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    Dale Cooper Quartet – Astrild Astrild

    The Dale Cooper Quartet & The Dictaphones are returning with their 4th album called "Astrild Astrild". Like all of the previous albums, the band recorded the seven pieces at home in Britanny during several sessions between 2013 and 2016. The characteristics of this full-length are classic drone soundscapes mixed with deep tone saxophone parts that became the band's trademark since the release of their debut album in 2006. Slowly paced, the new tracks are following the Quartet's basic structure and classical sound. Apart from that the new full length conceals more live takes including guitars, bass and Rhodes keys and even piano sounds are haunting for the first time at the end of 'Ocho Acenteur'. With these new elements the songs of "Astrild Astrild" are pushed further into a large tunnel of deafening rhythmic parts and field ambiant textures.
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    Orson Hentschel – Electric Stutter

    Describing Orson Hentschel only as a composer of contemporary music does not do him justice. In his self-conception as an audio-visual artist he creates his own live show, combining lights, visuals and fog to a stunning atmosphere, which cannot be eluded. Supported by live-drummer Lukas Baumgart, Hentschel delivers a sound, whose energy is physically palpable and electrifies the audience. A live-show generating an intense experience, going to the limit and erasing any sense of time. Orson Hentschel moves perceptions not merely through sheer volume, but with driving repetitions and extensive tension.
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    Notilus – ST

    Notilus is the new project of five established French musicians combining cinematic soundscapes, energetic jazz and atmospheric live electronics. With a decent amount of performances at several French festivals the quintet presents its s/t debut album via Denovali in spring 2017. The cleverly compiled repertoire varies from positively trombone and sax driven jazz parts with a deep sense for sophisticated melodies to calmer, melancholic soundscapes back to beat driven, dynamic, buzzy sound cascades. Sometimes the albums delivers a feeling of a soundtrack for a 70s crime movie - sometimes it sounds like an intergalactic, retro-futuristic trip - always with an ironic and positive view on the own creative work
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    Ensemble Economique – In Silhouette

    Four panel digipak... "In Silhouette" is unmistakably the product of Brian Pyle, who once again returns as Ensemble Economique. Well over a decade ago, Pyle and his merry band of Starving Weirdos popped onto the scene from out of nowhere. Truth be told, that ‘nowhere’ is Humboldt County, California whose grand mythologies about its marijuana industry dwarfs all others. The Weirdos, not averse to method acting through Humboldt’s prized chemistry, stood an unusual chimera in the world of out-rock and avant-garde practitioners. Electronic-Improv, fuck-all auto-didacticism, and monotone psychedelia. Too feral to be AMM, too electronic to be NNCK, too discordant to be :zoviet*france:. As the Weirdos slowed to halt, Pyle’s restless energy insisted that he go on. Hence Ensemble Economique. Over an impressive catalogue of albums, he steadfastly continues down this rabbithole, polishing and refining his craft into a signature polyglot of expressionist collage.
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    Paco Sala – The Silent Season

    After the release of last autumn's 6 track "Ko Yo" 12'' on Denovali, Paco Sala return with a fifth full length album, their first since 2015.  The Silent Season is the net result of a full tibiofemoral dislocation, a lot of surgery, a lot of really heavy drugs, a seemingly open-ended period of housebound isolation & a subsequent hazy regression to roots and influences. The Silent Season is a fever-dream, embodying the period of physical stasis & marking a shift from the outsider pop structures of previous releases. Here instead the duo employ delirious, morphing synth structures intertwined with semi-lucid samples and haunting vocals. All tracks were recorded in improvised sessions over the course of January 2016, before being shared for finishing touches in Berlin. Tracks are presented inclusive of the players' errors, recording mistakes & creative decisions made without reference to consequence.
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    Rosenqvist / Collings – Hello Darkness

    Four panel digital... After his highly acclaimed 'A Requiem For Edward Snowden' LP, Matthew Collings returns with a collaboration with Swedish sound artist Dag Rosenqvist. 'Hello Darkness' is dark and it is bleak and it’s fragmented. It feels like those days when you want to just annihilate everything, and then stare at a river. It demands your attention. It sounds like it’s breaking from the inside. It’s serious. And not...
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    Talvihorros – And It Was So

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    Talvihorros is London based composer Ben Chatwin’s study of guitar and electronics. Numerous techniques are used to coax a myriad of sounds from both acoustic and electric guitars. Home-made and vintage electronic equipment are used to loop, process and manipulate improvised material into dense and dark sound collages. What started out as a personal challenge to make an album in 7 days grew into something else entirely. Over a year in the making, and expanding his trademark guitar sound with drums, strings, bells, organs and synthesisers, ‘And It Was So’ features contributions from fellow label mates Field Rotation (violin) and Petrels (cello) along with tour partner Jordan Chatwin (drums/percussion) and long time collaborator Anais Lalange (viola). If last years album ‘Descent Into Delta’ was reminiscent of plunging into the murky depths, his latest offering ‘And It Was So’ evokes the expansiveness, dynamicism and density of the cosmos . Attempting to find order in chaos is something Talvihorros has been striving to achieve over the past three albums and he has never balanced these elements so beautifully.
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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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