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    EAU-DC – Nr2

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    With Nr2 Jens Fischer and Thorsten Polomski developed 8 Songs moving between the relaxing moods of electronica. Just mixing up their favoured elements, adding more restrained, but sometimes pretty hasty beats and analog sounding fx’s this time, their 2nd recording expands ambient to not-just ambient. 100 copies will include a big sized poster with conceptual artwork according to the sleeve. Artwork/ design by Dominic Rechsteiner.
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    Aalfang Mit Pferdekopf – Kindspechleber / Kall Tra

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    On Kindspechleber Mirko Uhlig offers a set of real disturbing tracks somewhere between musique concrète and cold ambient layers. The added CD Kall Trä presents reworked sound collections from the vinyl and with this four completely new songs. As they complement this work as whole, these recordings shouldn´t be withhold. A release which shows once more that Mirko Uhlig is just a versatile experimental musician. Comes in a very appealing coverartwork by Robert Schalinski.
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    Machinefabriek – Vergezichten

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    Musicians like Rutger Zuydervelt have a special relationship with presets – sounds, rhythms and samples that are inbuilt to keyboards or synthesizers. Presets are the opposite of individualism in music, they are commodities, sounds off the peg. Self-respecting musicians never use them, or perhaps use them precisely because they shouldn’t. Zuydervelt aka Machinefabriek is a master of self-made sound and time-stretching, sensitively handling organic recordings and samples on countless releases, and regards preset sounds in an organ or a cheap keyboard as a tonal find, as a part of the cacophony of every day life. He uses the chugging of a Bontempi rhythm box or preset strings like field recordings, with the same calm and matter-of-factness as the murmur of ventilation or the hum of a refrigerator. These Bontempi-rhythms plus the computer-stretched sounds of saxophone (Espen Reinertsen) and voice (Mariska Baars) are the base elements of Vergezicht 1 & 2. It is stunning how Zuydervelt manages to produce depth and meditative calm with this supposedly soulless material. Never-ending expanses and the mechanic rhythms overlap and start shifting, slowly and imperceptibly before the beat gets nervous, starts to stumble to finally come to a standstill with the slowly swelling bass. The track is held in suspense, rattling and rustling. Ghostly squeaking breezes in, then another stop with a soft beat of the drum. Slowly, the track builds itself up again with filtered grooves and prolonged notes. On Vergezicht 2, the Bontempi-rhythm sets in again, after seven minutes of rising and subsiding expanses and the breezy, ethereal soprano, this time slowed down alongside warm basses and single notes from the piano. Then a momentary halt, almost too beautiful and too clean for this track. Soon an ominous siren call floats above the euphony and restores order by friction. This subtle irritation is part of a complete acoustic pattern. It is not possible to imagine Machinefabriek’s music without the irritiating moment, the doubt turned into sound. The Dutch word ‘Vergezicht’ means view or panorama. And it is a wide acoustic panorama opened by Zuydervelt here that reveal presets in new light.
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    Machinefabriek – Colour Tones

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    One sided white vinyl record (as used in the Colour Tales exhibition) in a simple sleeve. The package includes a download code for the music in digital format, including the 12 minute ‘Mosaic’ (which is not on the lp itself). Tracks 1-5 were recorded for ‘Colour Tales – an artistic research into the quality of colour’, a project and exhibition by Lesley Moore, curated by Anthropologists in Art, inspired by Imants Ziedonis’ book Krasainas Pasakas (Coloured Tales). Mosaic was initially a study for a live performance at the opening of the exhibition.
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    Jared Smith – Fjall

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    Limited edition 12” white vinyl. Jared Smith is a musician, photographer, and programmer living in San Francisco. In his third release, Fjall, meaning “mountain” in Icelandic, he provides a stripped down departure from his previous albums. Whether it’s the melodic rapping of a flagpole in front of Hallgrímskirkja church, the hollow clatter of a loose street-tile along Bergstaðastræti, or even the warm, comforting sound of coffee brewing from within flat in Reykjavík, He is able to find the music in the micro and the mundane. Fjall explores the fear that disables enjoyment of beautiful moments, the fear of repeating mistakes, the fear of what a new path will bring.
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    Melodia – Saudades

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    Saudades is the debut by Melodía, the duo of Federico Durand and Tomoyoshi Date. Fede is a musician who lives in the suburbs of Buenos Aires, Argentina. Born in San Paulo, Brazil, where he lived until the age of three, Tomo currently resides in Tokyo, Japan. They both share a profound passion for music. They both released a solo album on Own Records in 2011 and a few months later (Spring 2012) went to Europe for a common tour where they first met and where they decided to record an album together which was mastered by their friend Stephan Mathieu.
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    Drape – An Idea And Its Map

