Last Word Is Mine

Taken from the album 'Dysnomia', released worldwide on June 1, 2015 through Erased Tapes.

Order it on 2x LP, CD and Download here:
http://www.erasedtapes.com/store/index/ERATP068
or from iTunes here: http://snip.ftpromo.net/dawnofmidi

With Dysnomia, the Brooklyn-based group Dawn of Midi made up of double bass player Aakaash Israni, pianist Amino Belyamani and drummer Qasim Naqvi abandon improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, but when stepping back an undulating image reveals itself. “We didn’t want to create anything cerebral,” says Belyamani, “we wanted something visceral, something that would awaken our instinctive dance impulses.” 

“We wanted to make a record that sounded both musically futuristic and sonically vintage,” explains Israni, “and since the album never saw a proper international release, it is very exciting to see what might happen when more people are exposed to it. And to be aligned with Erased Tapes, whose enthusiasm for the music they release has done a lot for exposing unique instrumental and electronic music, makes it that much more interesting.”

TRACKLIST / CREDITS:

1. Io 2. Sinope  3. Atlas 4. Nix  5. Moon 6. Ymir  7. Ijiraq  8. Algol 9. Dysnomia
Written by Amino Belyamani and Aakaash Israni.

NORTH AMERICAN PRESS:

“Stellar… at a loss for words” – Spin
“Something totally unprecedented” – Pitchfork
“Perverse in a good way” – The New York Times
“Brain-bending, seemingly impossible” – Rolling Stone 
“Moving and addictive...a feat of innovation” – Interview Magazine
“A mysterious, vital sound with a pull all its own” – L.A. Times

MORE INFO:
www.dawnofmidi.com · www.erasedtapes.com

Dysnomia

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Dawn of Midi - Nix

From Late Night Tales, for Record Store Day 2015. 

http://recordstoreday.co.uk/

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Jon Hopkins - I Remember (Nils Frahm Dub Interrupt Remix)

Nils Frahm writes his first score for one-take feature film ‘Victoria’ and is nominated for German film prize

LABEL: Erased Tapes RELEASE DATE: June 15th, 2015 CAT.NO: ERATP071 CD/LP/DL EAN: 4050486110577

ABOUT:
Nils Frahm has always said that he’s just waiting for something real special when being asked if he would ever score the music for a film. And that’s exactly what German director Sebastian Schipper presented to him with his one-take feature ‘Victoria’. Filmed in Berlin, Victoria’s plot sees a runaway party girl, who's asked by three friendly men to join them as they hit the town, but their wild night of partying suddenly turns into a bank robbery as the music changes from techno to subdued piano sounds.

For the recording session at Studio P4 in Berlin, Frahm enlisted the help of long-time collaborator and cellist Anne Müller, violist Viktor Orri Árnason and ambient artist Erik K. Skodvin of Deaf Center on guitar.

IN HIS OWN WORDS:

Dear viewer and listener,

I’ve finally written music for a film. It took me some time to do so, as I was patiently waiting for a movie that would truly speak to me. When director Sebastian Schipper invited me to work on Victoria, I knew it was worth the long wait. Does such a strong film even need music? I realised it wouldn’t be easy to create a score that embraces these bold pictures.

Luckily we were given unusual creative freedom by approaching the movie together with Sebastian Schipper, who was keeping the production and direction to one single team. The score was recorded in a special location, the former GDR broadcasting production facilities that today host Studio P4. We simply put a big screen in the middle of the room, filled it with microphones and instruments, set the movie on loop and kept improvising on top of it together – my good friends and I.

The guest musicians started their recording session by playing a cohesive take over the course of the whole movie. This was the most interesting part of the day, since they hadn’t seen the film before. They became spectators and creators at once, intuitively recording hundreds of different cues that way. You are about to listen to some of its highlights. I hope they do Victoria and your ears justice.

With love, Nils Frahm

‘Music for the Motion Picture Victoria’ will be released by Erased Tapes on LP/CD/Digital June 15th.

‘Victoria’ won the Berlinale Film Festival prize for Best Cinematography and has also received seven nominations including Best Soundtrack for the Deutscher Filmpreis – Germany’s highest movie award, and will be released in cinemas across Germany on June 11th with plans to release it in the UK and other countries soon.

ABOUT THE ARTWORK:

The cover illustration was drawn by Stephanie Franziska Scholz based on a still from a key scene in the film, with additional design by Torsten Posselt at FELD.

TRACK LISTING:

1 Burn With Me (Victoria Edit) by DJ Koze 2 Our Own Roof 3 A Stolen Car 4 In The Parking Garage 5 Them 6 The Bank 7 The Shooting 8 Nobody Knows Who You Are 9 Pendulum

The soundtrack opens with an edit of ‘Burn With Me’ by German producer DJ Koze. The digital Bonus Track Version features a previously unreleased track by Hamburg’s electro-punks Deichkind titled ‘Happy New Fear’ plus an additional DJ Koze track titled ‘Marilyn Whirlwind’ from his 2013 album.

