AUGUST 2015

AUGUST SO INDIE

FILM

The Purge

The Soundcloud Tapes 2015

gold

ELECTRONICA EXPERIMENTALE


words , http://www.artsavant.com/misc/blackhumourindex.html

one (extract)

'Watching Dead Empires in Decay’, an album recorded under another of Kirby’s pseudonyms ‘The Stranger’ and released on Modern Love, a label that has been close to Kirby through these last eventful 15 years. It’s a dream album for the label: perhaps the most ambitious of Kirby’s career so far. It’s complex, singular, enigmatic, percussive, dark, and you just can’t work out how it was constructed.

Gone are the sampled 78’s of The Caretaker, but it also doesn't exactly sound electronic - you just can’t quite fathom how any of it was put together: Field Recordings? Found Sounds? Sheets of metal scraped and hammered? Drum machines re-wired? It’s stark and unsettling, haunted, even troubling - but often just beautiful.

The Stranger - Ill Fares The Land

"Needles" from The Pack A.D.'s upcoming album Do Not Engage available January 28, 2014

Pre-order album at iTunes (Canada/US) http://smarturl.it/donotengage

Visit The Pack A.D. online:
www.thepackad.com
www.facebook.com/thepackad
www.twitter.com/therealpackad

The Pack A.D. - Needles

The wait is over!!!! The highly anticipated mixtape The Purge, from The Dirty Rotten Skoundrelz, is here just in time for Halloween. This is hardcore, expert lyricism at its apex, with no regard for anything. Just like the theme from the blockbuster movie The Purge, anything is legal for a 12 hour period. Suave Burgandy and Don Claude completed this whole project in 12 hours and took full advantage of this opportunity, causing complete hip hop anarchy. The Skoundrelz also brought reinforcements in the form of their Zu Nation Media Group cohorts Pharoah The Don and Earl Ray Da Ogre just in case the going gets tough. Are you ready for The Purge?

01 Commencement of the Annual Purge

New album in-stores July 19th. 

http://portugaltheman.com 
http://facebook.com/portugaltheman
http://twitter.com/portugaltheman

In the Mountain in the Cloud

Sleep Forever

"...a mind-bending, eclectic and challenging sonic stream that doesn’t contain even a shred of pretentiousness, but is full of creativity, individuality, expressivity and outside of the box thinking." - Igloo
"Come to this show blindfolded and you’ll have a hard time believing the music is being created by just three people." – Capital Bop

"The Kandinsky Effect is an accomplished band not because they implement electronics into jazz music, but rather for how they utilize electronic configurations to make their music radiate." – Audiophile Audition

"...five solid years of recording and touring have fine-tuned their approach, stretching out beyond the confines of jazz into many directions, with electronics, funk grooves, bop, touches of punk, progressive rock, ambient and much more....not content to just re-tread what’s been done before them, but determined to break new ground at every turn, all the while keeping their sound completely listenable and satisfying." – Exposé

On Somnambulist, The Kandinsky Effect wields its musical power in a welcoming way. Their third album isn't form-eschewing free jazz, nor are the tonalities the trio employs particularly "out". The real revelation -- and revolution -- comes simply in the way saxophonist Warren Walker, bassist Gael Petrina, and drummer Caleb Dolister organize sound.

The trio is a purist's nightmare -- and not only that of a jazz purist either. Since their first, self-titled album came out in 2010, The Kandinsky Effect has been boldly blending jazz with elements of everything from hip-hop to electronic music, making for an idiosyncratic amalgam that never goes exactly where you might expect it to;  nothing can completely prepare you for its marriage of groove, atmosphere, and incendiary playing.
Bandleader Walker feels the album is the most effectively conceived collection of what he wryly calls the group's "nerd music" to date. "I feel like I had a clearer idea of what I was looking for in the sound of my compositions and how to approach writing for this group," he says, "it's a sort of coming-of-age piece."

The ability to incorporate a broad range of musical, geographical, and emotional influences into their music is at the core of The Kandinsky Effect's makeup. Formed 2007 in Paris, France, the original lineup included Petrina and Parisian drummer Gautier Garrigue. In 2010 they recorded their first album, The Kandinsky Effect. While influenced by hip-hop and electronics, the album was much more rooted in jazz and featured mostly acoustic instrumentation. Dolister joined for 2013's Synesthesia, which began to expand the band's sound, blending everything from Petrinas fondness for electronica to Dolister's love of heavy rock bands like Meshuggah, and Walker’s unique approach to composition and electronic soundscapes. 