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    Edition of 400 copies. Black vinyl, 180 Gram pressing. Gatefold sleeve + OBI strip. Purchase of LP will include a download code of the album… Drape is an ambient duo comprised of Ryan Gracey and Spencer Williams. They have been crafting soundscapes since 2004. Their debut, ‘dream words’ (Gears of Sand) saw a limited CDR release in 2009. It was well received and garnered comparisons to Stars of the Lid, early 70’s Tangerine Dream as well as late 80’s space ambient. Their follow-up was an interesting pairing on cassette – a split w/ experimental artist Odd Nosdam. ‘An Idea And Its Map’ marks a refined leap forward in Drape’s sound. While less space music, there is certainly more expansion. It is a smudged and blended orchestra of drones on the opener ‘Solo in High Dreary’ and those drones are split apart in slow-motion – eventually revealing a single guitar tone. Moments of sublime resonance as on ‘The Visible The Untrue’ anchored by piano, and notes that float, seemingly carried in on a breeze. All is not as it seems with an undercurrent of ground swelling, oscillating air – somewhere in the distance there is a storm assembling. Ebb and flow between light and dark – silver lined black clouds converge on the B side opener ‘fanfare for lake flies’. The strings, guitar, siren calls are assembled and plastered to one another. A thick blanket of overwhelming beautiful cacophony results. The album’s close is as much filtered white noise as it is heavenly chords. The dual slow-motion treated guitar present thoroughout ‘An Idea…’ diverges between pools of dissonant feedback, howls of wind, and melodic drones.
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    Alberto Boccardi / Lawrence English

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    The idea of the split comes from the recording sessions in the summer of 2012 that Alberto realized with the chorus of classical and contemporary music Antonio LaMotta. Alberto sends Lawrence all the material leaving him complete freedom in manipulation. In A side Alberto develops a path in three movements, where each part is independent but at the same time connected to the others; the sequence evolves as inevitable. Lawrence said about his tracks: “This is what I’d like to think of as Land Music. Perhaps sharing something with the perspective scale of Land Art, in which a massing of micro elements create a marco feature, these small sounds when transformed etch out contours and long envelopes of shape across the air. The pieces breathe with a kind of uneasy familiarity. Sounds of the human world and the natural world co-exist at equal states of transformation.”
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    Ratio / Ambarchi – Split

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    Luminance Ratio share another vinyl with an international musicians. While the first volume involved the American musician/artist Steve Roden, this second volume features Luminance Ratio, with a psychedelic piece of music between free-folk and ambient, and the Australian artist Oren Ambarchi with a song mixing the usual warm frequencies of his guitar with a unique and evocative vocal part.
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    Heidi Harris – Cut The Line

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    Pressed on 140g standard weight black vinyl in recycled cardboard jackets, with full color printed front/back artwork… “The most piercing element of Cut the Line is its use of repetition. As the title indicates, Harris’s fourth full length presents the process of separation. This presentation is deliberately calculated and refined: Harris’s goal while writing was to “create songs that covered as many different perspectives as [she] could imagine.” Whether it is lyrically, such as the playful vocals in “Oh My,” or instrumental, such as the dynamic riff in “Maple,” perspective is accomplished through repetition. In both cases, the consistent repetition and intentionally subtle variations lend an encompassing ambience to beautifully unembellished tracks. Harris intended to build on the loose “in the moment” style of recording she had done in the past with this release. There are certainly still moments of lively and disorienting experimentation, but the music never seems out of reach. “Carved In” contains a very pop influenced vocal melody that eventually gives way to a free flowing, liberated harp section – an instrument in which Harris experimented with here for the first time. Overall, Cut the Line is grounded in amicably layered vocals and very fitting minimalistic production. Harris also called on a variety of artists to fill out the album, including Teletextile and Inner Ocean’s own Cory Zaradur, Porya Hatami, Sima Kim and Joaquín Mendoza Sebastián. Cut the Line is an accomplished and thoroughly structured album that still manages to capture the energizing feel of a relaxed impromptu performance.”
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    Banabila / Erker / Machinefabriek / Zenial

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    12-inch 140 gram vinyl. Handnumbered limited edition of 250. Comes in a full colour matte sleeve. Artwork with kite aerial photography by Gerco de Ruijter… Banabila & Erker & Machinefabriek & Zenial is a limited vinyl release showcasing some of Banabila’s diverse collaborations along with a few new tracks. Tracks earlier released are “Deep in the Forest” (from “Route Planner “) and “More Signals from Krakrot” (from “The Latest Research From The Dept. of Electrical Engineering”). “Crowds”, however is an excitingly different version than the one known from the Sum Dark 12 release. The two new tracks are the opening track “Ill Rave” (with Machinefabriek) and the delicate “Drops”. B-E-M-Z.clearly demonstrates Banabila’s versatility. But then – most of his albums do! The impressive artwork is also very much worth mentioning: it’s taken from a collection of kite aerial photographs by Gerco de Ruijter
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    Chris Dooks – 300 Square Miles of Upwards

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    12” blue vinyl with pearl-­‐finish colour card inner and outer sleeves, photographic montage and essay. Layout by Rutger Zuydervelt (aka Machinefabriek). Comes with download of album plus bonus HD film and additional items… This record features loops of Scottish accents from Ayrshire to Aberdeenshire, as well as pieces for ‘broken piano’, Korg Monotron and spoken word reflections on the night sky. Initially made for Chris’s PhD and as a ‘gift’ for Galloway Forest Park in South-­‐West Scotland, the record be easily divorced from academia and its background into a genre that is somewhere between ‘the radio ballads’ of early BBC radio documentaries and a soporifice xperience in what is a massively luxurious vinyl + download package.
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    Mary Lattimore – The Withdrawing Room

