Matt Elliott - Failed Songs
Genre : Folk
02. Eulogy For Liam
04. South Canadian Sea
05. Song To Child
07. Wedding Song
Among many obvious definitions of the ‘heart’ is this: ‘the vital center and source of one’s being, emotions, and sensibilities’.
It’s the first word I think of when I hear the work of Antony Harrison (the man behind the Konntinent moniker). And when you listen to his work, its really obvious why.
The Konntinent sound is very much based on micro-elements I guess, at least this time around. Unlike his earlier drone-based work, ‘Opal Island’ has much more of Antony’s guitar playing to the fore, as it does the gorgeous vocals of Lisa Madisson on ‘Dry eyed’, as well as Antony’s own beautifully subtle singing. It has odd rhythms coming in and out, piano, weird glitchy sounds and tones I can’t quite place. Its all in the craftsmanship you see. Its very rare to come across an artist who actually makes ‘songs’ which can also be defined as ‘pieces’ – and as such his work is so hard to place.
All I am left to do is to go back to the image of the heart. In Japan, there is a faux-English usage of the word, made adjective…the Japanese say ‘heartful’. Its on billboards, products and people use it all the time. Its basically used to describe something which is full of emotion and induces said emotion in others. Whilst the word admittedly does my head in when I am in Japan, in a nice and concise way it covers my feelings for the music Antony Harrison creates. Opal Island is a very ‘heartful’ album, as Antony is himself a very ‘heartful’ artist and songsmith. And whilst linguists will not initially thank me, after hearing this record, you just might get what I mean.
The long-awaited follow-up to the acclaimed Copia, Eluvium takes a courageous creative leap with Similes, an 8-song album featuring three key musical elements previously uncharted by Eluvium: percussion, a verse-chorus song structure, and singing. For a celebrated experimental musician, it was just about the bravest and scariest direction to go. In this way, Similes is the most truly experimental Eluvium album yet, and also the most accessible. Written, performed and recorded as always by Matthew Cooper in his own Watership Sounds studio, Similes marries Eluvium's trademark dream-like aura with Cooper's unique, laconic vocals, akin to an especially contemplative Ian Curtis with trace reflections of Magnetic Fields and Brian Eno. It is the most daring - and ultimately most rewarding - work of Eluvium's impressive and prolific career.
Amiina is a band based in Reykjavík Iceland. At present the band counts six people - Edda Rún Ólafsdóttir, Hildur Ársælsdóttir, María Huld Markan Sigfúsdóttir, Sólrún Sumarliðadóttir, Magnús Trygvason Eliassen and Guðmundur Vignir Karlsson (aka Kippi Kaninus). The bands origins go back to the late 1990s when four girls studying string instruments at the Reykjavík College of Music formed a string quartet, playing classical music, but increasingly moving on to playing all sorts of music with various bands in Reykjavík. In 1999 the quartet joined Icelandic band Sigur Rós on stage. The collaboration has continued ever since with amiina contributing strings to Sigur Rós’ music on tours and in the recording studio on the albums ( ) , Takk and Með Suð... In 2004 amiina’s first EP AnimaminA was released, followed by the Seoul single (2006), the album Kurr (2007), a Lee Hazlewood collaboration on a 7” vinyl Hilli (at the Top of...) (2008) and the limited release EP Re Minore (2009). In the autumn of 2007 drummer Magnús Trygvason Eliassen joined amiina on tours, adding percussion to the band’s textures. A few months later in early 2008 a collaboration between Kippi Kaninus and amiina was established while preparing a show together for the Reykjavík Arts Festival. The merging of Kippi Kaninus' electronics and rhythms with amiina's sounds and Magnús' percussion became the starting point for more established collaboration between the six musicians.
Autechre have announced details surrounding their tenth full-length album, Oversteps.
As was the case with their previous nine efforts, Rob Brown and Sean Booth will follow up 2008’s Quaristice by releasing through their long term label home Warp. Although we’re in the dark at this stage as to how the record is sounding, if its predecessor is anything to go by, expect it to surprise and frustrate in equal measures. What we are sure of, though, is that the lads from Rochdale will embark on an extensive tour of the UK and Europe in support of the LP. Starting out at Manchester’s Pure venue on March 11th, the party will swing by—among many others—Minehead (for Bloc), Glasgow, Paris, Ljubljana, Copenhagen and Amsterdam, before ending up at an as yet unannounced London venue on April 10th.
