ELECTRONICA EXPERIMENTALE

Parallel Landscapes is the first solo full-length album from Swiss artist Steinbrüchel on 12k, despite his relationship with the label and apperances on compilations, collaborations (Status, with Frank Bretschneider (12k1033)) and EP releases (Mit Ohne, (12k2010)). It seems that Steinbrüchel was waiting for the right moment to release such an illustrious album that is not only a release of music but of visual art as well.

Parallel Landscapes consists of a compact disc in a cd wallet and a beautifully printed sixty page colour printed booklet with a laser stenciled wrap-around cover conceptualized and designed by Steinbrüchel featuring photographs from Taylor Deupree and an essay by Lawrence English. The booklet and cd wallet are housed in a slipcase printed inside and out in black and white on contrasting paperstocks.

The music on Parallel Landscapes was created with the design process in mind. Steinbrüchel engaged himself with ideas of «designing» music instead of making or writing music and about the importance of music existing with (or without) visual enhancement.

The ideas of landscape, while not new in the musical world, were prevalent throughout the creative process. Music vs. landscape, music as horizontal layers, drawing new curves (landscapes) over sound files, imposing one landscape onto another and hearing/seeing the results. However, the album isn¹t just about horizontal combinations but vertical inbetweens as well. What happens from one event to the next? What happens when events are combined? How does the addition of one object (audio, visual) redefine another object next to it? What happens to a table when a chair is placed in front of it? ... And how does all of this coalesce into sonic and visual space?

There¹s an incredible amount of exploratory thought behind Parallel Landscapes that make this one of Steinbrüchel¹s most ambitious projects to date. His music has become increasingly refined but always retaining his signature sound. Still using the ideas of sine waves and pure tones but now softened with time, his palette stretches across electronics into a variety of found and acoustic sources. Bell tones are in the forefront, interspersed with the soft crackles of noise and static. Tones are stretched across the visual plane like a bell being carried across the land forever duplicating itself. Parallel Landscapes is engaging and reflective and sets a new standard in Steinbrüchel¹s creative output.

Parallel Landscapes

This track is a direct recording from a computer generated music stream. As part of "La Mécanique des Beats", it impersonate the computer role in a trio with a dancer and a musician where the two human character struggle to fit in harmony with the automatic digital production.

Mouvement 5, La Mécanique des B(ea/i)ts

Mouvement 1, La Mécanique des B(ea/i)ts

Over the past 10 years 12k has established itself as a label on the forefront of minimalist music and has become home to some of the most important artists of the genre. It is label that time and time again has not been afraid to release debut albums from new artists, drawing on the new energy they interject into both the scene and the label.

With the release of Blueprints, 12k presents 2 tracks each from 6 artists new to its roster and showcases some of the new sounds and influences that will carry the label into its 10th year (2007). The artists on Blueprints span the globe and offer a variety of sound that both compliments and expands on the style that 12k has become known for.

CHRISTMAS DECORATIONS: (US) 
Christmas Decorations’ recordings tread a fine line between organic and electronic, experimental and rock music. These tracks move away from the structured songs of their debut Model 91 (Kranky, 2002), with a more open-ended exploration of order and time. Their forthcoming full length album Communal Rust (community library, 2006) explores ideas somewhere between the two.

SEAWORTHY: (AU) 
A three piece collective that revolves around core member Cameron Webb as well as Sam Shinazzi and Greg Bird, was formed in early 2000. Their compositions often blur the lines of conventional categorisation with elements traditionally considered part of “indie” or “post” rock blended with processed musical and field recordings usually associated with electronic artists. Instruments and samples are often looped through amps and effects pedals, giving the sound an organic feel. Avoiding the muscular approach of loud/soft dynamics, Seaworthy concentrate on subtle shifts in melody, tone and texture to convey a sense of time and place.