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    Heavyweight black vinyl with cover design by Chris Koelle… Seek solace. Be still and drift. Withdraw and be there. There. Inside. A chair awaits. A beginning built from an ending, from leaving, from afar. In times such as these, The Withdrawing Room is a safe haven to leave behind all that weighs heavily and surrounds us. We remark how comfortable the chair is, how exquisite the view is outside the window, the aroma, the breaths to be taken as you become aware of the minutia all around you and the sounds emanating from Mary Lattimore’s harp, warming your feet, your hands, your heart. Breathe. Previous collaborations have seen Mary matching wits with such esteemed luminaries as Thurston Moore, Meg Baird, Kurt Vile, Ed Askew, Fursaxa, and Jarvis Cocker. But for this debut work, Mary sequestered herself in a room, much like this one, to kindle three distinct works for keeping the listener company as he or she enjoys the view. The nuanced notes of the harp strings sing and reverberate amid subtle electronics courtesy of Jeff Zeigler on the 24-minute long piece “You’ll Be Fiiinnne;” “Pluto the Planet” meanders at a slow and steady pace as the sun makes its way across the sky and the gentle plucks of the silk and steel resonate within, beyond; the closing chaos of “Poor Daniel” charts a recklessness that embraces the listener as he or she quietly makes their way out of the room to tackle the world anew.
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    Alexandr Vatagin – Serza (Vinyl)

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    Just in time for valeot records 5th anniversary, co-founder and label head alexandr vatagin presents his third solo album “serza”. in combining the analogue and tender atmosphere of “valeot” (2006) with the harsh, yet subtle digital electronics of “shards” (2008), “serza” is attesting to a consequent and traceable development towards maturity in sound and structure. featuring a huge spectrum of common as well as unusual instruments, it takes you on a thirty minute trip full of delicate melodies, pushing drums, gentle noise, swirling celli, warm vibraphone chimes and sweet piano tunes. The album features friends from all over the world including martin siewert (radian, trapist), hideki umezawa (pawn), james yates (epic 45, pattern theory), fabian pollack, giulio aldinucci, all tupolev members and patrick pulsinger, who provided several self-recorded synth samples. Serza is presented live either by alexandr vatagin (cello, synth, laptop) solo or as a trio: alexandr vatagin (bass, nordlead, laptop), martin siewert (guitar, devices) and david schweighart (drums). Born in ukraine in the early 80ies, vatagin moved to austria in the beginning of the 90ies, and only started to make music another decade later. he plays in tupolev and port-royal and founded the project quarz, which recently released its first album on cronica. he has collaborated with b. fleischmann, stefan nemeth (lokai), steven hess (pan american), philippe petit (strings of consciousness), bernhard breuer (elektro guzzi, metalycee), alexander schubert, kutin (dirac), nicolas bernier and many others and played concerts all over western, central and eastern europe. his solo works and works he was involved in were released on valeot records, morr music, cronica, n5md, mikroton, moozak and many more.
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    Mark Templeton – Jealous Heart

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    Mark Templeton presents Jealous Heart, an album which reimagines the story of his sound in an approach that is both staid and deeply emotional, re-orienting what is offered and what is held back through a myriad of smeared stringed instruments, fragmented horn phrases, tape loops, and found-sound-driven explorations. Templeton’s music is always difficult to truly classify, which is part of its charm. It is way too dense and detailed to qualify as ambient in a traditional sense – instead developing itself into a highly organized, spacious clutter. It is electro-acoustic music that hearkens to tape machines and misused instruments of yesteryear, viewed whole-heartedly through the prism of ultra-modernity, of an awareness of what has transpired in-between.
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    Betacicadae – Mouna (Vinyl)

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    Clear vinyl in handmade printed sleeve and insert. Individually numbered edition of 100, each one-of-a-kind. Includes download code for bonus material. Painstakingly constructed by multi-instrumentalist Kevin Scott Davis during more than two years of spiritual struggle and rebirth, ‘betacicadae: mouna’ is a lush, transcendental narrative in sound. It is a cohesive whole that employs a broad spectrum of textures and extends far beyond formula like “drone” or “field recordings.” The sounds absorb, project, embrace, and comfort the listener in imaginary geography—surreal, dreamlike spaces beween earth and otherworldliness. ‘mouna’ is an intimate personal statement, but also a universal musical narrative of redemption. Source material for each track began with field recordings: a farm in Oregon, a rainforest in Hawaii, different cities. An array of acoustic and electronic sounds were generated from scratch: instruments included guitars (electric, bass, lap steel), wood flute, vibraphone, harp, violin, percussion, synthesizers, effects pedals, and digital software. Elegua Records is proud to present this debut release by betacicadae. Beginning with photographic images by Davis, the design, printing, and construction of the album’s physical editions are approached with the care and depth of feeling that the music deserves. Taking the label’s handmade DIY approach to limited editions a step further, clear vinyl and compact disc editions of 100 will include one-of-a-kind screen printed, stamped, and individually numbered inserts and transparencies. The physical editions will also include a unique download code with access to high-quality digital files of the album and bonus material.
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    The Mistys – Stalking / Drawers