Those who still dabble in the black arts will be pleased to learn that the album will be made available as a deluxe vinyl edition, which means 180 gram discs, housed in a debossed rigid slipcase, with a 900mm x 600mm double-sided poster also thrown in for good measure.
Rochdale’s bleep and squeak merchants Autechre have announced details of their beautifully packaged 10th studio album. Released via Warp, their long term home, there is plenty to say about Oversteps as long as it involves the packaging and the pressing of super high quality 180gm vinyls.
Housed in a special slip case, and with each record having it’s own dedicated cardboard sleeve, Oversteps sounds like an IDM pervert’s wet dream. Also included is a poster of the album art printed on Offenbach paper, an mp3 version of the album and the choice of two WAV versions of the album – 24 or 48 bit resolution.
Absolutely no word on the music however, though I would hazard a guess that it will be challenging, electronic and please as many people as it alienates.
Autechre will be performing at various shows and festivals in support of Oversteps through in March and April, including the Bloc Weekend in Minehead, Copenhagen, Paris and Glasgow, before finishing up with a secret show somewhere in London.
Over a century ago, Norwegian author Knut Hamsun proposed a new creative ideal, a form of literature that would take the intricacies of the human mind as its main object, effectively describing “the whisper of the blood and the pleading of the bone marrow.” One hundred-plus years later, Danish duo (and avid Hamsun devotees) Syntaks have taken up Hamsun’s agenda with single-minded purpose, naming their new album after a character in Hamsun novel Hunger, recording it just blocks from where Hamsun wrote his masterpiece, and taking the author’s ambitious mission statement as their own. The album in question, Syntaks’ luminous Ylajali, crackles with emotion and imagination, giving form to its creators’ vibrant inner lives. In Ylajali’s beautifully scorched sonic landscape, acres of drones run beneath Anna Cecilia’s wordless sighs; beats crunch like autumn leaves while synthesizers swell, flourish, and disappear. Songs either tramp through hazy forests until they fade into the dark (the Boards of Canada-esque “Love Camp 23”), or stack tone upon tone like translucent building blocks, building to forceful, near-operatic crescendos (the epic “She Moves in Colors”). Syntaks’ Jakob Skott is a drummer by trade, and his percussion—both live and programmed, but always lent an otherworldly sheen—plays the sinister counterpoint to Cecelia’s tender melodies. “The Shape of Things to Come” typifies Syntaks’ dreamlike musical logic, drifting through fields of placid melody until sheets of guitar noise, metallic snares, and choir-like vocals rush in. Once the storm passes, all that’s left is the sun, glinting through the mist. Hamsun would be proud: Syntaks’ Ylajali is an ambient pop album as dense, emotionally complex, and, ultimately, as mysterious as the human mind; and like any great mystery, Ylajali keeps its audience engrossed until the bittersweet conclusion.
Languange of Landscape is Chris Tenz and Cory Zaradur, two Calgary-based friends whose relationship was borne from a mutual fascination with the music of Last Days, Keith Kenniff, Max Richter and other prominent members of the electroacoustic alumni. 'Memories Fade Under A Shallow Autumn Snow' was initially concepted as a severely-limited monthly series. Just fifteen hard copies of these beautiful sounds exist and Phantom Channel is delighted to dedicate its innaugral 2010 release to this highly talented pair.
