Самые независимые и е*банутые. Фестиваль Fields всегда рушит стереотипы, знакомит с музыкальным андеграундом, прививает новые вкусы и выдергивает из доны комфорта. Нет границ, нет правил, нет благозвучия+

Настроение «Фестиваль Fields»

Ishome - Eva

Indonesian hardcore band Senyawa board the Morphine Records mothership in early 2015, with a stunning upcoming album "Menjadi" (doser025LP). A preview appears here in the shape of a an extraordinary album track replayed by Charles Cohen's on his Buchla Music Easel. While enjoying a few months residence in Germany, Mr Cohen conducted a ritual-esq and tonal re-adaptation - flushing the song through layers of spaced out orchestrated grooves. Meanwhile in the US, explorer of the deepest depths, Robert Turman, smashed Charles' Conundrums into small bits and recrafted it in his own masterful manner. He seems to channel a similar ability of melting down the metal in a sound, and forging it into new and expanding shapes. 

Senyawa - Di Kala Sudah - Charles Cohen Replay [xrpt]

Composed by Ata Ebtekar
Mastered by Noel Summerville
Record Label Records 

Tabula Rasa

Kedr Livanskiy is Russian for Lebanese Cedar. 

The sinister synths in Sgoraet (English: Burning Down) are inspired by the otherworldliness of Russian winter; Russia in winter is a terrible thing, but it also has a strange romantic presence to it. The drum and bass coda emulates the feeling of impending death and transition to another state when winter is over one's shoulder. 

Kedr on growing up in Russia and the influence that had on her music: 
"Of course the big problem was perpetual drunkenness—people would drink themselves to death. I was born on October 4, 1990. It was a very interesting but critical time for Russia—a time of great change. The Soviet Union was no more, and old values were anathematized because of the reconstruction.

In my early teens no one seemed to understand me in this world (I thought), so I read Washington Irving novels and listened to The Cure. At around 20 years old I felt a real need to find myself, so I entered the directing department of the Moscow School of New Cinema. At the same time, electronic music fascinated me completely.

A small circle of my friends formed around a mutual interest in music. We always went to concerts together, of which were mostly international artists: Inga Copeland, DJ Spinn and DJ Rashad, Legowelt, Death Grips, Florian Kupfer, Dean Blunt, etc. It wasn’t long until we organized the community and DIY record label known as John’s Kingdom. It’s not only about music; it’s also a channel for art, videos and lifestyle. Now it’s the most alive and honest thing in Moscow.

My music is strongly inspired by Autechre, Aphex Twin and Boards of Canada, but with the lyrics and mood of Mazzy Star. I admire contemporaries Inga Copeland and Laurel Halo, however, my songs are more pop-leaning because of the powerful influence MTV had on my adolescence."

https://www.facebook.com/2mikesrecords
https://www.facebook.com/Kedr-livanskiy-1006510909393113/?fref=ts

January Sun

Sgoraet (Burning Down)

Get Vinyl/Digital

Kedr Livanskiy - Sgoraet (Burning Down)

Taken from Rusell Haswell's 'Respondent' mini-LP [DIAG043] — released 2 February 2018.

Respondent (mini-LP)

DIAG043 Russell Haswell 'Special Long Version (Demo) feat. Sue Tompkins'

Интурист - Погодка

DIGITAL + TAPE: 
https://kemiallisetystavat.bandcamp.com/album/siipi-empii-2
VINYL:
ikuisuus.bandcamp.com/album/siipi-empii  

Kemialliset Ystävät is a long running musical collective headed by Finnish multimedia artist Jan Anderzén. The group's rotating contributors include virtuosic musicians, sound artists, mad electronic music professors, field recorders, singers, amateurs and professionals. Leaving Records presents the project's latest LP, entitled Siipi Empii (loosely translated from Finnish to A Wing Hesitates.) Anderzén explains, "The English translation unfortunately loses all the music and rhyme of the Finnish title but the meaning's still there, kind of. The title is aiming to describe the movements of a butterfly and the weight/heat of the idea that every single flap of the wing can cause a storm/revolution." He has described the group's sound as sometimes "like an orchestra flying around in a tornado." These themes embody Siipi Empii, a wildly weird dose of electronic folk music crafted through sheer force of nature, an abstract organism guided gently by Anderzén's deft artistic touch. 

A collaborative spirit can be heard throughout each of the album's twelve imaginative tracks. According to Anderzén, "The music stays alive only because of the input from my collaborators … The method produces half random, half directed sound events where independent elements intertwine into unpredictable music." As part of the process, he sends out "musical skeletons" to his collaborators. They then react and contribute their own sounds and ideas. One batch of skeletons came with a motivational letter including a quote from Johan Huizinga, below: 

'We moderns have lost the sense for ritual and sacred play. Our civilization is worn with age and too sophisticated. But nothing helps us to regain that sense so much as musical sensibility. In feeling music we feel ritual. In the enjoyment of music, whether it is meant to express religious ideas or not, the perception of the beautiful and the sensation of holiness merge, and the distinction between play and seriousness is whelmed in that fusion.' 