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    This little baby comes in a super limited 7″ pressing (200 copies) and we have a feeling they will not be around for long! Comes with a Japanese style ‘Wrap around’ cover and black/white photo booklets. Mistys are the first signing to The Boats new label Other Ideas and ‘Stalking / Drawers’ will be it’s debut release! We want more Mistys music please Andrew. This stuff gets me and Jess moving around the room!
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    Ingenting Kollektiva – Fragments Of Night

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    Gorgeous gatefold 4 panel with heavyweight wax… Ingenting Kollektiva is comprised of Diane Granahan, Kirston Lightowler, Tarrl Lightowler, and Matthew Swiezynski, and is a homage to the films of Ingmar Bergman and Sven Nykvist. The Kollektiva recordings are meditations on the quality of light, sound, and atmosphere, as well as realizations of the various forms of ‘nothingness’ captured by these two masters. Christmas of 2009, the Kollektiva found themselves surrounded with many recordings from the year 1969, including: Miles Davis & Teo Macero’s In A Silent Way and Bitches Brew, John Surman’s Way Back When and How Many Clouds Can You See?, and Extrapolation (with John McLauglin), Bert Jansch’s Birthday Blues, Vashti Bunyan’s Just Another Diamond Day (recorded December 1969), Fairport Convention’s Unhalfbricking, Jan Garbarek & Terje Rypdal’s Esoteric Circle, King Crimson’s In The Court Of The Crimson King, Scott Walker’s Scott Walker 4, Holger Czukay’s Canaxis, plus many more. With this in mind, they recorded some songs in the Lightowlers’ barn during a rainstorm, and later added recordings from Northern California and Los Angeles. The editing process then became something similar to Macero’s work for Miles Davis. The recording has been issued as a long-play record with a gatefold sleeve and photographs by Tarrl Lightowler. Thanks so much to Taylor Deupree for bringing many layers & hidden sounds to life in these recordings.
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    A-Sun Amissa – You Stood Up For Victory…

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    Limited Edition 180g Vinyl: Come with download code, printed postcard and other printed inserts… A-Sun Amissa is a project formed out of Leeds, UK in 2011 by members of Glissando and The Rustle of the Stars.. Built on the foundations of the unknown, a project that encompasses minimalist drones, modern-classical movements and avant-garde tendencies. Richard Knox (Glissando, The Rustle of the Stars, Of Thread & Mist) & Angela Chan (Glissando, The Rustle of the Stars, Tomorrow We Sail) began forming the initial ideas in the Autumn of 2011, moving away from the piano-led ambience of previous outputs. New album ‘You Stood Up For Victory, We Stood Up For Less’ sees A-Sun Amissa moving in a more dense direction, the drones are heavier, the sound thicker and with the added bass-clarinet of Gareth Davis there a new slightly darker jazz element now to the music. The music was conceived initially as two drone guitar pieces, following that, work was done on the composition and atmosphere of the tracks adding the bass-clarinet, viola, vocals, field recordings and piano. The finished works produce an unsettling but hypnotic listen with melodies moving in and out of the mix throughout these two pieces.
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    Peter Broderick – Ten Duets

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    Format: 12-inch vinyl Edition: 250 Track list: 1. Piano & Toy Piano 2. Travel Guitar & Thunder Machine 3. Viola & Laptop 4. Shaker & Kalimba 5. Pump Organ & Hand Bells 6. Violin & Mouth 7. Mandolin & Theremin 8. Field Recorder & Postcard Weevil 9. Nylon Guitar & Violin 10. Banjo & Piano This stunning collection of songs were originally release on cassette tape in 2009. It sold out quick and now a remastered version are released on vinyl by Vintermusik. Its limited to only 250 numbered copies, on black vinyl with a folded sleeve.
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    Orsi & Pimmon – Procrastination

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    Limited run of 250 copies on heavyweight 180grm wax: “When ideas float in our mind without any reflection or regard of the understanding, it is that which the French call revery, our language has scarce a name for it.” – John Locke Procrastination haunts us. Even the most studious amongst us occasionally finds themselves trapped by a lingering daydream or escapist vision; one that absorbs us and removes us from the moment. But procrastination often masks a industrious subconscious flow. I posit, procrastination is a disconnected deep-thinking, a sub-dreaming, a hidden imagination that trickles in the deepest caves of our brains, which eventually join the conscious rivers of our mind. It’s procrastination that is to blame for the tectonic elegance heard on the debut collaborative effort from Italian musician Fabio Orsi and Australian laptopper Pimmon. After discovering a mutual admiration for their respective outputs, the two decided a collaboration was in order. Before long, Orsi passed Pimmon a set of recordings Pimmon felt “were, in my mind, fully realised”. Considering them as finished pieces, Pimmon was flummoxed as to what he might bring to the collaboration and he entered, as he calls it, “a zone of procrastination”. A deadlock ensued, as Pimmon ploughed through other projects unsure of how to resolve the question of the collaboration. 18 months had passed since the pair first exchanged files and Pimmon, whilst on break along the picturesque Margaret River found himself revisiting the files. Suddenly procrastination broke and the deadlock of directionlessness evaporated. The subconscious trickles had formed rivers and the rivers pounded together creating a tidal wave of sonic ideas that saw Orsi’s files transformed in quick succession. The source recordings shattered through a web of Pimmon’s processing devolutions, re-arranged and re-edited to reveal an entirely new perspective on Orsi’s sonic matter. – Lawrence English
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    Nite Lite – Megrez