Over the years, the group has traveled extensively, performing multiple trips and tours in Europe, Asia, and North America, perfecting what Dolister calls their "intellectual groove instrumental music." And from the slip-sliding beats and slithering sax lines of opening track "Copalchi Distress Signal" to the insistent pulse and layered, lyrical melodies of closing cut "Muji," there's a feeling of the refinement process reaching fruition on Somnambulist.

The Kandinsky Effect, "Somnambulist" from 'Somnambulist' (Cuneiform Records)

"Night" taken from the album Lost Themes, Out Now. 

LP/CD: http://bit.ly/1uJTy0G
iTunes (Including remixes by Zola Jesus, ohGr, Blanck Mass, Silent Servant, JG Thirlwell, and Bill Kouligas): http://hyperurl.co/LostThemes

Website: http://www.theofficialjohncarpenter.com/
Facebook: https://www.facebook.com/pages/John-Carpenter-The-Master-of-Horror/180461998405?fref=ts
Twitter: https://twitter.com/thehorrormaster

Tour dates: https://bit.ly/1R0KsHL


John Carpenter - Night

from 'S/t' [CD|LP|DIGITAL]
Denovali Records · den224
available on all formats at [http://denovali.com/foghdepot]

Fogh Depot is not just a collaboration between three musicians weaving a cozy melancholic cocoon in the midst of a looming, cold, unwelcoming metropolis of Moscow.  It’s a creativity lab where complex cryptoanarchic ideas rigidify in the viscously flowing Phrygian mode, while the simple and naive piano melodies sweep the listener right back to childhood.

Fogh Depot’s debut album contains eight stories told by different people in different places. "Anticyclone" feels like a massive hedge-maze amidst towering sand dunes of apathetic lust. "Mining" – is a slow descent into a narrow, murky mine, now and then suddenly illuminated by the guide’s flaring torch.  Does he even know where he’s leading his patrons? Sorrowful and strange, "Nevalyashka" is a nostalgic waltz, bringing to mind an old wooden attic where forgotten toys are gathering dust, while the clear and springy bass in "Sagittarius" can only be the belligerent footsteps of a mythical centaur. 

The simplest way to define Fogh Depot’s music would be to call it seductive brooding jazz with an electronic twist. Fogh Depot conjoin the unconjoinable, combining distorted low resolution samples with pure, atmospheric piano chords, multilayered drones with bebop changes, four-to-the-floor beat with polyrhythm, simple, easy-to-remember tunes with sophisticated effects for woodwinds, springy bass grooves with timeless ambient soundscapes. Live performance targeted at acoustic perception binds this technological hodgepodge together, giving every listener a chance to find the right texture for a rainy evening and a glass of good scotch.

Fogh Depot

Fogh Depot - Sagittarius

from 'Engtanz Depression' [CD|LP|DIGITAL]
Denovali Records · den221
available on all formats at [http://denovali.com/sanktotten]

The German instrumental duo SANKT OTTEN, founded in 1999, consists of Stephan Otten (drums, programming, synthesizer) and Oliver Klemm (guitar, synthesizer, piano), and has been releasing on Denovali Records since 2009. 

Their eighth album ENGTANZ DEPRESSION (engl.: CLOSE DANCE DEPRESSION) expresses a significant progression of their material on the preceding album trilogy (Gottes Synthesizer, Sequencer Liebe, Messias Maschine). New drum sounds and acoustic instruments such as harmonium and piano may be found, and some pieces emerged from free improvisations, which is a completely new approach taken by this band. 

The album starts with "Urlaub Unter Psalmen" which builds up slowly, piles up further, just to completely disintegrate in the end. Klemm’s typical E-bow guitar parts and the dubby baseline make this track a catchy tune. Next is "Beten, Tanzen, Küssen" which is the first Sankt Otten track ever where a harmonium appears. In combination with the minimal beat one could even think that this track is suitable for a club context, but the two musicians always manage to stay away just enough from the ordinary and remain slightly disturbing as ever. "Im Lichtorgelparadies" switches on the lights in paradise with a hypnotic synthesizer melody and the KRAFTWERK-like beat gives the track a floating ease. 

One of the album highlights is the 12-minute monster "Sing die Apokalypse", which is dominated by Otten’s powerful, but always minimalistic drumming. After about 10 minutes the listener might think that the apocalypse has aleady arrived, but Sankt Otten move on and manage to even increase this feeling. The track ends unexpectedly and with a winking bow to the influential American electronic protopunks SUICIDE. However, Sankt Otten also demonstrate that they can still master the meditative sounds. Tracks like "Der Himmel ist voll" or "Die tragische Nummer" are quite far apart from average electronica. 