As well as releasing limited edition material (CDRs & lathe-cut 7”s) themselves, Seaworthy have worked with many local and overseas labels including Feral Media (Australia), Black Lodge Audio (Australia), Celebrate Psi Phenomenon (New Zealand), Misplaced Music (UK), 555 (UK), Marino (US) and Fat Cat (UK). Seaworthy’s Map in Hand (12k1040) cd is being released simultaneously with Blueprints in the autumn of 2006 on 12k .

AUTISTICI: (UK) 
Autistici creates audio narratives exploring the interchange between sound and space. Space in this context includes the subjective response within the listener’s head, where reflection and fantasy serve to bring personal meaning to the experience. Autistici’s music incorporates a wide range of sources and inspirations including obsessional microsounds, textural orchestration, near silence and field recordings. Autistici has released tracks on labels such as Audiobulb Records, Hippocamp and Kikapu.

JODI CAVE: (UK) 
Jodi Cave is a sound artist from West Yorkshire, UK. He was first introduced to electronics whilst studying composition, and has since gone to learn computing at the Ircam in Paris. Jodi is currently exploring the potentials of home-made, MaxMSP based software, to extend, augment and re-contextualize acoustic sound in composed works and improvised performance. He has full-length CD forthcoming on 12k in the beginning of 2007.

PJUSK: (NO) 
Pjusk is a project from Bergen, Norway consisting of two musicians and one graphic designer. They create an electronic sound that is deep, dark and pulsing that evokes a narrative and sense of other-wordliness.

LEO ABRAHAMS: (UK) 
Leo Abrahams is a London-based composer and guitarist. He has collaborated with artists including Brian Eno, David Holmes, Ed Harcourt and Paul Simon, and released two solo albums: Honeytrap (Just Music, 2005) and Scene Memory (Bip_Hop, 2006). Using a laptop to process his guitar in real time, he creates music which contains elements of folk, electronica and contemporary classical.

Blueprints

Spor 2

Pjusk - Spor 2

i've been really busy finishing a 17-speaker sound installation for a public passageway in sapporo, japan these last couple of weeks... but did have time yesterday to fire up the jupiter-8 and make this simple arpeggio which goes through an eventide h3000. i do love the jupiter-8.

april 30, 2015 (a simple jupiter)

i would like to wish tri angle label an incredibly sublime birthday and thank for having been invited to dj at their party . couldnt possibly been more honoured than to play in that company !!! the mix i played was my present to them : merging together some of my fav beats last year with some of my fav vocalists doing some of their best songs :

!!! this is my tune-tinder !!!

warmthnesss björk

the musicians in the mix are :
abida parveen/rabit
kate bush/lotic/vessel
mariza/rabit
chilean flutes/the haxan cloak/lotic
john tavener/haxan cloak
amália rodriquez/rabit
abida parveen/bloom
hans reichel/sudanim
baka people
mc brinquedo
c.z.
shut up and dance
hanz/virtua mima
cut hands
death grips
david hykes
kate bush/rabit
lung/lotic remix
kramphaft
jeremih
total freedom
brandy

björk : tri angle records birthday dj set

Angel de la Guardia - Blind (Mondkopf Remix)

Foreign Parts is both Seb Wildblood's first album and first release on his own SW label; a big step, then. Thankfully the Church co-founder delivers, bringing the same kind of homespun warmth his other label has built a reputation for. Eschewing the hazy downtempo house you might expect, the title track on Wildblood's LP takes a turn in the direction of of early Efdemin or Pantha du Prince: twinkling bells skirt across a pockmarked surface of clicks ’n cuts, but a little less abstract than the mid-00s Germanic set. If this signals a return of the sound, count us in.

Foreign Parts sees release on July 27th.

Seb Wildblood "Foreign Parts" - Boiler Room Debuts

a piece i started on may 8th for my upcoming album. it's primarily hohner pianet.. but today i added some acoustic piano and a lot of tape machine.. including the close mic'ing of the tape/motor of a roland RE-201 and some re/recording tracks onto a failing reel-to-reel.

this is an excerpt. the full track is about 10 minutes long.

the image for this sound is an insight as to how the album is being composed. all manual playing, no loopers or sequencing... it's highly structured yet humanly played.

