Painting Clouds

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Context

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1. Ben Lukas Boysen - Sleepers Beat Theme (Unreleased)
2. Darkstar - Hold Me Down
3. Holy Other - Yr Love
4. Teebs - Verbena Tea with Rebekah Raff
5. Nils Frahm - More
6. Songs of Green Pheasant - I Am Daylights
7. Jónsi & Alex - Daníell in the Sea
8. Evenings - Babe
9. Letherette - After Dawn
10. Jon Hopkins - I Remember (Exclusive Yeasayer cover version)
11. David Holmes - Hey Maggy
12. Alela Diane - Lady Divine
13. Four Tet - Gillie Amma I Love You
14. School of Seven Bells - Connjur
15. Peter Broderick - And It's Alright (Nils Frahm Remix)
16. Health - Before Tigers (Gold Panda Remix)
17. Last Days - Missing Photos
18. Bibio - Down To The Sound
19. A Winged Victory For The Sullen - Requiem For The Static King 1
20. Helios - Emancipation
21. Rick Holland - I Remember (Exclusive Spoken Word Piece)

Requiem for a dreamstate. It’s possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins’ world, not so much joining the dots as colouring the whole damn picture in. 

After releasing his debut album 'Opalescent' at the rookie age of 21 in 1999, he’s gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album 'Immunity' in 2013, which was nominated for the Mercury Prize. 

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. . Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar’s ‘Hold Me Down’. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute ‘Requiem For The Static King Part I’. Sigur Ros offshoot Jónsi & Alex’s heroic ‘Daniell In The Sea’ sends us forth towards the Baltic with tears streaming. 

Beats occasionally appear, as on the Grace Jones-sampling ‘Yr Love’ by Holy Other or the pair of Black Country acts Bibio and Letherette, whose ‘After Dawn’ is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane’s wistful ‘Lady Divine’ or even Four Tet’s mesmerising ‘Gillie Amma I Love You’, with its enchanting kids’ choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer’s ‘I Remember’. 

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

Late Night Tales: Jon Hopkins (Sampler)

nO less

OESB-85 
Released June 2015 

Tehran-born and London-based, Ash Koosha creates music that is stripped of genre, style and conventional structure. His training in classical music and his interest in computer music from a young age has equipped him with necessary tools to construct, break, form and deform at the same time. The result is sound that is fragmented, unearthly yet natural, collage-like yet seamless. 

His latest work, GUUD is a sonic experience, where classical variations and harmonies meet manipulated sample grains. It is a field, a ‘place where he deals with scientific and psychological questions’ and where he manipulates his senses by creating a synesthetic experience. He understands emotional and physical limits and pushes those emotions to the extreme without the extreme effect, as he simulates the sound of exploding speakers or collapsing percussion structures in a listenable frequency. It is by treating sound as physical matter that he can then apply a simulation of physical forces to it: shattering, positioning, joining, liquifying or pressuring. 

One of the ideas that Ash has introduced in GUUD and will be further discovered in his future projects, is ‘nano-composition’. Born out of his obsession with scale and based on ideas explored in nanotechnology and quantum realm, nano-composition can be defined as creating a composition, based on the sonic behaviour of fractal patterns that exist within a stretched or rescaled sound wave but without pitch alteration. It is visually treating grains in wave forms as particles and create sonic ‘events’ within that wave form. Although these events are controlled and structured by the composer, their randomness and internal chaos offers an element of singularity and rarity. It is a deconstruction of what is conventionally and sonics-wise ‘good’ music. GUUD is ‘good’ without the perfection of perfectly round ‘o’s.

Buy on Bandcamp

Ash Koosha "GUUD" 16 - Harbour

https://itunes.apple.com/us/album/age-of-transparency/id1020746132?app=itunes

Autre Ne Veut - World War Pt. 2  (Ash Koosha Remix)

Bottomless Pit

Three Bedrooms In A Good Neighborhood

80808

POM POMS DOWN

Never Better

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in2u

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Missing Cat

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