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    Phonography, or field recording, could perhaps be imagined as a sort of spectrum. At one extreme are the documentarists, who strive to capture, with the utmost fidelity, the sounds of things as they are ‘in real life’; at the opposite end sit those who use recorded sounds simply as materials for expanding their sonic palette, with no concern for fidelity or recognisability. Between these two poles, however, stretches a wide and ambiguous middle ground, and much of the recent music that I find interesting or engaging happens here. “Megrez”, the new release on Desire Path Recordings from Portland-based duo Philip and Myste French, falls into this uncertain in-between region, though it disappears into the foliage well before we get to see where exactly it lands.
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    Alex Durlak – Seconds

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    The album has been pressed as a single-sided 12” on white vinyl. On the blank side of the disc, an excerpt of a short story written by Algernon Blackwood in 1906 has been printed in black ink. The discs fits inside a custom made jacket that features a pocket made of translucent paper to allow the disc to be viewed while inside the jacket. On the front side is a full colour photograph taken by the artist. EPIC!!! Seconds is the third and final piece in a series of recordings made by Alex Durlak in March 2010. The first was released as Catalyst (2010) on the Rural Routes series and was followed by Lowing (2010) on the Audio Gourmet net label. All three feature Durlak’s guitar playing being processed in realtime using granular synthesis techniques and were recorded in single improvised takes; a minimal approach that makes for a deep and complicated sound with little reference to its original source. Seconds is an ever changing narrative through a dark and open space, perhaps a walking tour through an abandoned factory with it’s machinery left running or the soundtrack to a time lapse video of steel being cut under an electron microscope.
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    Dooks / Machinefabriek – The Eskdalemuir Harmonium

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    Red vinyl LP w/DL and full colour card insert & exclusive download only EP… The Eskdalemuir Harmonium is a full-length site-specific collaboration between Chris Dooks and Rutger Zuydervelt who is best known by his Machinefabriek moniker. The project is orientated around a landscape home to a vast Tibetan Buddhist temple and megalithic stone circles. The resulting album and supplementary digital package are a fusion of ‘folktronica-concrète’ homages to a dying American harmonium – currently disintegrating in a farmhouse near Lockerbie, Scotland. The album, made over a twelve month period, includes a five minute radio documentary. In addition, Dooks’ essay and photographs of the year-long process have been stitched into a full colour montage designed by Zuydervelt – who also works as a respected graphic designer. The record itself is lovingly pressed on bright red vinyl. Much as one visits a sick relative in a care home, The Eskdalemuir Harmonium is a form of ‘sonic palliative care’. It spills into the glitch territory of Stefan Betke’s work as Pole, while at the same time it follows a sonic ethnographic tradition akin to ‘The Radio-Ballad’ (formed by Ewan MacColl and Peggy Seeger). It was constructed via a delicate bricolage process where spoken word, field recordings and music form more than the sum of their parts. When Dooks composed and began to arrange the pieces on the record, which also forms part of his work at The University of The West of Scotland, he was aware of the dangers of being too close to a project, and needing a sense of social communion on the project, he contacted Rutger who agreed to co-produce the record with Dooks, giving the project a capricious and variable flavour. The digital download of this album also includes an supplementary EP entitled Non-Linear Responses of Self-Excited Harmoniums composed from additional material from the same sessions.
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    Smokey Emery – Quartz EP

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    Pressing of 300 on thick 7″ black vinyl, heavy art cardstock duotone b&w “disaster” collage fold-out covers by Smokey Emery himself… Smokey Emery’s Quartz EP is a bona fide document of sonorities from the purgatorial regions. Distorted and catchy tape loops that take you from the inter-planes of the mind to the carnival, where the festivities seem at once sinister and endearing beneath the changing light of sooty reverb and effectual tape hiss. These deceptive washes of underwater tones falling in and out of tune are placid enough to meditate to though also project a menacing, even premonitory air. Unlike many drone kingdom tape-loop albums, there is also enough substance and subtly here to sharpen your mind against – just when you think you’ve been listening to a stable phrase for 30 seconds you perceive, buried in the glowing embers and vapor, a yawning organ concerto or an analogue gear malfunction rescued into exquisite loop patterning. Over continuous listens a depth of elements continually rise from the initially dark and watery abyss to the grey-scaled and disorienting surface. This music is as much evocative of the sharp winter cold as it is the mirages of summer heat, the murky deep as much as the smoggy zenith, and the charming mechanics of dusty analogue gear as much as a honed sense of intuitive craftsmanship directed toward allaying arrangements of saturated sonic material. Quartz reads the ambiance of the nether world through the split light of the celestial sphere. So much wickedness and tenderness.
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    Alec Cheer – Low Summer Sunlight On Water

