May 2016

my baby has a swollen face
long stiff limbs
them eyes are black pits
of a place where I've been
her hair is long
still smells like mud
she answered to my kiss
with a rotten tongue

no death can
tear us apart

her body is cold
well it's gonna get colder
but my love will ignite
what was left to smoulder
I move my hips
in her I am home
I'll keep on loving
'till the marrow dries from her bones

no death can
tear us apart

taken from her selftitled debut, all music and words by Mirel Wagner
(p) 2011 Mirel Wagner, Kioski (Finland)
(c) 2011 Bone Voyage Recordings

http://www.BoneVoyageRecordings.com
album out now in Europe through Bone Voyage Recordings.
US release through Friendly Fire Recordings, March 27.2012

summer 2014 will see the release of her sophomore album, worldwide via Sub Pop Records 

Mirel Wagner

Mirel Wagner - No Death

from 'Odham's Standard' [CD|LP|DIGITAL]
Denovali Records · den191
available on all formats at [http://denovali.com/origamibiro]

Origamibiro is a collaborative project consisting of three core members: musician, soundtrack composer and producer Tom Hill, visual artist and filmmaker The Joy Of Box, and multi-instrumentalist Andy Tytherleigh. Originally started as a solo project for Tom, Origamibiro has since evolved into an audio-visual collective, producing studio music, art objects, interactive installations and hauntingly original live audio-visual performances. Origamibiro like to create work with an array of unorthodox processes and contraptions, found objects, video feeds and multi instrumentalism. Their unique live performances involve treated books, typewriters, found celluloid, paper, eerie wildlife recordings, home movies, sellotape and bespoke visual contraptions. All of these things had been added, adapted, even destroyed as a way to generate images and audio that could evoke a feeling, a response, an understanding or perhaps a question from audiences.

2014 sees the re-release of Origamibiro's entire back catalogue - the albums ‘Cracked Mirrors and Stopped Clocks’, ‘Shakkei’ and ‘Shakkei Remixed’ - through Denovali and also the release of their fourth studio album 'Odham's Standard'. Discussions concerning tone and theme took place much earlier in the writing process this time around and unbeknown to each other, both Tom and Jim were taking an interest in more supernatural aspects of audio and video material generation. Jim had begun to research into spirit photography, where images of deceased spirits are apparently imprinted onto photographic plates through the presence of a medium. Looking for an audio equivalent, Tom began looking into EVP or electronic voice phenomenon whereby hidden voices from deceased spirits appear to present themselves in audio recordings. What is fascinating about this process is not how legitimate the phenomenon actually is but how dependant it is on the decision or need of the viewer or listener to believe it is significant or even personal.

Interestingly, there have been many attempts over the years to debunk or disprove the validity of spirit photography and yet for every court case there are also a number of witnesses willing to passionately testify that not only is the phenomenon real but that it applied directly to them. Arthur Conan Doyle was the creator of the most famous detective in the world and, conversely, a staunch defendant of the validity of spirit photography. In his infamous treatise 'The Case For Spirit Photography' he is both naive and strangely prescient: “Victorian science would have left the world hard and clean and bare, like a landscape in the moon. (however) There is nothing scientifically impossible, so far as I can see, in some people seeing things that are invisible to others. One or two consequences are obvious, the experiences of children will be taken more seriously. Cameras will be forthcoming. These folk who appear to be our neighbours, with only some small difference of vibration to separate us, will become familiar.”


Odham's Standard

Origamibiro - Butterfly Jar

I have a massive folder full of my slowed edits that i've been sitting on for a while. I've been playing a couple of joints on the radio show or in my live sets and everyone keeps asking for them so here is one of my faves. 

Please know that I don't produce or remix anything. I just slowed down the track for myself to hear & digest the music differently :)

Don't You (Joe Kay's Slowed Edit)

Sound of Ceres - My Spiral Arm

John Dieterich & Jeremy Barnes began ’The Coral Casino’ as an attempt to understand one another. They met one day and the next they were in a blank room with unfamiliar instruments in their hands and zero expectations, each agreeing to do his utmost to ignore the other. Yes, their first forays into musical collaboration began with the stipulation that each had to improvise in a rhythmic manner while not listening to what the other was doing. This idiosyncratic process proved to be the unlikely genesis of songs like “Special Questions,” “Sandwild,” and “The Frost Pocket.” Their shared love of melody and pop provided the anchor for wild performances and deep, rich textures, laying the groundwork for many more moods: the euphoric “Out & About;” the stirring tribute to the satellite Philae (“Philae lands on comet 67p_churyumov-gerasimenko”), the first satellite to land on a comet, and so on.

Expansive, unafraid of complexity yet wide-eyed with elation, their sound embodies risk that genuinely rewards. While flirtations with danger and darkness occasionally appear, in the end everything becomes a laughing pile on the floor. An optimistic homage to a possible future, ‘The Coral Casino’ is both childish and sophisticated, seemingly tossed off yet at the same time exhibiting a depth that reveals itself on each subsequent listen; an exploration of friendship and the pure joy of ecstatic communication.

Take a trip to ‘The Coral Casino’: the perfect destination, where everything is topsy-turvy, no one is in control and yet all are mysteriously spirited to their beds before dawn.

