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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

CHROMA

For today's exclusive track premiere, I am featuring a piece from the second volume of music by a UK trio called Quiet Places, consisting of Dennis White, Charlie May, and Dave Gardner. Their debut release, appropriately titled Volume 1, showed up on my radar back in 2020 [has it really been that long?] by way of Ryan Griffin's meticulously curated A Strangely Isolated Place imprint, the output of which I consistently and hungrily consume. As is foreshadowed with the title, we are now gifted with Volume 2 of this group's creations, featuring four long-players, each taking up an entire side on this gorgeous marbled 2x12" release [the piece you are hearing today is not on the album, and is a digital-only special bonus track]. As I described the first volume three years ago, the swirling atmospheres in a haze-inducing daydream,  the humming synth pads with the layers built upon each one, and the kaleidoscope of sampled snippets are back again in Volume 2 to snatch me back from this reality and drop me into times when Boards of Canada, Global Communication and The Future Sound of London soundtracked my days. On their latest for ASIP, the trio once again command the sonic artistry and deep knowledge of the stylistic snapshots that are stitching up my memories into a cohesive whole. This is a welcome escape from the bombardment of the "usual", a future flashback into the past of the present, a twist in the fabric of space where time becomes a loop.

Volume Two

TRACK PREMIERE : Quiet Places - The Empty View

Music inspired by American psychologist Leonard Zunin's Law of the First Four Minutes.

cover artwork by SETH BLACK
www.instagram.com/seth6lack

generated by Nicolie Binara
produce and mastered by Setsuya KUROTAKI

Study No. II

winedark by rosewither and Natalie Hogue is a collaborative effort which explores the dualities between harmony and disorder. A resonant chorus of tornado sirens, lawnmowers, and car horns, winedark explores nature in both its violent and serene states; nature as something revered and beyond control; nature of the world and of the human.

Check out Natalie's work here: https://nataliehogue.com/

Bandcamp

rosewither, Natalie Hogue - Ruminations on Traffic Noise

09 Record 9

Babel Lustmord

Lustmord - Abaddon (extract)

Insight & Chill Spotify Playlist: https://tinyurl.com/m33h5l8

Deep Ambience from Powlos. Sets the mood for these dark cold winter nights ahead.
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Photograph by: Sonja Langford

Unsplash - @sonjalangford

Powlos - Misty

Sound excerpts from the track "The Marble" appearing on the forthcoming Svarte Greiner LP "Moss Garden", following in the footsteps of 2013´s "Black Tie" with 2 new sidelong pieces of zen music for disturbed souls. 

Miasmah records nov. 25th

Svarte Greiner - The Marble (excerpts)

From Wolfenstein II: The New Colossus Soundtrack
Baschet performance and recording by Nicolas Becker and Martin Stig Andersen
Original composition by Martin Stig Andersen (2017)
Assistant composer Andreas Frostholm Røeboe
Recorded at the Association Structures Sonores Baschet, Saint Michel sur Orge, France
All rights reserved

Wolfenstein II: The New Colossus Soundtrack

Venus

Venus - Martin Stig Andersen

Sound clip from the CD 'When the Earth Dissolves in Ashes' which gathers 75 minutes unique live only material performed at different locations during 2010 and 2011: Zürich, Wuppertal, Rotterdam, Cologne, Leipzig (WGT), Cherkassy and more. The starting point for these live tracks is mainly the sounds used for 'In sadness, Silence and Solitude', 'Metamorphyses' and 'The Stains of the Embodied Sacrifice' looped and mixed live together with on spot improvised sounds, thus shaped into new never before heard sonically expressions.

Shadow Weaver

~ IIKKI 007 ~

music : Federico Durand
photography : Albarrán Cabrera (Angel Albarrán & Anna Cabrera)
album/book : Pequeñas Melodías
duration : 38.24 mn
date : November 2018

edition : 
vinyl : limited to 300 copies, DDM Cut, 180 gm, hand numbered 
cd : limited to 200 cd (glass mastered) hand numbered
book : limited to 500 copies hand numbered + hand stamped

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pre-order : October 11th, 2018 / official release : November 08th, 2018

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Mastered by Taylor Deupree
Artwork by Albarrán Cabrera
Design by Sprflxgrfzm

Recorded in La Cumbre, Argentina, on tape loops and cassettes with a Sony TCM200-DV, Fostex X-18 & Macbook, using acoustic guitar, music boxes, synthesizer, electric piano, Rhodes piano sampling, Roland Space Echo RE-201, CT5, EHX 2880 and a small modular sampler (Morphagene, Clouds, 2hp LFO, 2hp RND, Bastl Ciao).

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Links :
https://federicodurand.bandcamp.com/
http://albarrancabrera.com/
https://www.iikki-books.com/

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℗ & © 2 0 1 8 - I I K K I - I I K K I 0 0 7

Federico Durand – Pequeñas Melodías (album preview)

Order Sunset at: ghostly.com/products/sunset
or at the retailer of your choice: ghostly.lnk.to/christopher-willits-sunset

Sunset

Christopher Willits - Pacific 1

I first encountered Ben Chatwin's music as Talvihorros sometime in 2011 through his release on hibernate imprint. We become more acquainted when he contributed a beautiful track towards my ...and darkness came benefit compilation appearing in 2012. A few years later, Chatwin moved from London to Edinburgh and began recording under his real name. This new beginning also gave his music a refreshed and upgraded sound and with newly found confidence he moved on to the independent Village Green imprint - see Sleeper Awakes appearing on Headphone Commute's Best of 2015 lists. We've seen his follow-up, Heat & Entropy, grace the 'best of' lists a year later, but in 2018, I must admit, I was completely blown away with the Staccato Signals. Something changed entirely. Chatwin's music became cinematic, darker, edgier, blending synthetic and the acoustic, pushing the boundaries of intense sonics and textures, and totally gripping my mind. Needless to say, the album grabbed the top spot in the coveted Music For The Film Behind Closed Eyelids list of best cinematic music of 2018. This year, Ben Chatwin is back to unleash The Hum for Village Green, his sixth studio album under his own name, and today I've got an exclusive premiere from the release dropping tomorrow.

The title of the album, and indeed the title of this track, hint at something lurking behind the lights, the pipes, and concrete. That something is a sound, a drone, a purr, of lifeless objects generating life. When electricity is cut, the house fills with silence, and only then are you aware of all that constant whir you've been surrounded all time. This sonic ghost becomes the bloodstream of the dwelling, and with The Hum, Ben Chatwin amplifies its voice. This rumble is electric, growling, at times it's suffocating with the bass, its place expanded, frequencies increased, dynamics magnified. But at the center of this multi-dimensional chant lies a song, alone in space, alone in beauty. This is the song of Chatwin's music, and I've been mesmerized with all it has to say.

"When electronic artist Ben Chatwin plugged his Moog synthesiser into the mains at home one day, he was surprised to find the electrics of his home faintly singing. His house was built in the nineteenth century, and what he was listening to was the building’s natural hum. He boosted the volume, and in doing so, found the inspiration for his next release, The Hum, out on Village Green on November 6th"

Svarte Greiner - The Marble (excerpts)

miasmah

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