So, is this a childrens' game in Estonia? How do you play?

from 'Symmetrie und Wahnsinn' [CD|LP|DIGITAL]
Denovali Records · den370
available on all formats at https://denovali.com/sanktotten/

After the 2020 album "Lieder Für Geometrische Stunden", Sankt Otten finally make us happy again with a new release at the beginning of 2022. "Symmetrie Und Wahnsinn" (Symmetry and madness) fits here skillfully, both creatively and musically, in an album series with geometric context.

The album starts unusually buoyant with "Hymne Der Melancholischen Programmierer" (Hymn for sentimental programmers). A Kraut-Pop pearl, which could go on forever with its Motorik swing and with its catchy melody the track doesn't come across as melancholic as the song title predicts. You have to listen twice to not succumb to the illusion that it was composed in Düsseldorf at the end of the seventies. Here (and on the track "Sei Symmetrisch Zu Mir"), Sankt Otten were supported in the studio by drummer friend DIRK PELLMANN.

The drum machine in rumbling funky mode. "Die Glücklichen Unglücklichen", the secret hit of the album? They bend the beat into geometric shapes, let the bass play in circles and cover the song with ghostly choirs. The echo of a spinett-like sound overlays the sound, spitting out a deceptively cuddly dream world.

The 10 minute long "Die Ordnung Des Lärms" could be called an Ambient-Kraut symphony without hesitation. An enormous swelling to ecstasy, a guitar sings distantly in the background. Silence. Synthetic strings pave the way and are supported by choirs. A crackle that suggests a rhythm until it is taken over by a drum computer in the main part of the track. Bombastic mountains of synthesizers pile up and yet a catchy melody finds its way through this mishmash of hypnotic electronics. Fourth movement - Kosmische-choirs in suspension over a bass synth and an Ebow guitar. Is this already Prog-Rock? The question doesn't arise, in the end everything merges into reverb.

"Luftspiegelung Der Sentimentalitäten" begins cautiously with a gentle sequence and a discreet kick drum. The mini-Moog sounds like a guitar. Anyway. A surface floats by and returns, layers and shapes build up. At last, everything melts into perfect harmony with a plaintive-sounding synth. This track was composed as a stripped back reprise of the first track from the last album "Sentimentale Sequenzen".

A hypnotic Motorik-beat of an 808 that encourages head nodding and could almost be danceable. True to style with warm analog 80s electronic sounds and a loose echo guitar. This is "Angekommen In Der letzten Reihe". Man and machine hand in hand as a homogeneous musical unit and the connection of tradition and vision.

Sankt Otten like images of infinity. In the religious sense of meditative mantras, or also in the mathematical sense of an elongated curve that eventually returns to its starting point. "Bis Das Helle Licht Uns Holt" goes exactly in this direction with its classical use of sequencers and a sound carpet of choirs. Sound worlds that, through a clever repetitiveness, barely noticeably guard the constant changes in the compositional mesh like a secret and only reveal what is to be discovered by listening closely and letting it be seen. Such a thing is probably called Berlin School?

The Osnabrück duo Sankt Otten, founded in 1999, has been releasing on Denovali since 2009. With their now 12th album they give us again a gem of timeless instrumental music. The holy trinity of Krautrock, Ambient and contemporary Electronics, but always stylistically confident and unmistakable Sankt Otten.

For the mastering New York based RAFAEL ANTON IRISARRI could be won. Also with the cover layout again good taste is proven. As part two of a cover series, this extraordinary die-cut cover artwork was again created by designer DANIEL CASTREJÓN. The vinyl version comes in a die-cut cover (in a limited transparent edition), the CD in an elegant cardboard slipcase.

Symmetrie und Wahnsinn

Luftspiegelung der Sentimentalitäten

Sankt Otten - Luftspiegelung der Sentimentalitäten

artist: jens pauly
title: 1989
catalog: eR002
release date: 26th of march 2022

release type: ep
series: eRecords digital series
playing speed: 45rpm

written and produced by Jens Pauly
mastered by Alexandr Vatagin
cover photo taken in 1989 by Jens Pauly
art and design by Harry Towell
whitelabrecs.com/erecord-series/

eRecords are a series of digital editions which aim to transform the digital format into something that can be experienced in a similar way to a listener’s interaction with a real, whitelabel vinyl record. Each edition includes a special PDF scrapbook including polaroids and liner notes and you will only be able to find out more about the themes and ideas about each record, once you’ve downloaded them.

1989

eR002 jens pauly - slope

CD/DL: https://federicomosconi.bandcamp.com/album/air-sculptures

Federico Mosconi's 'Air Sculptures' is the seven release in Lost Tribe Sound’s album series, Salt and Gravity. The series includes albums from Arrowounds, Adrian Copeland (aka Alder & Ash), Tony Dupé (aka Saddleback), ’t Geruis, Federico Mosconi, sanr, mastroKristo, and Alapastel. To receive 'Air Sculptures' on CD or Digital at a discount, subscribe to the series here: losttribesound.bandcamp.com/album/salt-and-gravity-series

----------------------------------------------------

LTS has been following the work of Italian classical guitarist and composer Federico Mosconi since first hearing ‘Light not Light’ released in 2019. We were impressed by the album’s balance between solemn guitar movements, abstract noise, and subtle industrial pulses. At the time, describing it as if GAS retired off the coast of Italy and took up classical guitar. Since that time, LTS has stayed in contact with Mosconi waiting for the right album to combine efforts, enter ‘Air Sculptures.’