The titles of the tracks appearing on the album are as always a unique mixture of aphorisms, sarcasm and puns. In spite of the new directions explored on this album, SANKT OTTEN maintain their characteristic Holy Trinity of krautrock, ambient, and 80ies electronica. Floating, meditative, dazing and catchy at times. 


Engtanz Depression

Preorder / Buy

Sankt Otten - Beten, Tanzen, Küssen

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

CD - SOFT REC https://softrecords.bandcamp.com/album/different-streams

TAPE - GRAINS OF SAND RECORDS http://wearegrainsofsand.com/product/eus-postdrome-saaad-different-streams-tape

Out Feb 23 
(both physical edition include 3 digital bonus tracks) 


EUS, Postdrome & Saåad - The Only Path

November Was White, December Was Grey

This track is a direct recording from a computer generated music stream. As part of "La Mécanique des Beats", it impersonate the computer role in a trio with a dancer and a musician where the two human character struggle to fit in harmony with the automatic digital production.

Mouvement 5, La Mécanique des B(ea/i)ts

Ambergris

Peripherals

Sorus

Mouvement 1, La Mécanique des B(ea/i)ts

Special futuristic version of "And Seven More"
22.03.2015
Sitar and voice (unedited)samples downloadable here: 
http://www.freesound.org/

And Seven More (futuristic version)

LIES-026.5
Antenes-Fire Rises
from upcoming three track ep
to be released April 2015

www.antenes.net
https://www.facebook.com/lesantenes

Antenes-Fire Rises (LIES-026.5)

Still Wanna Got It

Adam X is back with his third album release under his industrial guise, ADMX-71. Following releases with the legendary label Hands and his own imprint, Sonic Groove Experiments, Adam paired up with L.I.E.S Records in 2014 for Redacted Files, a 12” single of slowed-down and tense EBM wizardry. Adam returns to the L.I.E.S. front with Coherent Abstractions, a brand new album of singular experiments that pull from every corner of electronic music's landscape into a comprehensive and propulsive full-length. 

Coherent Abstractions pulsates with fractured rhythms, vacillating melodies and mesmerizing compositions that showcase Adam's impressive history working in all aspects of the underbelly of electronic music. Noise and industrial elements seep into the album's 11 songs, churning the cold and abrasive into feverish new territory. Though Coherent Abstractions operates primarily in sounds of solitude, guest vocalist Janina joins "Bound and Broken" for a rare vocal collaboration on an ADMX-71 track. We also hear a frantic vocal performance from the producer on Nearing Obliteration which is undoubtedly the apex of the album.

Throughout the album the music sweeps from breakbeat noir, anxious electronic dub to reflective industrial modes making Coherent Abstractions an engaging and varied listen, updating a late 80's EBM tone into modern sound design environments, while pushing a reverence for the past and heading into the deep unknown of the future. 

For those unfamiliar with Adam's deeply rooted history in the New York underground, he and his brother, Frankie Bones, pioneered techno in a post-disco, pre-Guiliani, New York City through the late-eighties and onwards past the nineties producing countless records under and finally opening their own shop and record label, Sonic Groove. At the same time they began throwing renegade parties, known as STORM RAVE throughout the 5 boroughs. which was, until this time unheard of in such a major U.S. metropolis and opened the door for what was to come.

Their record store Sonic Groove served as an essential hub for purchasing cutting edge electronic music from which they imported from across the globe. The shop also functioned as a crucial meeting point for likeminded freaks throughout the city to exchange ideas.

Furthermore, Adam was one of the most notorious train writers in the history of NYC graffitti as he trespassed the system and infiltrated train yards during a time when it was thought that the yards were impenetrable. After deciding to exit the world of graffiti he focused his energy solely on music. As time went by we've heard Adam transform his sound from fast paced hard techno to metal beat driven industrialized EBM, the sounds of the train yard always present in his music carrying him forward.

You can also check out a comprehensive article about Adam and Frankie and their relationship with music and graffitti in New York City below.
http://www.thedailybeast.com/features/2015/ballad/index.html

pre-order here

ADMX-71 - Phenomenalist (LIES-067)

sample recorded live at voice of the valley 7/25/15, looped and layered at suite 309 7/28/15

joints4sale

Just Give In / Never Going Home

Buy 2xEP

Hazel English - It's Not Real

Remixed by Justin K Broadrick (@officialjesu / Godflesh)

Widerstehe doch der Sünde Remixes EP released 18th September 2015 on NCLS/@Because Music. 
Limited physical copies available: po.st/WDDSVinyl

Original version taken from my solo debut Album "Contrepoint" po.st/Contrepoint

Contrepoint

Widerstehe Doch Der Sünde (Justin K Broadrick Remix)

Bonus intro track to Psionics / Brochymena (grip: https://rubbercitynoise.bandcamp.com/album/psionics-brochymena)

Black Unicorn — Psi Prelude

Only Sun — our tune off GROUPHUG Volume 2. Download the whole compilation here: https://group-hug.bandcamp.com/

ONE DAY, MY BABY GIRL, WILL MASTER HER FATHER'S SKILL FUCKIN' UP THE WORLD — SHE'S MY BABY GIRL!