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    Beautiful 180grm heavy vinyl in 3mm matt finished sleave decorated with photographs by Sally Chisholm & Alec Cheer…  Low Summer Sunlight On Water is the vinyl debut of Alec Cheer, and features 11 tracks of improvised piano music and found sounds. Recorded in the Mitchell Library in Glasgow and in the family home in Portessie. Mastered by Ruaraidh Sanachan (Nackt Insecten/Moon Unit). Released by Alec Cheer on his own Macrowhisker imprint. The album is dedicated to the memory of Sally Chisholm, Alec Cheer’s mother, who past away suddenly in September 2011. “I had been going to the Mitchell Library for the past couple of years to play the pianos they have in the rooms up on the 4th floor. I’m no piano player, I couldn’t play you a tune that you would know, I just love the sound of the notes harmonics and the sustain. I’m really drawn to the mystery and the feeling of limitless possibilities I get sitting in front of the piano. I’m interested in honest sounds, and the piano has a sound that is very real, when your playing it you a get a great sense of the physical structure and weight of the instrument. My approach was to sit at the piano, place the zoom recorder on top, press record and see what happens. Each piano has it own sound, My mother’s piano for example has a bassier sound and is in a bigger room which gives it a lovely warm texture. The sound the piano produces to me is meditative and enriching and I hope that tranlates in these recordings.” – Alec Cheer, Nov 2012
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    Mind Of Mirrors – Check Your Swing

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    Over the duration of Mind Over Mirrors’ “Check Your Swing”, these dense Indian pedal harmonium fogspheres, fizz like a cherry cola bottle springing a leak on a pottery wheel. Amped with tribalist percussions (“Mound Building”), strategic somnambulism (“Second Nature”), and a canny knack for recouping the archer’s phrase, creator Jaime Fennelly blames destiny for the moonlit sky, with Hands In The Dark label symbolism, whereas he’s actually closer to a sonic satellite. Likening himself to Quosp and Nova Scotian Arms sonically, MOM makes a killing on wheat flour, filtering through his tunes, up to closer highlight “Steady Miller”. Commencement “Breaking A Jam” bubbles with a raw energy that doesn’t dissipate. It enables me to wish, making a fresh word for this ‘in flux’ state: “rekinetics”. Meaning: ‘registration of an appropriate meaning or action through energy’. Pulse on “Check Your Swing” remains a steady 88bpm or so, with employed feints, and slipstreaming of different sonic measures, with capacity restraints. It’s where Mind Over Mirrors lets the grooves just chug it out like a cardiovascular sushi that he produces best results. Reasoning for the paradoxical somnambulism working is MOM’s records sound lost in hypersleep, having only muscularity to quantify reality, with a heavy undertow of stylus sleepydust. “Pass Into The Driftless” resonates fields of wholeness for this LP, also a great playlist ender. Simply put, “Check Your Swing” is well worth your money. – Fluid Radio
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    Hardwick / Jørgensen – Split

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    Limited edition vinyl LP packaged in a full colour matt sleeve… Nottingham-based guitarist and owner of Low Point, Gareth Hardwick, contributes a single nineteen-minute piece which is quite possibly his most fully realised and dynamic work to date. Sixteenth February Twenty Twelve sees Hardwick continuing his mission to explore and distort the pre-conceived notions as to what an electric guitar can sound like, while embellishing and developing his signature long-form drone techniques. The resulting track is a constantly shifting progression of deceptively complex melodies and phrases that are at once subtle and minimalistic, while enveloping the listener in an ever-evolving wash of sounds, textures and gently percussive elements. Contained within the piece are moments that are reminiscent of the early electronic experimentation of Klaus Schultz and Phaedra-era Tangerine Dream. Yet it avoids any form of misty-eyed nostalgia by maintaining an individuality that leaves one able to discover new and hitherto uncharted sonic territories, allowing the mind to wander freely while still remaining firmly rooted in the here and now. P Jørgensen, from Copenhagen, Denmark, is a composer, musician and sound artist whose work spans film, theatre and music ensemble. Jørgensen presents Four Pieces For Moreschi – a suite of four decidedly different pieces of processed musical interludes and field recordings. Leaning almost towards a musique concrète sound, Jørgensen’s work here is comprised of four very distinct parts of a larger whole. Beginning with dense, almost engine- like sheets of sound, Four Pieces could almost be some kind of sentient machine that organically grows as it progresses over time. Glassy and bell-like textures move into breathy and atmospheric zones, finally giving in to gentle and subdued melodies – a mere whisper of what came before and all the while maintaining a textural fragility which keeps the listener holding ones breath in anticipation of what is to come. Taken as a whole, this release is something of a juxtaposition – a collection that sounds that it may have been born both of nature and of artifice. A reflection of our times perhaps, or the soundtrack to a future that has yet to be written. Either way, it is a beautifully satisfying record and one which demands repeated and uninterrupted listening.
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    Glissando – The World Without Us (Vinyl)

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    Heavy-weight wax that includes download code and sexy looking prints… It’s been four long years since Glissando released the critically acclaimed ‘With Our Arms Wide Open We March Towards the Burning Sea’ and the duo finally return this November with a new record ‘The World Without Us’. The new material bares Glissando’s trademark of ethereal voices and tip-toing piano melodies but the overall sound is richer and more expansive. Epic swells of strings and guitars sore above the drones and field recordings to create an intense yet fragile noise. The dynamics of the new record are also apparent and through the use of an array of guests there is a new depth and ambition to Glissando that portrays the songs in their truest form. ‘The World Without Us’ moves slowly between dark shadows and into more hopeful territory throughout, it’s not afraid to be silent when the moment arrives but it’s also capable of enormous, echoing, choral and string crescendoes in one subtle movement. Since Glissando’s debut in 2008 Elly May Irving and Richard Knox have experimented with countless different live set-ups and members ranging from simple, more immediate shows as a duo through to a 7-piece group. Never tied to a specific ideal of how to play the material, it enabled the group to tour heavily for a couple of years in the UK and Europe whilst recording a follow-up album but inevitably this process took it toll. Knox began new projects; ‘The Rustle of the Stars’ (with Frederic D. Oberland of FareWell Poetry) and later A-Sun Amissa (which also features regular Glissando member Angela Chan) which weighed heavily on the amount of studio time he could commit to Glissando.
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    Fieldhead – A Correction

