Tilliander meets Lee Scratch Perry #2

Dubtech From Feedback

LJUDVERKET 31.01

Linus Hillborg, a Swedish composer and musician based in Stockholm operating in numerous fields, ranging from electronic musics and interactive installations to post-punk and noise groups. In 2021 he released his solo-debut Magelungsverket, derived from the installation Orphan Works (2019) which he built with an obsolete video game engine. He has previously put out music under the moniker Atonet, co-runs the imprint Moloton and is set to release new organ and violin music through XKatedral in 2022.
“This mix is a healthy slab of early electronics, soundscape music, punk, video game soundtracks and new stuff from me and friends.”

Linus Hillborg [Reste à la fin, les cendres  Curated by Mari] [31.01.2022]

Fonte/source: UbuWeb (http://www.ubu.com/sound/radigue.html)

Eliane Radigue, “Kyema, Intermediate States” (1992)

Kjell Alinge läser upp Mats Almegårds recension av Andreas Tillianders ”No Schaffel” ("Från Jävla kritiker")

Kjell Alinge - Mats Almegårds recension av Andreas Tillianders ”No Schaffel”

Sometimes when playing organ preludes and postludes in church, I improvise on rap songs. Sometimes I start with something else (say, for example, motives based on my own interpretations of "redemption" or "jubilation" or "cupcakes") but the journey ends up, somewhere along the way, in the loopy-oriented terrain a rap song or vice versa. 

Most people listening out in the pews more often than not have no idea what sources I quote at the time (depending on who's out there, of course), but the most intriguing part of the exercise is that people of all stripes seem to like the pieces, and have said to be "moved" by them in ways unconventional and far away from a song written for, say, a club. 

There is little material intervallic and harmonic difference between a song played on the organ and a song played through a DAW after all; meaning is ultimately ascribed through timbre and context. This fact testifies to the power of a delicately placed recontextualization and is proof of an "everyday sacred"  contained in even the most deceivingly simplistic 4/4 riffs and 12-bar bass lines.  

A 2013 Gate Production. 
Composed and Performed by Kara-Lis Coverdale in Montreal, Quebec. 

Dubtech From Feedback

Matt Jackson