MAGIC MIX

avant . leftfield . post-rock . drone . experimental

WEEK STARTING 15 Dec

Genre pick of the week Cover of Night Flights Vol. 1 by Night Flights.

Night Flights

Night Flights Vol. 1

    Tripping the Light fantastic courtesy of Night Flights, a new San Franciscan take on the path taken by the likes of Schulze / Tangerine Dream / Cluster / Eno and other doyens of the space-synth-riff float.

    Night Flights is a recording project of lo-fi, ambient, synth-driven, soundscapes. Consisting of members of the band Carlton Melton and Mastered by John McBain, Night Flights is a collection of sounds prepared 'for headphones only'. It is very much influenced in spirit by the 1980's late night television series 'Night Flights'. Rich Millman - synth and guitar; Andy Duvall - galaga-guitar on 'alpha jerk'. Recorded and mixed by Rich Millman, Mastered by John McBain at Taylor Street Studios. Art by Kaveh Soofi

    Its not like this hasn’t been done before, but Agitated hasn’t released anything so chilled and spatial…and after the year we've had, this 40 minhutes from Night Fligths de-bugs the sytstem and sets our mind straight!

    This is the ideal comedown record for the concerted psychedelicist. Freak on my flotation tank flag wavers. 500 only 12” vinyl, clear orange vinyl at that.

    CONCEPT: On this new album for Ghost Box Records, The Advisory Circle (aka Jon Brooks) explores darker territory than on 2012’s more pastoral As The Crow Flies. This time Brooks hints at a Wyndham-esque science fiction story, where bucolic English scenery is being manipulated and maybe even artificially generated by bizarre multi-dimensional computer technology.

    SOUND: Brooks’ strong sense of melody and composition is still evident as are his renowned sound design and production skills. Consequently the album is a rich and rewarding experience that subtly showcases a wealth of musical experience. The usual analogue synth sound palette is augmented with found-sound from antique tape reels and Brooks’ ever growing tangle of home built electronics.

    BIOG: The Advisory Circle is one of the core acts of the Ghost Box collective. Originally inspired by library music and the sound-world of British public information films, Jon Brooks has developed this aesthetic through four albums over a period of nine years. During that time he’s also released a wealth of material under his own name (and as Georges Vert) on several other labels. His mixing and mastering skills are much sought after and he is responsible for some of the more challenging sonic restoration work for the re-issue label, Trunk Records.

    FORMAT INFORMATION

    CD Info: The CD version includes three bonus tracks.

    Ltd LP Info: The 180gm LP comes with a free download code.

    Peerless rhythmist and sonic explorer Afrikan Sciences makes his PAN debut with ‘Circuitous,’ the third full-length, freeform offering from the New York-based artist.

    At the nexus of Afrofuturism, science fiction, transcendental free jazz, and future hip hop, this new work from Eric Porter Douglas casts itself and its creator in a liminal zone most recognizably charted by astral traveler Sun Ra.

    ‘Circuitous’ follows from nearly a decade of releases for Deepblak - the Oakland-rooted imprint of frequent collaborator Aybee - and shares common blood with both the elevated conscious- ness of late ‘80s club culture and contemporary West Coast beat scene

    Built around Douglas’ signature polyrhythms and complex melodies, the unorthodox agility demon- strated throughout the album’s fourteen tracks reflect his long history of live, improvised sets combining multiple turntables, upright bass, and a command center of digital tablets and controllers. Each track maps the artist’s own movements, tracing paths of flight, highway trajectories through tunnels and over bridges, and rides through rough and gated neighborhoods. If familiar on the surface, deeper or repeated listenings to ‘Circuitous’ reveal the dynamic multiplicity embodied within.

    ‘Circuitous’ is a free and unbound body of work - one that defies easy classification yet translates fluidly across multiple environments - compiled over double LP in order to fully realize the scope of Afrikan Science’s sonic palette.

    Azar Swan

    And Blow Us A Kiss

      Zoo Music is pleased to announce the second full-length album by Brooklyn two-piece Azar Swan. Formerly the core members of Religious to Damn, Zohra Atash and Joshua Strawn (Vaura, Blacklist) changed gears in 2012, turning their multi-member, organic chamber ensemble into a drum-machine-minded, electrocentric duo.