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    Heavyweight black vinyl with black inner sleeve. Includes a free download code… ‘A correction’ is the new album from Fieldhead and it builds on the love of melody, brevity and dusty atmosphere found in his previous releases – they shook hands for hours (Home Assembly Music 2009) and riser (Gizeh 2010). Fieldhead’s music has always drawn heavily from his surroundings, with previous work taking much from the moors and towns around his former home of Leeds. In July 2010 Paul left these familiar surroundings for a new home in Canada, and the widescreen landscapes of his adopted home have shaped Fieldhead’s music into a more expansive and emotive form. The familiar tape hiss and scratchy, decaying atmospheres remain from his previous work, but with a correction Elam has combined them with a deeper understanding of space and place. The album appears minimalistic on first listen, but a correction is a record that slowly unfurls over time. Clouded melodies ride on a distant but almost constant pulse that brings the vast landscapes in and out of focus throughout the album, an approach that never allows the listener to get too comfortable, and one that sets apart Fieldhead’s music from many other safer artists within the genre. The violin of Elaine Reynolds (The Boats / The Sea) is central to a correction, adding warmth to the desolate northern atmospheres of the album, as well as providing the centrepoint of the record’s emotive peaks. Previous comparisons of Fieldhead’s work to William Basinski, Machinefabriek and Grouper are definitely justified, but Paul’s work is undoubtedly more direct and concise. It’s fair to say that Elam’s previous outputs have already made his name in the ambient / drone field and a correction should further enhance his reputation as someone who can seamlessly marry soundscapes and melody to form an affecting and timeless piece of music.
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    ThisQuietArmy – Bleeding Mess

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    Limited to 300 copies: 7″ vinyl includes mini abstract fold out poster… ‘Bleeding Mess’ is a singular release in TQA’s abundant discography. After a couple of full lengths and collaborative projects, this canadian Stakhanovite chose to develop his musical universe on a smaller format. This 7″ was recorded last summer at TQA hq in Montréal and it’s made of two cover songs. TQA keeps exploring sonic atmospheres and gives a new life to SLOWDIVE’s song ‘Bleed’ and to THE RADIO DEPT’s song ‘Messy Enough’. This new life relies on complex feelings, on both calmness and darkness. While the spirit of the original songs remains, the sound and the personnality of TQA is recognizable in these two tracks. This release is a great demonstration of shoegaze and post-punk influences on TQA’s music, as mentionned on the cover no synths were used for these songs, only guitars, voices and drum programming.
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    The Folding And The Point (Vinyl / CD)

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    Limited edition vinyl run of 300 that includes a CD… The Folding and the point is the project of the Envelope Collective founder, Olivier Arson. Creating music from concrete sounds, wind instruments and processed organs. After a four year spell in Iceland, he relocated to Madrid and released his acclaimed debut LP, “Sorger était allé dehors, comme après un triomphe”.
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    Ancient Ocean / Expo ’70 – Split

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    There are two different approaches to a similar theme on this joint LP release from Sound Of Cobra and NO=FI Recordings. Sonic travellers Expo ’70 (Justin Wright) and Ancient Ocean (John Bohannon) take on a side each, tackling themes of large-scale desolation and the subsequent rush of squeamish creation. Bohannon’s patience balances well with Wright’s overflowing bag of tricks. Whereas ‘Waves In Caverns of Air”s formless febrility seems to seethe instantly with elemental activity, the glueish hum that grounds and surrounds ‘Decomposition Decay’ takes aeons to reach a comparable stage. If we imagine Wright presents the sound of earth developing in space, then Bohannon gives us life emerging on earth.
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    Bad Braids – Arrow and Orb

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    Original 2012 pressing; limited to 500 copies, black 12″ vinyl records with full colour centre labels in full colour jackets with photography by Robert Moses Joyce… Like a secret told between the closest of friends lying in a sea of honeysuckle & bathed by a distant sun; the sad, sweet songs on this album feel as though they should traipse the lips of few and grace the ears of even fewer. Unlike such a secret, Arrow and Orb contains such a powerful brand of melancholy that emotion itself becomes an inverse function, barreling through the tunnels and hills of some distant dreamfield like the magnificent wings of some long-forgotten phoenix. Fire and brimstone meet the will of a suffocating ocean, handing smoldering, quiet passages of vocals and guitar into a whirlwind of bells, whistles, mandolin, percussion, bass, and more.
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    Talvihorros – Some Ambulance

