Anti- Records – 87210-1 Vinyl, EP, 45 RPM, Colored CD 24 Jul 2012 indie, dream pop Beautiful, soothing, healing... Just like a gentle sinking into a deep green ocean. The single track 'Drift Dive' has become one of my favs from this year.
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John Roberts - "Paper Frames" EP
(Dial)
Dial – dialrec 64 Vinyl, 12", 45 RPM July 2012 downtempo, deep/tech house, experimental Refreshing experimental-ish house tunes from one of the most important and interesting producers on Dial recs. Really looking forward to his next LP.
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GRIT - "As I Look to the Sky from the Surface of the Water" EP
(Meanwhile)
Meanwhile – mean022
2 × Vinyl, 12", Album
14 May 2012
dub techno, ambient
Floating, deep and atmospheric Dub Techno. Nothing new, nothing revolutionary, but who cares authenticity when you got real aural pleasure? Truly enjoyable record.
Dark, mysterious bass-laden sounds this time with more ambitious experimental feel. Maybe the most interesting and challenging release by Old Apparatus so far.
Rod Modell and Steven Hitchell present their first Echospace album since Modern Love's 'Liumin' issue in 2010. The material on 'Silent World' formed the basis for that Modern Love release, but here is revealed unadorned, left untreated and unprocessed from its original 1/2" tape to preserve the sublime organic integrity of the recordings. The triple vinyl features seven tracks ranging from rolling House to stepping Dubs and beatless pools of tranquility while the CD plays through 71 minutes of the 'Official Motion Picture Soundtrack
From the liner notes: Sonic Theory: “Silence is where enlightenment exists. Doing nothing, thinking nothing, resisting nothing, we are expressing pure self to self. It is in solitude that we are able to understand our own enlightenment. Only in silence, we can acknowledge and release modules of our consciousness that lead to unhappiness. In these mystical quiet-zones, we become whole. Transformation is possible only in the sacred realm of silence. Atmospheric elements composed with snapshots of normally unheard sonic worlds. Captured with hydrophones, piezo-electric transducers, wind harps, and binaural dummy-head microphones, these phonographs were further accentuated with proprietary processing to reveal even deeper layers, then blended with care to retain the full mystical element of the source recordings.”
Kontra-Musik – KM025 Vinyl, 12" EP Jul 2012 deep house, tech house Soulful, less-is-more deep house for summer nights. Sexy and clever beats. IMO, this duo is producing some of the finest and more elegant house tunes nowadays.
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SpectraSoul - "Delay No More" (Shogun Audio)
23 July 2012 Shogun Audio 2 × Vinyl, 12", 45 RPM / CD, Album drum n bass, downtempo, bass music Intereresting, uk-style dark, downtempo and deeply 90's influenced d'n'b plus current bass music touch. Great production and classy feel. Highly recommended.
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Dusk + Blackdown +* (Burial) - "High Road" EP
(Keysound Recordings)
Keysound Recordings – LDN032 Vinyl, 12", 45 RPM, 33 ⅓ RPM uk garage, bass music UK garage duo team-up with Burial to create an irresistible, deeply nocturnal EP filled with Bevan's unique trademark.
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Acid Pauli - "mst"
(Clown & Sunset)
Clown And Sunset – CS 009 Vinyl, LP, Album deep house, experimental, minimal
Nicolas Jaar-style experimental slow house with sophisticated and refreshing arrengements. One of the finest Clown & Sunset releases so far.
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Vladislav Delay - "Espoo" EP
(Raster Noton)
Raster-Noton – R-N141
Vinyl, 12" EP, 45 RPM 21 June experimental, techno, minimal
Raw, industrial-esque and abstract loops from one of my favorite producers ever. Broken and constantly changing beats, organic submerged bass and an intriguing obscure atmosphere.
Release/catalogue number: to085cd Release date: Jun 7, 2012 ambient, dark ambient, minimal, drone Thomas Koner has reaffirmed his stature in the experimental music world during the past two years, mostly due to the string of reissues from his early solo career and the 1996 debut album from the duo Porter Ricks. These recent editions came via Type, but for his first new album since 2009's "La Barca" Koner finds an even more appropriate home: Touch Music, the purveyor of all things oblique and subtle in forward-thinking sound.
"Novaya Zemlya" is the most minimal album in ages for the label as Koner focuses the album's three extended tracks on a variety of low-level hums and obscured field recordings that are crushed into fine bits of dust. The album's quiet, barren soundscapes hint at vast worlds as seen through a keyhole, providing mystery and intrigue rather than explicit detail and description. Traces of barely identifiable sounds occasionally waft through the atmospheres – cracks of thunder appear on the first track while the last holds distant piano notes – but Koner's focus lies in abstract restraint, just as it always has.
-Ryan Potts, Experimedia
Novaya Zemlya (lit. "New Land"), also known in Dutch as "Nova Zembla" and in Norwegian as "Gåselandet" (lit. the "Goose Land"), is an archipelago in the Arctic Ocean in the north of Russia and the extreme northeast of Europe, the easternmost point of Europe, lying at Cape Flissingsky on the northern island. The artwork, by Jon Wozencroft, includes an essay by Thierry Charollais, "Thomas Köner's Novaya Zemlya: towards a metaphysical geography"... Of course we find the unique Köneresque glowing drones that we know from his previous works. But we will also be touched by an unrevealed, barely perceptible sense of melody and harmony that Köner has gradually developed since Kaamos (1998) and Nuuk (2004).