      The shift was sparked by the realization that coordinating multiple musicians often slowed the writing and performing process, and by a mutual revived interest in electronic music and hip-hop beats, pulling influences from acts like The-Dream and These New Puritans as well as classic industrial artists such as Front Line Assembly and Coil (whose former member Drew McDowell remixed Azar Swan’s single “In My Mouth”).

      In the last two years, Azar Swan released a single on Pendu Sound and the Dance Before the War LP on the independent label Handmade Birds, as well as several covers and one-off free digital releases. Notable shows include direct support for Prurient, White Lung, King Dude, Tamaryn, and J.D. Samson & MEN.

      Björk

      Biophilia Live

        “A dazzling audiovisual spectacle that benefits from the full cinematic treatment... an imaginative stand-alone artwork.” - The Hollywood Reporter

        The critically acclaimed documentary film which captures the multidimensional concert centred on Björk’s eighth studio album, titled ‘Biophilia Live’, will be released on audio-visual formats via One Little Indian Records.

        The film documents the intimate ‘Biophilia’ performance at London’s Alexandra Palace where Björk was accompanied by unique musical instruments, collaborators and visuals. Shot by directors Nick Fenton and Peter Strickland and produced by Jacqueline Edenbrow / Gloria Films, the film also features science and nature archive and found footage inspired by the themes of the album, as well as animation which has been augmented with the music of ‘Biophilia’.

        The infinitely creative journey presents a culmination of work that represents one of the most original musical endeavors of a generation.

        The DVD and Blu-ray formats also feature extra content filmed during Biophilia’s residency at Japan’s Miraikan Museum and the options of stereo and 5:1 surround sound.

        FORMAT INFORMATION

        3xLP Info: 3xLP+DVD.

        D.D Dumbo

        Tropical Oceans

          The latest addition to 4AD, Australian resident Oliver Hugh Perry - creatively known as D.D Dumbo - has announced details of his first release for the label.

          Hailing from Castlemaine, a small township deep inside the Victorian bush, D.D Dumbo’s reverbsoaked songs erupt in thunderous rhythm and euphoric drone. Minimal in structure and complemented by Perry’s astonishing voice, they subtly reference traditional stylings from around the globe such as African desert blues, Tanzanian ilimba and transcendental Tuvan melody.

          “Unfathomably cool.” - NME
          “A dazzling patchwork of melodies.” - Q

          Ellis Island Sound comprises the duo of Pete Astor (The Loft, Weather Prophets) and David Sheppard (State River Widening, Snow Palms).

          Hot on the heels of their critically revered 2014, Krautrock-meets-Afrobeat longplayer ‘Regions’, Ellis Island Sound return with a brand new, seventrack mini-album.

          The new album is another fertile marriage between motorik Mitteleuropa pulse and subtropical guitar and percussion textures.

          Full of intricate, highly melodic arrangements for guitars, keyboards and tuned percussion, with a spacious sound palette propelled by polyrhythmic marimbas and xylophones and layered with infectious lead lines and choral.

          For fans of Penguin Café Orchestra, Cluster, King Sunny Ade and Steve Reich.

          FORMAT INFORMATION

          LP Info: Download code and fine art poster included in LP version.

          "The Invisible Hands is a transcontinental collaboration between Alvarius B. (Alan Bishop of Sun City Girls) and four stellar young musicians from Cairo, Egypt: Cherif El Masri, Aya Hemeda (both formerly of the popular Egyptian group Eskenderella), Adham Zidan and Magued Nagati. On Teslam, The Invisible Hands expand the already panoramic range of their eponymous debut LP with a haunting set of melodic, impeccably crafted songs whose vintage psych/hard-rock edge conjures up early Alice Cooper almost as often as it recalls Sun City Girls and 20th-century icons like Ennio Morricone and Serge Gainsbourg. The band's exquisite sonic palette is deepened by Cairo-based guest musicians Mohamed Ibrahim, Mohamed 'Moe' Asem, and Sammy Sayed, as well as by longtime SCG compatriot Eyvind Kang. Recorded in Cairo between 2013 and 2014, Teslam represents a further evolution of Alvarius B.'s peerlessly idiosyncratic pop sensibility, which is just as volatile and unclassifiable as his more experimental work. His songwriting -- both on his own, and in partnership with Cherif El Masri -- is marked by a unity of purpose that has compressed countless musical and emotional incongruities into a handful of sharp-edged, pitch-black jewels. A brooding track composed by keyboardist Adham Zidan ('The Great Implosion') perfectly complements the record's uneasy mood. As usual, Alvarius B.'s lyrics comprise an apocalyptic pile-up of cruel metaphors at the intersection of culture, politics and international crime. But they take on new power and new implications as sung by El Masri and Hemeda, whose seductive voices are as inviting as a welcome mat at the gates of hell. Each song stands on its own while also fitting into a planet-sized jigsaw puzzle detailing dark associations and secret narratives that stretch back as far as the foundation of the world. Arguably Alvarius B.'s most accessible work to date, Teslam is a generously baited steel-jaw trap for the unwary listener. Like The Invisible Hands' 2013 debut, Teslam inevitably reflects the precarious political circumstances in which it was conceived and recorded. As such, it's a vivid document not just of an unlikely musical collaboration, but also of a critical moment of hope, defiance, rage and sorrow in one of the world's most venerable cities." - B. Kearney.

