Une poignante chanson électro-pop bowie-esque qui ramène vers sa collaboration avec Nine Inch Nails pour l'approche musicale qui flirte avec la musique industrielle. La nerveuse approche rythmique de ce morceau redoutablement atmosphérique est égalée par la théâtralité de l'interprétation vocale masculine au ton empreint d'une mystérieuse sensualité. Le clip stylé rehausse le niveau artistique de cette œuvre aux saveurs impressionnistes. 〰 A poignant Bowie-esque electro-pop song that harks back to his collaboration with Nine Inch Nails for its musical approach that flirts with industrial music. The nervous rhythmic approach of this fearsomely atmospheric track is matched by the theatricality of the male vocal performance, with its tone imbued with mysterious sensuality. The stylish video enhances the artistic level of this impressionist-flavored work.

Conceived in studios of Los Angeles and Paris, WILL LAUT is a duo led by Frankie Gothard, aka COH, known for his role in the computer avant-garde scene of the late 90s. The project draws on COH's earlier collaborations with vocal performers like John Balance of Coil, Cosey Fanni Tutti of Throbbing Gristle, and fashion designer Ann Demeulemeester. The duo's singer and frontman William Laut, once a Eurovision contender, has a diverse musical background, ranging from working with children's choirs to composing rock anthems, and organizing Asian music showcase festivals.

WILL LAUT's music is a blend of ambient pop, noir minimalism, and synthesizer tango, featuring atmospheric textures, minimalist rhythms, and haunting crooner-style lyrics.

Lost & Found

audio recording taken from volumens festival, valencia 23.09.2023 (unedited)

© 2024 raster – artistic platform

byetone // live

Born out of mere chance performance, the new collaborative record between Abul Mogard and Rafael Anton Irisarri is almost an inevitable outcome of their long-lived sonic relationship, and yet I’m still excited and jumping up with glee. It’s not often that I witness two of my favourite musicians come together to create something very special, so when they do, I approach it with a deep appreciation and focused regard. I’ve sung high praises for these two alone throughout the early years of their very successful musical careers: Raf, of course, and his 2009 debut on Miasmah (which I’m still listening to, by the way, as well as The Sight Below output), along with his continuous friendship and support, as well as partnership in curating Headphone Commute’s For Ukraine compilation; and Guido, whom I detected to be an amazing synthesist [rather than a retired factory worker from Belgrade] very early on, and who became an inspiration for my own modular journey and then, again, a friend. Search these pages, and you will discover plenty of coverage [written by a genuine human, may I add – should I use that tagline instead of “honest words on honest music”?]. So yes, I am all over this amazing piece [slightly shortened for this “premiere” feature], which is taken from their upcoming two-long-playing-track release on Irisarri’s own Black Knoll Editions, recorded between London, Rome and New York [the second piece is taken from their live performance at Centro de Cultura Contemporánea Condeduque in Madrid].

Impossibly distant, impossibly close

Place of Forever (AM Radio Edit)

TRACK PREMIERE : Abul Mogard & Rafael Anton Irisarri - Place of Forever (AM Radio Edit)

»grain« is the third Innode release following on from »Gridshifter« in 2013 and »syn« in 2021.

A new methodology to make the album is applied yet again from the trio of Bernhard Breuer, Steven Hess and Stefan Németh. The approach is more an anti approach where the trio let the process of creation itself steer the development of the recording, without any prior conceptual agenda.

Irregular rhythmic patterns often served as the initial springboard for each piece with Breuer creating a loop either by playing drums or with the aid of a modelling percussion synthesizer. The results often bypass existing formulaic grids. The outfit embraced these anti-precision steps building shapes around the tarnished templates.

The process of building upon the core structures laid forth alters throughout. In the case of »Splitter« you can hear an example of Bernhard´s core loops dominating a skeletal audio sphere. The title of the track »Impactopium« reflects the process of its construction being a conglomeration of individual titles meshed into a whole. The audio is a non-linear compendium of several fragments of individual elements. A conscious method of exploring a more decentralised architecture saw three disparate elements layered randomly on top of each other with some synths added as a sonic seasoning at the later stages.

Elsewhere sonic elements are restructured in unusual ways. One member's contribution is completely stripped away, quiet sounds captured with contact mics are highly amplified, the last track introduces twisted themes of the first track.

The title »grain« refers to the roughness resulting from these explorations. It also takes note of the term grain as used in analogue photography or in the case of audio as a distorted signal, or »noise.« All of these elements, normally eschewed, are here embraced as a thematic thread to instigate the exploratory proceedings.

This is a playbox of inventiveness, a hall of mirrors and an endless search for unusual tactics and fresh results.

Tackling the initial loop tracks from a wide variety of strategic approaches Innode has concocted a strangely cohesive work. From sparse source material to heavy overdubs of overdubs »grain« is a uplifting collection of works from this relentlessly curious and exploratory Austrian outfit. Humans make the work but the random embracing of unexpected processes means the gentleman of the outfit is not fully ruling what becomes of these works.

Lost & Found

WILL LAUT

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