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    Thick gatefold covers printed on rough cardboard, 180g vinyl, black inner sleeves, free mp3 download code. This is ultraclear vinyl, limited to 150 pieces… Some Ambulance should be the first port of call for those with even a passing interest in where electro-acoustic and ambient music is heading in 2009/10, while I can imagine the uninitiated finding lots to love too. There’s a strong STEVE REICH influence prevalent here, especially the skillful use of slide-rule repetition, particularly found on ‘The Blue Cathedral’ and ‘Etude IV‘. But other tracks take different routes, ‘Death of a Dream‘ paints a bleak MORRICONE-esque picture with its forlorn guitar and solemn atmosphere created using a vibrant tapestry of sounds as its backdrop. While ‘A Rural Place‘ contains a staggered synth-rythmn and discordant effects that reminds me of something THOM YORKE might come up with in his solo ventures. My favourite composition comes in the form of haunting opener ‘Handwriting (Part 1)‘ (and indeed it’s closing part which ends this release) mainly down to the fact I can detect a strong Labradford influence from the way it builds from its grainy beginnings into a vast melancholic dronescape flickered with static and tape hiss. The effect of the whole piece is somewhat gratifying and I can’t help but recall the first time I heard Nelson and co’s seminal ‘Praizision‘ I’ve found myself going back to this record time and time again. It’s endlessly listenable and it packs a surprise with each spin. A bit like Rudi Arapahoe’s 2008 record ‘Echoes From One To Another‘, Talvihorros’ release has come from nowhere and knocked me sideways. It is not an exaggeration to say this is one of my favourite records this year. – Michael Henaghan
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    Talvihorros – Music In Four Movements

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    Thick gatefold covers printed on rough cardboard, thick black inner sleeves, 180g vinyl, free mp3 download code. This is ultraclear vinyl, limited to 150 pieces… With ‘Music in Four Movements’ I set out to compose four long pieces of music that would act as suites rather than shorter melodic songs as I had done on my previous record ‘Some Ambulance’. Using longer time frames afforded the sounds time and space with which to evolve and move. This has led to what could be labelled as my most ambient work i have released but I think also the most intense. Throughout the recording process I became interested in the fundamental ideas of life and death and why people would choose to take their own lives, (reading ‘The Road’ on a day long train back to London from Scotland, hungover after New Year certainly contributed to this). Slowly a narrative presented itself and the 4 tracks started to represent a journey of the final days of someone who has chosen to end everything. I became particularly interested in reading stories about people who drowned themselves in rivers or the sea – a bleak yet strangely beautiful image of someone walking their final walk into the sea became a strong visual influence for the record.
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    Fischer / The OO-Ray – Tessellations

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    Hand numbered in a limited edition of 250, silk screen design on recycled cardboard sleeves, and contain individual high quality download coupon cards including an additional track. Art by Marcus Fisher, mastered by Taylor Deupree at 12k and cut by Rashad at Dubplates & Mastering… Marcus Fischer and Ted Laderas (The OO-Ray) have been playing and performing together for a number of years separately and collaboratively. On several occasions, Laderas has been drafted by Fischer’s duo, Unrecognizable Now, to add his unique take on cello to their live performances and recordings. In 2011, Optic Echo commissioned Fischer and Laderas to create an album together. Seeking to bridge Marcus’ delicate multi-instrumental sonics with Ted’s orchestrated chamber-drone, they started with a number of long-form improvisations and shaped them into the wide-ranging pieces on the album. All sounds have been given space to unfold and blossom in a timeline full of contrasts and quiet moments of beauty. Marcus and Ted’s separate and unsynchronized loops evolve and coalesce into transitory patterns that are both breathtaking and imperfect. Within this process of overlapping sounds, larger patterns, or tesselations are revealed to the listener. Tessellations features cello, lap harp, tuning forks, synthesizers, guitar, percussion and analog and digital processing.
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    Berber Ox – Limiter

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    Slim line case with a printed hand numbered sleeve in an edition of 100 copies… Limiter follows on from David Berber Ox’s previous releases on labels such as Stunned, Install, Rocket Machine Tapes and Somehow Recordings. David Rutledge is a Sydney based radio producer who makes music that crosses genres such as Experimental, Drone, Dark Ambient, Power Electronics and Post Industrial often in the same track”.
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    Lumerians – Transmissions From Telos: Vol. IV

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    Limited edition run of 300 copies in 12″ clear vinyl… Lumerians are garage scholars of the weird. The Oakland-based quintet could be named for Lemuria, the long-lost sunken continent ruled by primitive mystics. But note the spelling: Lumerians, not Lemurians; a clear nod to son et lumiere, the fusion of sound and light that is one of the hallmarks of deep trance and media. Lumerians play droning dance music for the soul you forgot you had – the noise of the billions of switches in your brain shutting off and on in perfect harmony. Two years after their killer album debut-album Transmallinia, Lumerians are ready to unleash a new LP of lost orphan songs called Transmissions From Telos: Vol. IV. Transmissions Vol. IV is a selection of spontaneous music from the Lumerians hard drive catacombs. Side A are fragments of raw stellar ore. Unnamed and unclassified, delivered with a thin protective lubricant to prevent violent combustion in the Earth’s oxygen rich atmosphere. Side B is a trans-dimensional demon love child, imploding with raging love, but too grotesque to live in this world. Left anonymous lest the utterance of his name bring doom to us all. Vol. IV is the firstoffering in a continuing episodic odyssey.
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