"Thomas Köner (b. 1965) is a pioneering multimedia artist whose main interest lies in combining visual and auditory experiences. Over his long, much celebrated career, he has worked between installation works, sound art, minimal soundscapes, and as one-half of Porter Ricks. He attended music college in Dortmund and studied electronic music at the CEM-Studio in Arnhem. Until 1994, he worked in the film industry as editor and sound engineer. Thomas has extended his concept of time and sound color to images, resulting in video installations, photography and net art. His point of departure was composition of sound in which aspects of a performance and visual language were gradually integrated. At first in the collaboration with film artist Jürgen Reble and the live performance Alchemie (1992). Following this, he started to compose film soundtracks and music to accompany historic silent films for the Louvre Museum and the Musée d'Orsay, Paris, who called him a major innovator in the contemporary music scene, as well as noted his collaborative practice which has led to his working with musicians, filmmakers and visual artists on installations and sound performances, and to his creation of six video works produced in two cycles, starting in 2003. Mastered by Denis Blackham.
CD jewel case - 28pp full colour - 15 tracks - 50 mins approx ambient, atmospheric, drone
This CD is the soundtrack to the film AUN, directed by Edgar Honetschläger. With stills from the film in the full colour 28 page booklet, the artwork is designed by Philip Marshall. You can see a clip here.
Intention:
‘AUN – the beginning and the end of all things’ tells the story of mankind’s quest for the future, his desire to create the tomorrow, his fear of and loathing for the apocalypse. It spins the Faustian theme twice and lays bare open the inexhaustible Judea/Christian believe in progress, which by the 21st century has taken over the entire world and has succeeded in maneuvering the globe into a situation that can’t be solved by means of economics and science anymore. Enlightenment’s merits have taken the West’s ability to sense what is not to be seen, what is only to be felt. Believes are so much more than religion, than monotheistic concepts. Souls and spirits exist not only in film. Denial and neglect of eternal laws lead to extinction – of the individual and the entire human race. AUN invents rituals as well as mythologies and worships the creator of it all – nature – by playfully laying out its dichotomy with human culture. The film equals mankind’s beauty with nature by announcing that ‘everything mankind creates in nature’. Sadly the hubris ends and gives the audience the chance to heartily weep for the world.
Director's Statement:
‘AUN – the beginning and the end of all things’ follows the strings of thoughts the late Claude Lévi-Strauss revealed in his anthropological essays throughout the 20th century, as well as those of Japan’s unique Shintoism who’s millions of gods inhibit and preserve nature. The film focuses on the dichotomy man/nature and envisions a future world where life will be nothing but sensual. It contains references to Brazilian writer Clarice Lispector, Italian anthropologist Fosco Maraini and the Japanese writer Yoko Tawada.
‘AUN – the beginning and the end of all things’ is a 100 min., 35mm feature drama written/directed by the Austrian artist/filmmaker Edgar Honetschläger. It is a Austrian/Japanese co-production realized by Edoko Institute Vienna and Ribo Ltd. Tokyo in cooperation with KGP Vienna. AUN was supported by the Austrian Film Institute, the Vienna Film Fund, the ORF (Austrian TV), the province of Upper Austria, the City of Tokyo, Tochigi Province, Shizuoka province, Yamanashi province.
For AUN film distribution contact filmdelights.com distribution. With thanks to Edoko Institute, Vienna and Ribo Ltd., Tokyo
Honest Jon's Records 2 × Vinyl, LP / CD, Album Jun 2012 experimental, dub, free jazz, techno
Fetch es el tercer álbum de estudio de la tripleta comandada por el señor Moritz Von Oswald (pez gordo del techno dub de Berlin y conocido por sus legendarios proyectos Basic Channel, Maurizio y Rhythm & Sound) y acompañado de Sasu Ripatti (el prolífico productor experimental y dancero tras los pseudónimos Vladislav Delay y Luomo) y Max Loderbauer ( alias Sun Electric y reciente compañero de Ricardo Villalobos en su notable disco Re:ECM). En sus anteriores trabajos, el trío sorprendió con un lenguaje musical practicamente inédito y de exquisito sabor. Una elegante mixtura de ambientaciones atmosféricas, percusiones quebradas e irregulares y pequeñas dosis de ruido y efectos maquinales, todo en una estructura libre e improvisada, influenciada en una forma futurista de free jazz.
En Fetch, la fórmula se expande a rincones inexplorados, resultando su trabajo más ambicioso e interesante a la fecha. Los cuatro extensos cortes que componen el LP se mueven entre una profunda rítmica dub de percusiones hipnóticas, olas de melodías analógicas y paisajes abstractos, además de ocasionales pinceladas al Detoit techno de los noventa, inyectado de una refrescante y visionaria producción contemporánea. Un deleite auditivo que encuentra sus bases en la historia musical de sus integrantes, ya que la repetición y el ímpetu experimental son una constante en el trabajo de Von Oswald y de Ripatti como Vladislav Delay, además de la exploración inagotable del Dub como ritmo esencial y adhitivo de fino groove.
Al trabajo de los tres ilustres, se adicionan las colaboraciones de Marc Muellbauer en el bajo y Tobias Freund, encargado de los efectos, además de una post-producción donde se incluyeron los vientos de Jonas Schoen (flauta, clarinete, saxofón) y al trompetista Sebastian Studnitzky. El pretencioso combo de instrumentistas elabora finalmente una rica paleta de sonidos pertenecientes a la contemporaneidad: no es electrónica, no es jazz, sino un matrimonio libre y desestructurado donde el fluir incesante del ritmo se balancea con estilo entre el estoicismo y la euforia, entre el caos y la calma. Música cinética y misteriosa que mira hacia el futuro, expandiendo los límites de la creación y la interpretación.
