Pavel Milyakov & Yana Pavlova — strong-willed

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.

How It Was

On Oath

Violence

Time Away

Elara's letztes Lied — eerie vocal textures

Fractal Pattern

Myttys "Sloggilukio" Oma333 No.024 

Seeing Myttys perform at H2Ö festival in Turku last summer was a jaw dropping experience. Certainly my favourite set amongst a damn fine line up and I demanded to release something of theirs before they'd even packed away their stuff.

I'd known Heta for years via Olimpia Splendid/Toblerones and Samuli from when he came to play with Clouds. The idea of them as a duo had gold stars written all over it but the results are far beyond my already high expectations. This is one of the best tapes I'll ever put out.

Delving in to the music and attempting to describe what I hear was quite a daunting task and my notes got kinda fun in the process. 
For example Lenak and Street Person made me think of Drunken Fist Kung Fu. Heta's effortlessly cool vocals (and the occasionally perfectly placed scream) echoed by either an imaginary twin sister or the weirdo boy next door. 
Ekkä Ota comes across like an off kilter hip hop soundtrack for a Sci-Fi film. 
Kallupää, Pamsypak and some of the interlude tracks sound, to my ears, beautifully close to the Broadcast and The Focus Group experiments of the "Witch Cults of the Radio Age" album and I hear traces of early Múm stuff in Paksotal. 
Another favourite Foliojakku holds its own unique beauty, quite different from the other tracks. Its machine music with heart and grace which builds and builds until waves of submarine echo's and rapid morse code sequences wash over you. 
Oh and the title track Sloggilukio is the bees knees! 

Certain parts of some of these tunes veer into territory only Finns seem to get away with. I find this hard to explain but there is a certain kind of relaxedness I often hear amongst my favourite Finnish bands which oozes either tons of self confidence or a massive indifference to not fitting into any kind of musical category. Or both. This unpindownable quality is what makes me instinctively trust most of the music which comes my way from there, in whatever form, yet I'm also aware of how blessed I am to have got to know the Fonal/Avarus etc crew so early on. 
The experiments they all create help make that country shine to me and I'm dead proud to finally be able to play a small part in that great history

133 jelly green tapes with white body printing will be made available from Feb 27th. Cover beautifully designed by the band themselves and risograph printed by Jan Matthé at Het Bos in Antwerp. 

Pre order; http://oma333.com/product/no24-myttys-sloggilukio

"Lenak" by Myttys from "Sloggilukio" on Oma333

Taken from "Reflections 2012-2016", a 30 track mixtape of unreleased music excerpts from 2012—2016 by ¬ b (fka Lee Bannon).

The physical version is available for pre-order through 1080p in double cassette form (limited to 100 copies), and ships June 1.

Buy Tape: bit.ly/1WDB8gY
Digital: bit.ly/1WEJB2Z

Lee Bannon - 3m12 Disc 2-sideD

Andy Stott, "New Ground"

Artist: Masayoshi Fujita & Jan Jelinek
Album: Bird, Lake, Objects
Label#: faitiche03
Format: LP/DL

Vinyl repress of faitiche03 & 13 available on July 17th 2020!

Queried on his favourite word in the German language, Masayoshi Fujita will pick ‘getragen’ – without a sliver of hesitation. Further questioning will reveal that he loves the term’s semantic signifiers, its inherent sense of “expansive, deep, quiet and sombre.” And yet, ‘getragen’ leaves plenty of room for interpretation: depending on context, it might also indicate wearing apparel or the state of being carried – two more mundane interpretations that I would rather keep from him.
Does Masayoshi’s own definition, however, apply to Bird, Lake, Objects? Only to a limited extent. Compared to previous Faitiche releases, Bird, Lake, Objects is certainly the most ‘getragen’ of them all. Nevertheless, this is by far not the first association that comes to mind. From a distance, these tracks seem rather introspective, cautious even – and reflect the recording situation: deliberately pared down, reduced to a single microphone in space and a separate track for all other instruments, each movement and action is chronicled by the treacherous mike. This confronted me with some unexpected and unfamiliar problems. For example, we had to swap out the seating in the studio as my favoured chair had a characteristic creak. Other, external influences proved to be beyond our control: fire engine klaxons, street noise and footfall became part of the recordings and their improvisatory nature. Each movement required careful orchestration, fully aware of its irrevocable nature. Space itself was always present and an audible entity, except on "Stripped to RM" (recorded without a microphone or vibraphone track). After extensive deliberations, we decided to forgo the vibes on this piece – a very similar version had already been released in 2008 (on the compilation Enjoy The Silence, Mule Electronic, 2008).

On Oath

modernlove