OUT NOW: https://callingcardspublishing.bandcamp.com/album/a-pause-box

a pause box by Natalie Kynigopoulou

A pause box is an experiment in sound and story, divided into six acts, lasting 33 minutes in total. The work re-imagines a city as a derelict theatre, re-enchanted by non-human terrestrial protagonists.

Act 1 / An Arrival
Act 2 / A Derelict Theatre
Act 3 / Now Sprout
Act 4 / We are A/Synchronous
Act 5 / Chorus
Act 6 / Site of Resonance

For the making of a pause box, Natalie Kynigopoulou has been working closely with members of the community at Monome to explore some of its community-contributed scripts, alongside semi-modular synthesis and foley.
credits

This project has been supported using public funding by Arts Council England.

Mastered by Giuseppe Ielasi

CCP008

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a pause box by Natalie Kynigopoulou (Excerpt)

SeeFu Lilac

Black Moth Super Rainbow "SeeFu Lilac"

boody

Taken from You're Me - "Plant Cell Division", out on cassette and digitally 29 April 2016.

Buy Tape: bit.ly/1VR5XwH
Buy Digital: bit.ly/1RMFZdU

You're Me - ilu

BARNSTORM

True tale

ELI KESZLER 'FLYING FLOOR FOR U.S. AIRWAYS'

Extract from STADIUM (SP099), out October 12, 2018
2XLP / CD / DL — SHELTER PRESS

—

New York-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author László Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize–winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.

“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.

Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer—he’s a world-building percussionist.”

In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.

Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations—especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work "Northern Stair Projection." “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”

Stadium

ELI KESZLER 'FLYING FLOOR FOR U.S. AIRWAYS' (SP099)

Phubu (RAMZi) - SANPO 140

Huge thank you to everyone who sent a mix to us to help us celebrate our 12th birthday, and to help us fundraise in this difficult period.

boody

Lambda Kiwi

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