger. I was determined not to write a break-up album or repeat what I’d done before..

I grew up on quite an isolated farm in Dorset, surrounded by fields and not much besides. My mother taught piano from home and we didn’t have a computer, or the internet or mobile phones. In fact, my family still chooses not to use these things. It’s worlds apart from my life now in London where technology seems to dominate everything I do.

After finding out my boyfriend had been leading this double-life, I became obsessed with the question of what is real and George Orwell’s 1984 felt appropriate for me to re-read. Orwell explains this idea of reality control and Doublethink, and it struck a chord with me. The idea that truth can be steered or changed, and we might be able to believe two contradictory things at once. In my case, ignorance was my protection from the truth and ignorance really is bliss, until you’re no longer ignorant.

Binary talks about the idea that technology is allowing us to live on after we’re gone. A relative of mine whose parent passed away kept a picture of them on their phone as a background image. A friend saw this and asked ‘how can you have that there to constantly remind you of your loss?’ They replied, ‘no I have to, it shows me that they’re still here’. This resonated with me and I thought ‘okay, this is just an image to me but to them it’s more than a reminder or a reassurance, it’s a reality’. At the same time, I was finding myself haunted by the digital reminder of my ex-partner and wishing they would disappear. I had to realise that it’s all just pixels on a screen. 

I think New York can be thought of as this fabricated, magical place. I was there with my boyfriend after touring the U.S., but when I came back to London I discovered all these lies and began questioning everything. I even questioned whether New York actually happened or not. New York is a song that’s literally describing that very real feeling of not knowing who or what to believe any more – scary and magical at the same time. 

Lyrically I wanted to be as honest as possible. The album deals with so much dishonesty, so I felt the lyrics had to be the counterbalance. I was inspired by Björk’s album Vulnicura and how everything is almost awkward in its honesty. Like my first album, Aforger started as poetry, but I consciously tried to be less poetic. For instance, Oh Father is an example of complete unambiguity. It’s certainly the most personal song I’ve put out there, and the realisation that people may hear it makes me feel very vulnerable. That’s the most real feeling of all for me right now.

Douglas Dare - New York

Maarja Nuut & Ruum - Kurb Laulik 
From the release 'Muunduja' on our 130701 sub-label

https://www.fat-cat.co.uk/release/maarja-nuut-ruum/muunduja

Maarja Nuut & Ruum - Kurb Laulik

Download: http://www.xlr8r.com/mp3/2012/11/si-plasma-r-remix

Download on XLR8R

Nils Frahm "Si (Plasma Rüby Remix)"

Cover version of "Until Then" I recorded with Benoit Pioulard this week. Benoit and I were working on our collaborative project this week and decided to record one of our favorite songs as a tribute. We were both extremely saddened by Trish Keenan's untimely death. She was a brilliant, talented artist and her music became a huge inspiration to both of us. R.I.P. Trish, we'll miss you.

Until Then (Broadcast cover)

Founded by sonic architect and explorer Robert Raths aka ghostworker in 2007, Erased Tapes is a truly independent record label that has disrupted the industry and rejuvenated the musical landscape. The London-based label has consistently nurtured genre-defying artists from all around the world without losing its avant-garde ethos.

2015 saw BBC 6 Music radio presenter Mary Anne Hobbs stage an Erased Tapes evening featuring Nils Frahm and A Winged Victory For The Sullen at the Royal Albert Hall as part of the prestigious BBC Prom. It was the fastest selling ticket of the entire season. Shortly after Erased Tapes was awarded Best Small Label 2015 at the AIM Awards.

On February 5th 2017 Erased Tapes opened the doors to its new East London home, marking the 10th anniversary by introducing fans and the public to the new Erased Tapes Sound Gallery.

“Ten years of one of the most important record labels of the last few years“ — Gilles Peterson

"Over the last decade, Robert Raths’ label Erased Tapes has developed a sonic profile perfectly in step with the growing taste for quiet, meditative works on the cusp of ambient and chamber music" — The Independent

“The heart-string-tugging London label that floats gently between 20th century composition and ambient music” — Rolling Stone

Peter Broderick - Sometimes

Erased Tapes

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