‘Air Sculptures’ creates space for Mosconi’s signature classical guitar work, though it remains far more shadowed than previous efforts, taking on a vaporous and elusive quality.  Flow is ushered along by a strong reliance on rhythmic patterns to outline the contours of many of the songs. These are not the straight-forward beats one might find in electronic music, these fleeting stomps and flickering percussions serve as a grounding presence while still allowing a malleable freedom to exist in the overall composition. In essence, the texture of the percussion is a wonder, soft… like muted bamboo chimes clacking in the wind, coarse… like gravel falling from the hand, deep… like burying a mic a few feet below ground and pounding the earth above. 

‘Air Sculptures’ melodically speaking, feels akin to the monolithic drone work of Rafael Anton Irisarri. Origambiro also comes to mind when referencing Mosconi’s use of found rhythms, made from a multitude of dropped and collided objects. Yet the most luminous moments, ultimately belong to the classical guitar. Mosconi doles out a blend of triumph and sorrow with the strings, comparable to the likes of Western Skies Motel or Yadayn.

Air Sculptures

Federico Mosconi - Air Sculptures (Album Preview)

Purchase album: https://thephonometrician.bandcamp.com/album/c-iste-bodhar

Death arrives in many forms, and it is often at the root of many mythologies and lore. The new album titled, ‘Cóiste Bodhar,’ from multi-instrumentalist The Phonometrician is a work inspired by two such narratives. This is the second full-length album from Mexico City based musician Carlos Morales under the alias.

The Phonometrician holds true to his core instrumentation throughout ‘Cóiste Bodhar,’ using an acoustic guitar, a Venezuelan cuatro, and synths to give the album a push towards the realm of dark folk. Returning are Morales’ signature low end stomps, which seem well-suited for the topic of death. These heavy marching rhythms share commonalities with those one might expect to hear from the martial industrial or ritual scene. Yet in combination with the cyclical guitar melodies, the dooming percussion never seems to weigh down the compositions. Also for the first time Morales invites a collaborator, with Adrian Copeland (aka Alder & Ash) delivering a scorching cello performance on the song "Death Rides a Horse: Part II.“

Cóiste Bodhar

Death Rides a Horse: Part I

The Phonometrician - Death Rides A Horse: Part I (from Cóiste Bodhar)

instagram.com/a2rbeatz/

a2rbeatz.beatstars.com

Block (trap) Loop 145 Bpm @A2RBEATZ

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

Hobusemäng / The Horse Game

from 'Landscapes of the Unfinished' [CD|LP|DIGITAL]
Denovali Records · den251
available on all formats at [http://denovali.com/pianointerrupted]

Recorded partly in Senegal with local musicians playing traditional instruments, "Landscapes Of The Unfinished" is Piano Interrupted's 3rd album for German experimental label Denovali.

This album sees pianist Tom Hodge and “electronician” Franz Kirmann explore a more introspective approach to their sound. The sonorities and recordings the pair brought back from West Africa are deconstructed, mangled and texturised, turned into a pointillist landscape until only a faint and distant souvenir remains.

These beds of pulsating soundscapes and earthy textures serve as base for Hodge’s delicate piano phrases and intricate compositions, interlaced with long-time collaborator Tim Fairhall's fluid double bass playing.

Harsher territories are also visited during the 9 tracks that compose the LP; fuzzy Senegalese radio voices and the distant memory of African percussion collide with distorted bass and buzzing drones or screaming textures battle with screeching double bass sounds and tortured piano strings.

The overall tone of the album reflects the duo’s desire to musically translate the experience of the Dakar trip (where Franz Kirmann grew up), but also to break away from the first two albums' intricate programming and editing and instead go towards a writing and recording experience directly inspired by their live experience. Hodge’s clarinet, an important facet of the Piano Interrupted live show, is captured on record for the first time. 

This surge towards documenting a moment, leaving a trace or examining something concrete is further reflected in the choice of titles (all named after the musicians who took part in the recordings) and also the design, which is for the first time a photograph. Taken by filmmaker Cath Elliott, who travelled with the pair to Dakar to document the process, the album artwork captures one of the numerous half-built structures, infinite and abandoned, surrounding the studio in the suburbs of Dakar, and provides both an unfinished urban landscape and yet when viewed as a single moment in time, one of many compellingly complete landscapes of the unfinished.

Landscapes of the Unfinished

Piano Interrupted - Abdou Kadre

Ending track of the Album "This is soon too late" (FDL#05). 
Support independent music? 

www.federleicht.be

Herbstlaub - You In Me (FDL#05 - 2016)

This song is entirely based on vocal recordings that were processed by using a sampler, based on granular synthesis. All sounds that you can hear are our voices being stretched, squeezed, cut, pitched and sent into an fx chain.

@annamarjamaki

Taken from my recent record "Confidence".

Hobusemäng / The Horse Game

maarja nuut

Recent comments

About This Product

Miléna

maduncledeejay

johnny kowalski

Related tracks