Dieterich & Barnes "Out And About"

Look at where the line was drawn: I drew it
And you didn’t do it

SELAH
I was up in the tropo’
Hundred heart beating bravado
Cloud cover over vesper summer

Hungry Heaven no vacancy
Who’s gonna rapture me?
Can I dismantle the moment-
Okay I’m finally focused
I dreamt this sound 30,000 feet off the ground when Heaven felt its closest

And I believe that a fraction of my actions the other night were loaded
I thought my love was an omen the moment I kicked the bedroom door open
No limit
I resent it- ain’t having fun until someone leaves offended
One life is lovely ’til suddenly I ain’t thrilled until I’m living doubly

What am I doing here?
“Oh my god!”, I vociferate 
Through the algorithms of myriad universes
Do I want love or just heart pollution?
I gravitate toward lust crusader in solution

Please promise me omneity, I want you all
My fountain is accounting for the waterfall
I get high and levitate above the minute
I forego the low, create the limit

What am I doing here?
“Oh my god!”, I vociferate 
Through the algorithms of myriad universes
Do I want love or just heart pollution?
I gravitate toward lust crusader in solution
Or do I want love?

What are we doing here?


Ocelot

Vocelot

Words & Music by Kate Bush.
1985 Kate Bush Music Publishing Ltd/EMI

Running Up That Hill (feat. Molly Parden) Kate Bush Cover

Hypercolour round off a busy year that has seen recent releases from the likes of Kerrier District, Gary Gritness, Roman Flugel, DMX Krew and Outboxx.  And in their 10th anniversary year, the label close 2016 with the heavyweight pairing of Mathew Jonson & Sebastian Mullaert.

Two summers ago, with no distinctive aims or deadlines, Jonson was invited to come and work with Mullaert and stayed for 5 days in the exceptionally beautiful surroundings of one of Sweden's National Parks. Inspiring a creative process far-removed from the harsh and harried pace of urban life; freedom to jam, play around and most importantly, reconnect with nature and the natural flow of ideas while deep in the forest, allowed their collective visions, directions and feelings to comfortably unwind. 
 
As Mullaert puts it "the freeing up of space and time allows an artist to rediscover him or herself. Frames can't be too rigid, static detail hinders the process to unfold in a beautiful way". Engaging mostly in ambientic-style sessions 'Pollen 4 Life' was made on a day the mood took them in the direction of the dance floor. True to form and still escaping any kind of prescribed formula, the music embodies this fluid, evolving journey and a sense of losing yourself...
 
Both long-time figureheads of electronic music, Mathew Jonson (one third of Cobblestone Jazz) and Sebastian Mullaert (one half of techno duo Minilogue) have been collaborators and an inspiration to each other for over a decade, first with releases on Jonson's label Wagon Repair and most recently as live trio Mathew Jonson vs. Minilogue, which only stopped touring last year. Originally meeting at the fabled Labyrinth festival in Japan 2005, Mullaert explains "our paths have crossed in different ways and now it's time for an EP together; the fruit of Mathew's visit to Röstånga. Pollen 4 Life".

Pollen 4 Life

Pollen 4 Life (Main Mix) (HYPE057) [Clip]

65 Roses

Returning to Hypercolour with a second volume of his Sugar Cane Chronicles, Gary Gritness lays down more devastating funk and classy riffing over his trusty Roland 606.  After the first volume, released last April, sold out its vinyl run, Gritness delivers more explorations and adventures into his unique and soulful world.

Having elusively built his reputation as an outstanding session player, live producer and fantastically dressed Funkateer, Gritness has delivered a handful of releases on labels like Clone Crown Ltd, Nyami Nyami and his own DIY and cassette-only Slikk Tapes.

"Steady Choosin" gets downright fusion-jazz and Gritness fires out seductive melodies and latin piano playing of the highest order whilst "Countin Up With Starr" delves into a darker well of synth mania, with a sexual groove reminiscing of Rick James, all the while retaining Gary's signature licks and riffs.

"Runner Joe's Revenge" on the flip ramps up the hysteria for a gritty and colossal production that typifies his love of cyberpunk soundtracks and the drama and narrative to be found in this style.   "The Sugar Cane Chronicles Vol. 2" closes with the low-slung "Pool Shark Loot", wrapping up on a mysterious and captivating tone; its wandering bassline and melodic touches carrying all the signature Gritness sounds, with the P-Funk sleaziness on top.

The Sugar Cane Chronicles Vol. 2

Buy Bandcamp

Gary Gritness - Steady Choosin’ (HYPE058) [clip]

Part of my score for "The Heart of Man"

Additional Programming: The One and Only James Everingham
Strings: Recorded at Slovenský Rozhlas in Bratislava, Slovakia 
Engineer: Peter Fuchs 
Conductor: Johannes Vogel 
Music Supervisor & Orchestrator: Brandon Collins 
Copyist: Paul Nelson 
Pro Tools: Josh Auer, Chad Wahlbrink & Jordan Critz 
Orchestral String Mix: Satoshi Noguchi 
Solo Violin Performance: Elizabeth Varnado
Vocals: Timbre Cierpke 
Album Art designed by Austin Eidson: austineidson.com

This song is available for licensing through the Music Bed: www.musicbed.com/artists/tony-anderson/7054

Vocelot

Caleb Groh

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