Super Bummer - Only Sun

She Sells Santuary  ~ The Cult

Composed specifically for "All The King's Horses", an audio-visual experiment presented by Shawn Misiak at Asterisk Gallery in Cleveland, Ohio, 2006, where each piece of visual art was paired with adjacent cd players and headphones so that one might enjoy a specific private soundtrack (written without having seen the associated piece) for every artwork.

"Chloroform Orbit" was composed using as its core a ten-year-old piece written on an Ensoniq SQ-1 in 1996 or so and recorded to cassette on a crappy bookshelf home stereo unit.  By 2006 the tape was disintegrating and flaking pretty badly in playback, but that just made it sound even more zoned, so I digitized it and added a bunch of other crap on top, including multiple vocal tracks, yet more synths, and some shameless Low-esque Bowie sax.  SPACE.  IT'S DEEP, MAN.

Chloroform Orbit

this is actually from an older project of https://soundcloud.com/nohidea tracks i was working with that, sadly, i never got the chance to finish. i still might someday but right now i want to put a track out from it that hits pretty close to how i'm feeling as i deal with some personal issues. thank you everyone for your support. it means the world to me <3

also please go support https://soundcloud.com/tsudaime who is a close friend, great person, and incredible talent

|| lyrics ||

my days feel so gray
when i'm not found
can't get my thoughts straight
my mind is sound

how'd these thoughts break in?
all they say
burns right through my skin
i'm thankful for the rain
i feel so nauseous 
bath in my sorrows
why can't i stop this?
long for tomorrow 

my days feel so gray
when i'm not found
can't get my thoughts straight
my mind is sound

my days feel so gray
when i'm not found
can't keep my thoughts straight
my mind is sound

thanks for downloading my stuff <3

i feel so nauseous || feat. tsudaime || prod. Nohidea

Formed from the ashes of previous Liverpool band's 'The Black Velvets' & 'The Aeroplanes', Cold Shoulder have been busy crafting their sound since late 2010. A 3 piece who decided to write about what was important to them rather than conforming to the latest buzz thing. Favourites of Dave Monks (BBC Introducing) and currently mixing their first EP, due for release mid 2012.
 

The Boys Had His Fun


Robert Hood "Minus"
Flying Rhythms "Home Away"
Moebius & Plank "Two Oldtimers"
Broadcast "The Playing Fields"
Broadcast "Peter The Painter"
Silver Apples "Dust"
-HISHAM AKIRA BHAROOCHA (TRIO) LIVE -
Broadcast "The Infinite Self"
Flying Rhythms "Doragon Balls"
Arthur Russell "You Can Make Me Feel Bad"
Sanso Xtro "Fountain Fountain"
Jean Guerin "Triptik 2"
Parson Sound "A Glimpse Inside The Glyptotec-66"
-HISHAM AKIRA BHAROOCHA (TRIO) LIVE -
Terry Riley "A Rainbow In Curved Air"
Moebius & Beerbohm "Dopplerschnit"


Arthur Russell "You Can Make Me Feel Bad"

"In a time when techno and abstract music is sounding repetitive, Metasplice continue to utilize unconventional sounds and arrangements. "Decant", being the more floor oriented track, combines groovy bits that turn into splashing immense noises and harmonies. "Churn" opens with a barrage of beautifully crafted harmonic sequences, then relentlessly descends into a sublime world. Both tracks are spectacular floating grooves that immerse the listener in the group's unique and intense headspace."

doser015 - Metasplice - a - Decant

Available end of September, 2013. Early pre-orders for those on the mailing list:

www.fac-ture.co.uk/Mailing-List

The audio process…

Light Folds by The Seaman and The Tattered Sail is a collaboration between Craig Tattersall (The Boats, The Remote Viewer, The Humble Bee, Cotton goods, Theodore and Hamblin, The Famous Boyfriend, etc.etc. and artist/designer) and Bill Seaman (SEA, Attsea, Otic.Info.Set, sp.op.cit, Spilly and the Drops, etc. and media artist exploring linear and interactive works). The work took place via the internet, sending differing files back and forth using Drop Box, wetransfer.com, and vast quantities of email. After about 2 years Tattersall and Seaman met face to face!