... rough mix/unmixed... mostly in mono, for now.

june 11, 2015 (new album, progress)

Taken From Jake Meginsky's 'Kasper Struabe Stencil Cycles' Mantile#029 available from http://www.mantile.co.uk 

Jake Meginsky - Waqas

Composed specifically for "All The King's Horses", an audio-visual experiment presented by Shawn Misiak at Asterisk Gallery in Cleveland, Ohio, 2006, where each piece of visual art was paired with adjacent cd players and headphones so that one might enjoy a specific private soundtrack (written without having seen the associated piece) for every artwork.

"Chloroform Orbit" was composed using as its core a ten-year-old piece written on an Ensoniq SQ-1 in 1996 or so and recorded to cassette on a crappy bookshelf home stereo unit.  By 2006 the tape was disintegrating and flaking pretty badly in playback, but that just made it sound even more zoned, so I digitized it and added a bunch of other crap on top, including multiple vocal tracks, yet more synths, and some shameless Low-esque Bowie sax.  SPACE.  IT'S DEEP, MAN.

Chloroform Orbit

James Blackshaw Boiler Room x St John Sessions LIVE Set

- FOR AUDIO & TRACKLIST: http://blrrm.tv/tjBWdt

Kamilya Jubran w/ Sarah Murcia Boiler Room x St John Sessions LIVE Set

FOR VIDEO & TRACKLIST: http://blrrm.tv/Y7UoNV 

Lubomyr Melnyk Boiler Room x St John Sessions LIVE Set

You Are The Field

Contact

Tracklist + Download: blrrm.tv/DreamCatalogue

"Dreampunk is dream music for underground people living in this increasingly surreal dream world reality." -@dreamcatalogue / @hkedream

Upfront 066: Dream Catalogue

Tourist Kid - GCR005

A1 Under Armour Suite
B1 Under Armour Suite (Basic Mind Remix)

Written & produced by Rory Glacken
Mastered by Mikey Young
Distribution via allearsdistribution.com

Released 27/3/17

Purchase from goodcoperth.bandcamp.com/album/gcr005-under-armour-suite

Buy/Download

Tourist Kid - Under Armour Suite [GCR005]

"In a time when techno and abstract music is sounding repetitive, Metasplice continue to utilize unconventional sounds and arrangements. "Decant", being the more floor oriented track, combines groovy bits that turn into splashing immense noises and harmonies. "Churn" opens with a barrage of beautifully crafted harmonic sequences, then relentlessly descends into a sublime world. Both tracks are spectacular floating grooves that immerse the listener in the group's unique and intense headspace."

doser015 - Metasplice - a - Decant

Available end of September, 2013. Early pre-orders for those on the mailing list:

www.fac-ture.co.uk/Mailing-List

The audio process…

Light Folds by The Seaman and The Tattered Sail is a collaboration between Craig Tattersall (The Boats, The Remote Viewer, The Humble Bee, Cotton goods, Theodore and Hamblin, The Famous Boyfriend, etc.etc. and artist/designer) and Bill Seaman (SEA, Attsea, Otic.Info.Set, sp.op.cit, Spilly and the Drops, etc. and media artist exploring linear and interactive works). The work took place via the internet, sending differing files back and forth using Drop Box, wetransfer.com, and vast quantities of email. After about 2 years Tattersall and Seaman met face to face!

It started with a simple back and forth set of responses to a few audio files, building up loops and tracks. Over time it built up to over seven hours of music. We initially made a double CD of works but we kept abstracting and remixing and colliding things. Tattersall brought his distinct form of “dusting” which explored unique forms of noise, tape ambience, tape degradation, etc. Seaman often explored abstraction using Ableton Live, especially in terms of time / pitch manipulation, and exploring the combination of a multitude of Ableton plug-ins. Huge amounts of data were sent back and forth! Occasionally we went a bit mad with naming and keeping track of things… Usually a number of mixes for each initial work emerged out of the process. Sometimes the abstractions went quite far away from the original tracks. The double album on Vinyl came late in the game where a series of shorter versions and new abstractions were defined.