Siipi Empii's compelling arrangements do contain a playful edge that softens its more experimental tendencies. Unpredicability is the order of the day, as dogs bark, springs boing, and electronic woodwind sections deconstruct themselves over beds of contemplative marimbas. Disembodied voices recite touching poetry, just more instruments playing freely in the endlessly mutating stream of sound. Every element feels perfectly weighed and expertly arranged, as if by gravity itself. Anderzén says: "Battles with gravity are a recurring theme in my work, something to do with changing perceptions of normal." Siipi Empii is a joyous and playful paradox, beckoning you to embrace its loopy strain of intensely original expression. 

Leaving Records and Kemialliset Ystävät make sense together. Both entities have a passion for blurring the lines of genre and exploring creative new frontiers. In Anderzén's words, "The work needs to be free from predetermined themes or ambitions." Experimentation is the ideal, and the process is sacred. They strive to find a language to convey something that can't be expressed with words. You may hear and feel something you've never heard or felt before, and that is the aim. Perhaps Anderzén best encapsulates the album in his translation of the first track's title: "Äimä is an ancient word for a large needle with a big round hole. In an old Finnish saying äimä describes a reaction where one's jaw drops open in awe / confusion. Tähkä is an ear in the botanical meaning. So we are talking about some sort of potential for astonishment." 

Siipi Empii is also be available on limited edition vinyl from the Finnish label Ikuisuus.

NEW ALBUM

Kemialliset Ystävät - Kuriton Painovoima

Live record of improvisation with great Russian composer Vladimir Martynov

Vladimir Martynov & Moa Pillar – Live At DOM, March 2018 (excerpt)

Label: Mord
Artist: SHXCXCHCXSH
Title:  WORD EP
Cat No: MORD057
W + P by SHXCXCHCXSH
Art by Dennis Beutner
Format: 12" and Digital

Buy at: mord.bandcamp.com/album/word-ep

A1 WORD
A2 DROW
B1 OWDR
B2 ROWD

Release date: January 18th 2019

***
Words,
older.
Drowning,
rowing.
***

WORD EP

MORD057 - SHXCXCHCXSH - WORD EP [Previews]

oqbqbo - Usnea

Alina Izolenta and Kamil Ea, the duo more formally known as PTU, present their debut album Am I Who I Am on трип.

The origins of PTU can be traced back to the early 00s, which found the duo spending their formative years experimenting with analog synths and sharing music onto each other’s hard drives. The physicality of this approach went on to have an immeasurable effect on their aesthetic, which bears an unmistakable live feel - rich with improvisation and surprises. 

A relatively sparse discography might mislead you from the fact that they have over a decade of experience delving into the strangest depths of analog hardware and jamming on obscure synths. A brief 2016 appearance on the трип concept album When I was 14 was followed by the emergence of ‘A Broken Clock Is Right Twice A Day’ - a stand out track on Nina Kraviz’ fabric 91 mix - which went on to become the title track for their highly acclaimed 2017 debut EP. Now, the duo present their singular, uncategorisable take on electronic music across a full length album.

Assimilating references to techno and IDM, but placing them in far less familiar structures, PTU’s productions breathe life into precise rhythmic patterns with equal doses of energy, experimentation and humour. Their music (just about) files under techno, but their approach to composition rejects genre boundaries of any kind, opting instead for a free-form exploration of the weird and wonderful.

Across twelve tracks, they cut and chop their way through frenetic marching drums and spiralling acid leads, awakening an army of malfunctioning robots as they go. Whilst Am I Who I Am boasts a vast spectrum of bizarre ideas - often introduced at high velocity - each one is executed with a skillful dose of restraint, summoning energy from microscopically detailed arrangements. From the angular maximalism of ‘Castor & Pollux’ to the eerie polyrhythms of ‘After Cities’ and the relentless hammer drills of ‘Sirocco’, PTU find life in the most extraordinary of places.

Following on from a series of stand-out appearances on трип, Am I Who I Am is a thrilling voyage into techno’s strangest sector.

Pre-order

01 Doc 22 (clip)

ah bagaro2

Artist @yung-acid-3
Buy the release: routinerec.bandcamp.com/album/routine-va-001

Yung Acid - Moor Ma

Cut of an improvised live code set at The Bunker, Deptford, June 2019.

Reachin'

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Настроение «Фестиваль Fields»

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