It started with a simple back and forth set of responses to a few audio files, building up loops and tracks. Over time it built up to over seven hours of music. We initially made a double CD of works but we kept abstracting and remixing and colliding things. Tattersall brought his distinct form of “dusting” which explored unique forms of noise, tape ambience, tape degradation, etc. Seaman often explored abstraction using Ableton Live, especially in terms of time / pitch manipulation, and exploring the combination of a multitude of Ableton plug-ins. Huge amounts of data were sent back and forth! Occasionally we went a bit mad with naming and keeping track of things… Usually a number of mixes for each initial work emerged out of the process. Sometimes the abstractions went quite far away from the original tracks. The double album on Vinyl came late in the game where a series of shorter versions and new abstractions were defined.

Tattersall played Guitar, piano, dusted loops, analogue loops, digital loops, drum machine, analogue synth, synth bass, field recordings, abstractions, fragment constructions and reconstructions, abstractions of Seaman (etc.), analogue spatial recordings, artificial wind, crackles (record surface noise).

Seaman was working primarily with Ableton Live and contributed Piano, vocal, text, fragment constructions and reconstructions, time abstractions, quartet samples, trumpet samples, clarinet samples, drum machine abstractions, drum machine constructions (samples), digital distortions, bit reductions, synth abstractions, abstractions of Tattersall (etc.), digital loops, radical pitch shifts, noise enhancements, historical samples, crackles – record surface noise (from Tattersall), artificial crackles.

We worked with some excellent musicians in the construction of the samples…

Trumpet (sample recordings) – Robert Ellis-Geiger; Ciompi Quartet (sample recordings) – Eric Pritchard (violin), Hsiao-mei Ku (violin), Jonathan Bagg (violin and viola), Fred Raimi (cello); Clarinet drones (sample recordings) — David Beaudry; in Ableton Live (construction space), and Seaman used a Roland Edirol R-09HR Ver.3.0 for instrument and voice recordings.

The musical influences run the gamut from ambient, industrial, glitch, dance, pop, jazz, classical, experimental, noise art, etc. Seaman has called this alt.genre in the past… although it really defies a single musical label.

The working process was quite exciting to hear what each had done with the tracks as an ongoing process… The project is incredibly rich in its subtle exploration of psychoacoustic spaces and layerings, and it is vast… The works form a series of plateau-like spaces where time is explored and erased, and an atmosphere for reflection and association is presented. Duration was not worried about and many of the works are quite long. The entire project has been incredibly exciting and rewarding in that we each seemed to pull the best out of the other!

It is also worth noting that as an aside to creating within this album, there was a huge element of learning within the album.

Working with a new creative partner always begins with finding a commonality in working practices, then from this you can bring your individual approaches to working practices, it is in the dialogue whilst working through these passages that you learn from each other.

The artwork process…

Like most work undertaken there is a underlying aesthetic language that has been built up over years of arts practice, whether this be audio or visual production.

An aesthetic language seems to span audio and visual works that is to say that you use a language and approach to creation in the same way whether it be audio or visual work, so it seems obvious that visual artwork that is in creation at any given time will in some ways mirror audio creation at the same time.

So as we where in the thick of creating the audio I had started making some experimental pin hole lumen prints (a photographic technique where you work with photographic paper within direct sunlight).

These were simple images of dots created with holes in little metal boxes. They were interested in capturing light and time rather than a conventional image. So the images were created using one (pin) hole exposed for one hour, two (pin) holes for two hours and so on up to 12 holes/12 hours.

I was sharing these with Bill and as well as Bill liking the work/process it became apparent that they seemed to share an aesthetic with the audio we were working, looking at light, time, space.

So in conversation with Bill I started to take the photographs into digital forms, exploring how the ‘dust’ of the analogue process could be extrapolated through digital forms, and then of course taken back into the darkroom and analogue processes, exactly how we were working in the audio work.

From there, and through extensive email conversations the artwork developed into the body of work that comes with the release.

Like the artwork the titles also reflect the abstraction process. Needless to say – “Light Folds” can be understood from many different perspectives. – Craig Tattersall

The Seaman & The Tattered Sail - Light Folds (Preview)

I have been recording electronic and acoustic music since 1992.  The vast majority of these recordings have yet to be released (mostly for good reasons).  Some of them will appear here.

Chloroform Orbit

jack smiley