Tom White continues to go from strength to strength with another absolutely marvellous album, this time on UK homegrown label Hibernate. What I like is the way he’s becoming more and more refined with each release, yet he’s lost none of the earthy goodness that made me sit up and pay attention in the first place. It’s good to hear him so comfortable with longer compositions, such as the 12 minute ‘Cecil Andrew’, and yet he’s still equally at home with the shorter pieces as well. A deep and melancholy sound pervades his work which I find particularly appealing and there’s a scratchy, organic sound to the work here that gives it a ‘realness’ that suits the kind of music he’s writing. There’s beauty, certainly, and also plenty of melodic elements, but I think he’s at his strongest when he’s delivering the kind of soundscape / textural work that he’s become more and more known for. Live processed guitars and electronics provide much of the underlying texture and with edits layered on top it creates a spellbinding mixture of clean and musty, dark and light, beautiful and strangely dissonant. This combination is the real strength of his work and, as ever, listing each track would undo a lot of the work that’s been put in to make it coherent as a whole. Each track is a small work of sonic art on its own, yet together it makes for a totally complete sounding full album. Simply put Tom White is an exceptionally exciting prospect on the UK improv / electronic scene and this album merely confirms just how good he is. A massive and resounding recommendation.
Back in 1999, on the forefront of the Japanese electronic/acoustic microsound scene, was the then two-piece live improvisation band Minamo (two more members were added in 2001 to make the current four-piece lineup). Their live concerts helped pioneer this hybrid of delicate and natural instrumentation with microscopic electronics and subtle digital processing bringing an organic richness to a genre that threatened to remain coldly digital. Fans of Minamo not lucky enough to see them create their music live have enjoyed their studio albums and collaborative releases which captured these performances and processed them into hypnotic drones and electro-acoustic soundscapes.
Durée, their last studio work since 2007’s collaboration with Tape, and their follow-up to Shining on 12k (12k1031, now out of print), takes influence from the French philosopher Henri-Louis Bergson’s concept of “pure durée,” an idea that one’s consciousness is a constant flow and not something that can be divided, reversed, or measured. Minamo used these ideas in creating their music, despite the contradiction of the time-stamped CD format, to try to subvert the ideas of compartmentalized “time” and “space.” With a strong sense of non-linearity and flow taken from Bergson’s ideas, Minamo have created a colorful, skittering wash of music, noise, and texture that embraces a sense of out-there-ness.
Minamo are Yuichiro Iwashita (acoustic guitar, percussion), Namiko Sasamoto (keyboards, saxophone, percussion), Keiichi Sugimoto (electric guitar, computer, nintendo, bells, recording/mixing) and Tetsuro Yasunaga (percussion, harmonium, analog synthesizer, pedals, small instruments). Like all of their music, Durée was recording during long, live, improvisational sessions and later finessed and mixed in the studio for release. Their process this time around, however, was much more analog than before. While they have always incorporated guitars, computers and synthesizers into their work, Durée captured performances created with an abundance of acoustic and percussion instruments and analog synths, keeping digital effects to a minimum and preferring the dirty sound of guitar pedals. The process this time around came easier due to the natural musical communication built between the members over the past 10 years. Durée simply finds more playing and interaction than editing and programming as compared to previous releases and, according to Sugimoto, is finally the mark where Minamo wants to be, and a template for work to come.
Durée, which will be released worldwide on January 12th, 2010, has the distinction of launching the new design of the 12k digipack which subtly updates the austere white package to a more unified and understated play between simple type and photography.
Rough Trade is very pleased to announce the signing of electronic musician and producer, Pantha du Prince. Pantha Du Prince fuses house, techno, shoegazy electronica and psychedelic electro-acoustic soundscapes into music that is at once both beautiful and bewitching.
On his new album, Pantha Du Prince, who lives in Berlin and Paris, claims: music slumbers in all matter; any sound, even silence, is already music. The mission, then, must be to render audible what is unheard and unheard of: black noise, a frequency that is inaudible to man. Black noise often presages natural disasters, earthquakes or floods; only some animals perceive this “calm before the storm.” Black noise is something archaic and earthy. The music on Black Noise balances precariously on the slippery threshold between art and nature, between techno and folklore, which lends it a certain spectral and intangible aspect.
Black Noise also features a couple of special guests; Noah Lennox of Animal Collective sings on “Stick To My Side” and Tyler Pope of !!! and LCD Soundsystem plays bass on “The Splendour.”
This files are for promotional and preview purposes only and all music downloaded from here should be deleted within 24 hours. If you like the albums you downloaded here please support the artist by buying their records.
If you are an artist/label and would like me to take down a link, contact me and I will as soon as posible