Includes a 40 minute bonus CD, The Hilton, featuring previously unreleased material: It might not have been so long since Jeff Witscher released his debut ‘proper’ album under the Rene Hell moniker, but he’s kept himself busy in the interim all the same…
Since ‘Porcelain Opera’ Jeff has put out a whole series of collaborations, 7”s, tapes and splits but few of these have given even a hint at what to expect from this sophomore full-length. Looking to his love of classical minimalism Jeff took this as the starting point for the record; he is quick to state however that this is not homage but a reinterpretation of those specific forms. The result is a deeply electronic rendition of this classical formula; the digital and analogue synthesizer and drum machine sounds that brought ‘Porcelain Opera’ to life are reframed and transferred into a very different compositional structure.
‘The Terminal Symphony’ is Jeff’s attempt to write tighter, more composed pieces of music – something of a reaction against the glut of long, often-flabby drone compositions that have become a mainstay in the scene. The pieces here are short, concise, and packed full of ideas that can take multiple listens to unravel, and the album, as a whole is almost obsessively structured and complex. Each side of the record is composed very specifically with a beginning, middle and an end (as opposed to the almost expected prolonged noodling jam) and when we begin with the familiar grunt and grind of ‘Chamber Forte’ it is only mere minutes before the track dissolves into the main theme of the album. The sounds we became familiar with on ‘Porcelain Opera’ are pushed slowly into the background to allow these new symphonic passages to shine through. An appropriate enough comparison might be arch-recluse Aphex Twin, but there is no pandering to dance music culture here. Rather Jeff has used his enviable background in noise, punk and synthesizer music to come up with something totally removed from the current scene, and absolutely singular.
The album comes to a close with the hauntingly melancholy and purposefully referential ‘Adagio For String Portrait’. The dancing synthetic blips that pirouette across Witscher’s mournful electronic waves not only re-enforce the decades long love affair between electronic and classical music but help to define it in 2011.
This sophomore release from Agnes Szelag (Evon, Dokuro) and Marielle Jakobsons (Darwinsbitch, Date Palms) is an album of astonishing fragile beauty and darker, more foreboding atmospheres. Following their critically acclaimed debut album, The Amber Sea (Digitalis, 2009) Fire Star was recorded during a snowstorm on Shasta Mountain April 6-9 2010. The duo performs on violin, cello, voices, harps, bells, and electronics. It is recorded by The Norman Conquest and mastered by Miles Boison.
Ltd edition 10″ vinyl: The Chicago based Colorlist is comprised of crossover jazz duo Charles Rumback and Charles Gorczynski. Both multi-instrumentalists, Rumback mans percussion, bells and melodica, while Gorczynski plays saxophone, numerous woodwind instruments, synthesizers and harmonium.
Neverest Songs is the alias of Margate based multi-instrumentalist and songwriter Luke Twyman, who is set to release his debut, double A-side single Paper Trumpets/Softly, Quite Softly, Quite Softly through independent label Tea At Yours.
Initially working in a humble home studio set-up, early 2005, Twyman began to harness his talent, before starting work on his debut album Small Voyages, in late 2008. Undertaking a small voyage of his own, Twyman travelled to New York to record the piano parts, with friend Rick Warren and by late 2009 twenty-four songs were complete, and the final thirteen tracks selected. Small Voyages was released as part of the Unlabel catalogue, in early 2010.
Limited Edition 12″ Clear Vinyl, comes with download code included in the sleeve:Once upon a time in the days of the Belgian Franc, Chantal Acda made the acquaintance Adam Bryanbaum Wiltzie, and the two became fast friends through a mutual love of disco bowling, and 1970’s Danish scary movies. They first collaborated with vocals together on the infamous last track, ‘The Struggle’ on Mr. Wiltzie’s 2004 ‘The Dead Texan’ (kranky)