Tattersall played Guitar, piano, dusted loops, analogue loops, digital loops, drum machine, analogue synth, synth bass, field recordings, abstractions, fragment constructions and reconstructions, abstractions of Seaman (etc.), analogue spatial recordings, artificial wind, crackles (record surface noise).

Seaman was working primarily with Ableton Live and contributed Piano, vocal, text, fragment constructions and reconstructions, time abstractions, quartet samples, trumpet samples, clarinet samples, drum machine abstractions, drum machine constructions (samples), digital distortions, bit reductions, synth abstractions, abstractions of Tattersall (etc.), digital loops, radical pitch shifts, noise enhancements, historical samples, crackles – record surface noise (from Tattersall), artificial crackles.

We worked with some excellent musicians in the construction of the samples…

Trumpet (sample recordings) – Robert Ellis-Geiger; Ciompi Quartet (sample recordings) – Eric Pritchard (violin), Hsiao-mei Ku (violin), Jonathan Bagg (violin and viola), Fred Raimi (cello); Clarinet drones (sample recordings) — David Beaudry; in Ableton Live (construction space), and Seaman used a Roland Edirol R-09HR Ver.3.0 for instrument and voice recordings.

The musical influences run the gamut from ambient, industrial, glitch, dance, pop, jazz, classical, experimental, noise art, etc. Seaman has called this alt.genre in the past… although it really defies a single musical label.

The working process was quite exciting to hear what each had done with the tracks as an ongoing process… The project is incredibly rich in its subtle exploration of psychoacoustic spaces and layerings, and it is vast… The works form a series of plateau-like spaces where time is explored and erased, and an atmosphere for reflection and association is presented. Duration was not worried about and many of the works are quite long. The entire project has been incredibly exciting and rewarding in that we each seemed to pull the best out of the other!

It is also worth noting that as an aside to creating within this album, there was a huge element of learning within the album.

Working with a new creative partner always begins with finding a commonality in working practices, then from this you can bring your individual approaches to working practices, it is in the dialogue whilst working through these passages that you learn from each other.

The artwork process…

Like most work undertaken there is a underlying aesthetic language that has been built up over years of arts practice, whether this be audio or visual production.

An aesthetic language seems to span audio and visual works that is to say that you use a language and approach to creation in the same way whether it be audio or visual work, so it seems obvious that visual artwork that is in creation at any given time will in some ways mirror audio creation at the same time.

So as we where in the thick of creating the audio I had started making some experimental pin hole lumen prints (a photographic technique where you work with photographic paper within direct sunlight).

These were simple images of dots created with holes in little metal boxes. They were interested in capturing light and time rather than a conventional image. So the images were created using one (pin) hole exposed for one hour, two (pin) holes for two hours and so on up to 12 holes/12 hours.

I was sharing these with Bill and as well as Bill liking the work/process it became apparent that they seemed to share an aesthetic with the audio we were working, looking at light, time, space.

So in conversation with Bill I started to take the photographs into digital forms, exploring how the ‘dust’ of the analogue process could be extrapolated through digital forms, and then of course taken back into the darkroom and analogue processes, exactly how we were working in the audio work.

From there, and through extensive email conversations the artwork developed into the body of work that comes with the release.

Like the artwork the titles also reflect the abstraction process. Needless to say – “Light Folds” can be understood from many different perspectives. – Craig Tattersall

The Seaman & The Tattered Sail - Light Folds (Preview)

Arts chorégraphiques post-brutes / Anatomie pour la danse / Fascia et pédagogie perceptive

ELECTRONICA EXPERIMENTALE

omniviator