Jonathan Canupp is a name you should know but probably don’t, but then again might. He records under Ten and Tracer and I’ve been into his records for ages and ages now. Back when I was checking out early net label releases, Jonathan came up as one of two people whose work in their entirety I just fell in love with. And funny how he actually works with the other artist now and lives in the same damn city – the person being a certain Jason Corder (offthesky, Juxta Phona) no less. He makes wonderful IDM music and in fact I may have asked him years ago now to make us a ‘meaty beaty’ record. And along he comes with the very cheek of making some sublimely evolved, subtly woven record using violin, tape machines, guitars, maybe some keyboards and other stuff too. Friendless Now is a beautifully realised work, and one of my favourite Ten and Tracer releases to date.
“Wonderfully evolved is right – there are some lovely funereal horn stabs amongst the lilting static and texture in opening track ‘Homeans Distraction’. This slides nicely into second track ‘Glas Conducts’, which match the textural field of the first. The record reminds in some places of a very stripped back version of the first album mentioned in this article “The Truth Hurts”, albeit with a more comatose sound.
Having not heard of Canupp before, I was immediately struck with the strong grasp he has of the concept of the “album”; all songs flow into each other with obvious thought and precision, and considerable thought appears to have been given to the tracking. Pieces don’t overstay their welcome, and appear to have been designed to craft the mood of the album overall, as opposed to being a random collection of songs assorted in whatever order seems to fit”. – Fluid Radio
I first came across Marihiko Hara’s work in 2007, with his ‘Cesura’ release on the excellent Italian net-label – Zymogen. It really drew me in more than most other work that was doing the rounds at the same time. It had the sort of organic details and attention to beautiful subtle developments that I had only really heard in offthesky and Nicolas Bernier before (both label mates on Zymogen I should add). It became my soundtrack to that year and an album I returned to almost daily during the winter months. After this I followed Marihiko’s work carefully, from his rather fantastic 2009 ‘Icon’ release on Cotton Goods to his recent ‘Prosa’ collaboration with Tomas Phillips on Tench Records.
This 44 minute piece may structurally resemble a classical composition – divided as it is into several interlocking stanzas – but it’s difficult to place it comfortably within the realm of modern music. If anything, ‘The Rest….’ evokes the otherwordly, fantastical obsessions of the Victorians (Conan Doyle, Lear, Grandville, Wellcome, etc) through means of meticulously manipulated instrumentation, samples and voice.Plinth, of course, is no stranger to Victoriana.
Extremely limited numbers available: For all intents and purposes, Grand Salvo is the work of singer-songwriter Paddy Mann. Grand Salvo’s debut album, 1642-1727, and its follow-up, River Road, earned him rave reviews and a solid following at home and beyond for his stark, sensitive and beautiful songs.
After a spell living in Europe, Paddy returned to Australia and began work on another album he’d dreamt up while away, A set of songs that acts as a children’s storybook, the album became cursed with too many recording problems and Paddy decided to shelve it. While that project will eventually see the light of day, its plagued nature ironically became the motivation for The Temporal Wheel.