PRESS:

‘Frahm's soothing electro-orchestral pieces prove especially effective, washing over the throbbing dance beats like a flood of endorphins.’ – Hollywood Reporter

‘Nils Frahm’s score is an equally flexible asset, veering from juddering electronic chaos to dreamy intrusions of piano and cello — a sonic approximation of the alternating noise in the title character’s wrecked head.’ – Variety

OFFICIAL WEBSITES: nilsfrahm.com · facebook.com/nilsfrahm · twitter.com/nilsfrahm · erasedtapes.com

Music for the Motion Picture Victoria

Our Own Roof

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Nils Frahm – Our Own Roof

‘Apologues’ will be released by Erased Tapes on September 11, 2015 on LP/CD/DL and can be pre-ordered from www.erasedtapes.com/store/index/ERATP075

Masayoshi Fujita, the Berlin-based Japanese vibraphone player, also known under his alias el fog came to the attention of label founder Robert Raths a few years ago. Not only because the vibraphone is an intriguing instrument, but also the way Masayoshi treats his instrument and draws ethereal and layered sounds, is what truly attracted him to Masayoshi’s work.

Having released more ambient-based/electronic recordings of the vibraphone under el fog, Masa became more interested in the sound of the vibraphone itself. He started to compose acoustic pieces and released the first solo album under his real name, titled ‘Stories’, in early 2013. ‘Apologues’ sees Masayoshi for the first time use an array of instruments besides his lead instrument – such as the violin, cello, flute, clarinet, French horn, accordion, piano and snare drum played by friends, but arranged by Masa himself.

In addition to the mallets, Masayoshi often plays the vibraphone with a violin or cello bow, like on ‘Tears of Unicorn’ and ‘Knight and Spirit of Lake’. He would also place bead strings on the vibraphone bars to create an ambient shimmer that can be heard on songs like ‘Moonlight’ and ‘Swallow Flies High in the May Sky’. The latter was composed to let the clarinet express its characteristics and tell its story, whilst the vibraphone takes a supporting role. “The clarinet sounds very warm and soft and very ‘spring’ to me”, says Masa.

“With this album the main idea was to evoke images, atmospheres, sceneries and stories in the listener, the images that have accumulated in myself. At the same time it was an exploration of the unexplored beauty of the vibraphone, and also a pursuit of the charm of the instrumentation and the music itself. Erased Tapes releases a lot of great stuff and naturally became my favourite label of late. And I thought it would fit well to my music.” – Masayoshi Fujita

OFFICIAL WEBSITES: masayoshifujita.com · erasedtapes.com

Apologues

Tears Of Unicorn

Masayoshi Fujita – Tears of Unicorn

The Institution

JourneyInward666TheAcid

Dream Yurt One

New Loft

from 'Relationships Between Inner & Outer Space' [CD|LP|DIGITAL]
Denovali Records · den289
available on all formats at [http://denovali.com/moonzero]

The first set of new Moon Zero cuts in two years, ‘Relationships Between Inner & Outer Space’ is a product of fevered displacement that nonetheless achieves a temple-like sense of calm, proportion and permanence. Scheduled for release in November 2017 on Denovali, the record is carpeted in traces of the settings that producer and composer Tim Garratt has found himself since we last heard from him, from Reykjavík to Leipzig with anything from a Dictaphone up to a studio to hand - it bears sounds from a vast number of different spaces, instruments and machines across its four colossal tracks. Paying attention to these rich patterns, they move and wind you in, producing a deep and rewarding catatonia.

While touring the first LP ‘Moon Zero’ (2015) Garratt lost his studio and flat, a relationship came to an end and he briefly moved back to his parents’ in the Midlands. An emotional parabola familiar to anyone experiencing an economically-adrift, prolonged adolescence, it was heavy fuel for the melancholic sound world of Moon Zero. You can make out the origins of the record at the bottom of its multi-story wedges of sound, through dancing, duelling blocks of frequencies. And you can follow (somewhat obliquely, filling in the gaps) the inflections of different processes that these textures and melodic ideas have undergone, as Garratt moves them from machine to machine, speed to speed, room to room, through different combinations of effects. This churning celestial chaos, built painstakingly from detuned instruments, mono synths, field recordings and tape loops, is then meticulously ordered in the editing room.

The first side is in two tracks, each divided into two sweeping musical gestures, ordered by tone into a sequence of light-dark-dark-light and ending in a crescendo pulse with a ‘Loveless’-like shimmer. The flip is also in two long tracks, each one a continuously-building, monolithic tranche. The change at the opening of the third number, ‘Erwood Araf’ is signalled with the entry of an unthreaded melody that repeats and gradually distorts while other caverns of sound open underneath and around it. Then, again on the halfway point, the idea dissolves and a minor key swell aches into frame before breeze block low end is deployed. One of Moon Zero’s go-to sounds, an alloy of bowed cymbal, tape delay and who-knows, invokes the sound and disembodying feel of a train pulling into a station, if that moment could be elasticated and dragged far out. Emitting a chrome-sheen continental modernity, it’s probably the emotional centre of the record and calls to mind Kraftwerk’s ‘Trans-Europe Express’ and ‘Radio-Activity’ albums. Towards its end, on the nine-minute mark, in rides a soaring melody that surely has its roots in Garratt’s Eastern European travels.

Each expansion of the Moon Zero universe has felt like a logical progression along lines set before, becoming ever more inventively structured and ambitious with its sonic palette but never straying from its nucleus of menacing, meditative drone. Fresh from playing Ruhrtriennale Festival alongside Actress, Demdike Stare and Ricardo Donoso amongst others, ‘Relationships Between Inner & Outer Space’ is due to be released in October and Moon Zero will be announcing further shows in due course. This latest installation is the most profoundly affecting Moon Zero work to date; an unparalleled piece of infrasonic, atmospheric manipulation.

The Institution

Second Wedding