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Your weekly mixtape of fresh music. Enjoy new music and deep cuts picked for you. Updates every Monday.

durutti column

Durutti Column

The Berlin Singakademie manuscript is a recently recovered volume of music by Johann Jakob Froberger in the hand of a contemporaneous copiest, probably an acquaintance of Froberger. It comprises six toccatas which are followed by six suites of dance movements in the same keys and in the same order as the toccatas, implying that the copyist intended each suite to be preceded by a toccata in the key of that suite. Folllowing the first six suites are a number of other suites in which the order of the movements sets a precedent. In most of the cases with these suites the second movement is not the expected Courante but a Gigue. This might reflect the lack of the dance-like triple metre sections in the toccatas which preluded the other suites.

Performed by: Dominic Eckersley
Harpsichord: The Paris Workshop, 2001, Paris. After Phillip Denis 1674, Paris. 
Tuning: f'=315 Hz
Temperament: Jean Denis 1637
Quilling: European crow
Recorded: The EGG Box, Berlin, 27.08.14
© eckersley 2014

J. J. Froberger Suite In D Minor: Toccata

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1. Ben Lukas Boysen - Sleepers Beat Theme (Unreleased)
2. Darkstar - Hold Me Down
3. Holy Other - Yr Love
4. Teebs - Verbena Tea with Rebekah Raff
5. Nils Frahm - More
6. Songs of Green Pheasant - I Am Daylights
7. Jónsi & Alex - Daníell in the Sea
8. Evenings - Babe
9. Letherette - After Dawn
10. Jon Hopkins - I Remember (Exclusive Yeasayer cover version)
11. David Holmes - Hey Maggy
12. Alela Diane - Lady Divine
13. Four Tet - Gillie Amma I Love You
14. School of Seven Bells - Connjur
15. Peter Broderick - And It's Alright (Nils Frahm Remix)
16. Health - Before Tigers (Gold Panda Remix)
17. Last Days - Missing Photos
18. Bibio - Down To The Sound
19. A Winged Victory For The Sullen - Requiem For The Static King 1
20. Helios - Emancipation
21. Rick Holland - I Remember (Exclusive Spoken Word Piece)

Requiem for a dreamstate. It’s possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins’ world, not so much joining the dots as colouring the whole damn picture in. 

After releasing his debut album 'Opalescent' at the rookie age of 21 in 1999, he’s gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album 'Immunity' in 2013, which was nominated for the Mercury Prize. 

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. . Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar’s ‘Hold Me Down’. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute ‘Requiem For The Static King Part I’. Sigur Ros offshoot Jónsi & Alex’s heroic ‘Daniell In The Sea’ sends us forth towards the Baltic with tears streaming. 

Beats occasionally appear, as on the Grace Jones-sampling ‘Yr Love’ by Holy Other or the pair of Black Country acts Bibio and Letherette, whose ‘After Dawn’ is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane’s wistful ‘Lady Divine’ or even Four Tet’s mesmerising ‘Gillie Amma I Love You’, with its enchanting kids’ choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer’s ‘I Remember’. 

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

Late Night Tales: Jon Hopkins (Sampler)

Kodec - Listen To Me ( Agioletto vs. Paul Jockey Extended )

XTEP

Dummy

Sour Times

Saturnalia

The Body

Grinderman 2

Palaces of Montezuma

The Return of The Durutti Column

Sketch for Winter

Sketch for Summer

Without Mercy

All That Love and Maths Can Do

Enigma

Danny

Sketch For Dawn (I)

The Guitar and Other Machines

Bordeaux (Live)

Vini Reilly

Finding The Sea (2024 Remaster)

The Very Best of John Coltrane

My Favorite Things

Endtroducing.....

The Number Song

The Original Sin

The 'No' Tune

Amnesiac

Pyramid Song

I’m New Here

I'm New Here

Greatest Hits

Road Trippin'

Californication

Porcelain

Room 29

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

Monkeys Choice

It Comes & It Goes

Workshop 21

Somebodies Baby

Glitter

Glitter (Jon Hopkins Remix)

C O S M

C O S M (Daniel Avery Remix)

Intellectual Thinking

Across the Water (Edit)

Something Like A War

Softness As A Weapon

Tonight

You Know What It's Like

DB Rip

Order: https://ffm.to/desertablackauramysun

Black Aura My Sun

Deserta - Hide

(Lyrics)
i was having lunch with you in a vinyl booth when i was 22
when i was 24 people told me what to do, i don’t need it anymore
you call me your one time villain
you call but it pains just a little

i’m a bird in a branch, write a song and i will sing it
just a fly on the wall, around but never needed 
your fingers brushing through my wings
could have been an easy thing

you call me your one time villain
you call but you withhold a little
you withhold a little

Music by Coco
Produced by Coco
c. Coco / FCA 2020

One Time Villain