Never The Right Time

Never the right time (feat. Alison Skidmore)

Faith In Strangers’ was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty Warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

Missing

How It Was

Science And Industry

0009 from "04-22" LIVE's EXTRACTS VOL.1 - TELECHARGEMENT LIBRE ET GRATUIT

BONDAID#7 FIESTA!
2015.11.22 sun before Holiday 
START : 23:30 at WWW Tokyo
ADV ¥3,000 | DOOR ¥3,500 | UNDER 23* ¥2,500

液状化するダンス、レイヴ、アートの融点。ダブの霧に身を潜めるミステリアスなロンドンの才女 Inga Copeland と“点描トランス”と称されるミラノの革新派 Lorenzo Senni を迎えた新感覚の屋内レイヴが開催！

Co La (Software)、Andrew Pekler (Entr’acte)、D/P/I (Leaving)、TCF (Ekster)、M.E.S.H. (PAN)といった世界各地の先鋭的な電子音楽作家を招聘してきた〈melting bot〉プロデュースの越境地下電子イベント〔BONDAID〕が第7回目のラッキー・セブンを迎えて送る祝祭“FIESTA!”を今年で５周年記念を迎える渋谷WWWにて開催。ゲスト・アクトはHype Willimas (Hyperdub)での来日パフォーマンスが大絶賛だったロンドンの女流電子作家Inga Copelandの日本初のソロ・ライブとミラノのサウンド・アートティストLorenzo Senniの〔Sonar〕でも評判となった“点描トランス”と称されるレイザーを使った、こちらも日本初となるインスタレーション“Oracle (神託)”。本公演は今年の6月に東京のLIQUIDROOMと大阪のCONPASSで行われたベルリンの実験／電子レーベル〈PAN〉をフィーチャーしたイベント〔PAN JAPAN SHOWCASE〕に続く、現在のイメージ化するジャンルと抽象化するダンス・ミュージックの坩堝を体現したコンテンポラリーな屋内レイヴ・ナイト。音楽、ダンス、アート、ファッションの先鋭がシーンを超えて集まった全14アクトでかつてない夜をお届けします。

LIVE :

Inga Copeland [ex Hype Williams  / from London]
Lorenzo Senni “Oracle Set” [Editions MEGO / Bookman Editions / Presto!? / from Milan]
Kyoka [raster-noton]
Metome
Renick Bell [Quantum Natives / the3rd2nd]
Koppi Mizrahi [Qween Beat / House of Mizrahi] 
& yumeka [OSFC] “Vogue Showcase”

VJ : Ukishita [20TN! / Nice Air Production]

DJ :

Toby Feltwell [C.E]
Sapphire Slows [Not Not Fun / Big Love]
Yusuke Tatewaki [meditations]
HiBiKi MaMeShiBa [Gorge In]
Hibi Bliss [BBC AZN Network]
Pootee
SlyAngle [melting bot]

#LEFTFIELD #ELECTRONIC #RAVE 
#TRANCE #DANCEHALL #VOGUE 
#TECHNO #GLITCH #GORGE #NEWAGE
#CONTEMPORARY #DANCE #ART

ADV TICKET OUTLET : 10.15 ON SALE

e＋ / WWW / RA / Clubberia
disk union (Club / Dance Online, Shibuya Club, Shinjuku Club / Honkan, Shimokitazawa Club, Kichijoji)

*23歳以下のお客様は当日料金より1000円割引になります。ご入場の際に生年月日が記載された身分証明書をご提示下さい。Under 23 get 1000 yen discount off door charge with Photo ID.

※20歳未満の方のご入場はお断り致します。年齢確認のため顔写真付きの身分証明書をご持参下さい。Over 20’s only. Photo ID required.

Info : WWW 03-5458-7685
B1F Rise Bldg, 13-17 Udagawacho, Shibuya-ku, 150-0042, Tokyo

主催 : BONDAID | http://bondaid.jp
制作 / PR : melting bot | http://meltingbot.net
協力 : Inpartmaint / p*dis | http://www.inpartmaint.com
会場 : WWW | http://www-shibuya.jp

Inga Copeland - Advice To Young Girls (w/Actress)

Taken from Betonkust & Palmbomen II - "Center Parcs EP", out on cassette and digitally 26 February 2016.

Buy Tape: http://bit.ly/20EqiK1

Betonkust & Palmbomen II - 24x33

The Disco's Of Imhotep

The Shrine Of The Serpent Goddess

"How To Swallow A Sword"

4. HOW TO SWALLOW A SWORD

from album "Too Many Voices" (2016)
https://www.discogs.com/Andy-Stott-Too-Many-Voices-/release/8444700

Too Many Voices

Andy Stott - New Romantic

Following on from a pair of Extended Players released in 2011 ("Passed Me By" / "We Stay Together") Andy Stott returns to Modern Love with 'Luxury Problems', an 8 track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's onetime Piano teacher whom he hadnt seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you'll have heard from him before. 'Numb' opens the album with Alison's voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more f*cked. 'Lost and Found' follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. 'Sleepless' started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of 'Passed Me By', here re-tooled and re-built for its next evolutionary phase. 'Hatch The Plan' ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesnt quite prepare you for the vocal arrangements that follow - it's just a beautifuly inverted pop song. The second half opens with 'Expecting', the most recognisably 'Stott' moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. 'Luxury Problems' is next and offers up the album's most quietly euphoric and open 5 minutes; conventional arrangements and drumloops disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the box" switches up the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbareably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.

How It Was

modernlove