          Ariel Kalma

          An Evolutionary Music (Original Recordings: 1972 - 1979)

          'An Evolutionary Music (Original Recordings: 1972 - 1979)' compiles unreleased recordings from the archives of multiversal artist Ariel Kalma. Concerned as much with musicality as spiritual facility, Kalma’s work vibrates aside fellow travelers along the great rainbow in curved air of the 1970s avant-garde. Ariel Kalma’s boundary-blurring electronic music is heard here in radiant detail across a selection of work spanning his early free-jazz and spoken word trips to his infinite modular synthesizer and analogue drum machine meditations. Kalma’s story is one of world travel, musical discovery and ego-abandonment. Yet for an artist who often discarded public recognition in favor of the ascetic truths in music making, 'An Evolutionary Music' offers the imprint of an outright auteur.

          Born in France, but rarely in one place for long, Ariel Kalma’s 1970s migrations took flight through the decade’s furthest spaces of musical and spiritual invention. As a hired horn for well-known French groups, the young musician toured as far as India in 1972, a place where Kalma would learn circular breathing techniques enabling him to sustain notes without pause against tape-looping harmonies configured through his homemade effects units. Those effects evolved from Kalma’s loyalty to a beloved dual ReVox set-up - two tape machines “chained” together to form a primitive delay unit. Over looped saxophone melodies, Kalma would mix in all shades of polyphonic color, synthesizing fragments of poetry with ambient space or setting modal flute melodies to rippling drum machine patterns and starlit field recordings.

          In France during the mid-1970s, Kalma was staffed as a technician at Pierre Henry’s legendary Institut National Audiovisuel, Groupe de Recherches Musicales (INA GRM) studios - the same music concréte laboratory that spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma’s relationship to sound was both formal and non-hierarchical. To Kalma, all music existed as related universal patterns, in perfect harmony with the people, places and environments it was created. Kalma’s recorded output of the 1970s culminated in the now scarcelyavailable Les Temps des Moissons (The Time of Harvest) in 1975 and Osmose in 1978, a masterpiece of birdsong exploration. Osmose is double album featuring sculptor Richard Tinti, who had supplied Kalma with hours of field recordings from the rainforests of Borneo.

          'An Evolutionary Music' harvests uncatalogued music made between Kalma’s private press records and onward through the many small-batch cassette releases Kalma would tender. With this collection of musical hybridity and distinct genre-corrosion, Ariel Kalma’s righteous bucking of both popular music trends and the academic tenets of the avant-garde falls squarely in the spirit of other renegades of sacred new-music such as Terry Riley, La Monte Young, and Charlemagne Palestine.

          Kiasmos (Ólafur Arnalds And Janus Rasmussen)

          Kiasmos

          Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album size

          After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’s synth-heavy electro pop, with their collaborative electronic project Kiasmos.

          By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

          “We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.” – Ólafur Arnalds

          “The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.” – Janus Rasmussen

          Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

          Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

          The Melvins return with Hold It In, their first studio album as a quartet since 2010's The Bride Screams Murder.

          Joining Buzz Osborne and Dale Crover for the 12-song outing are BUTTHOLE SURFERS' guitar player Paul Leary and bass player JD Pinkus.

          Hold It In was recorded in both Los Angeles and Austin earlier this year.

          "Hold It In is a refreshing piece of fiction in a boring world of fact and bullsh*t," said Osborne. "Paul is one of the best guitar players I have ever heard and Pinkus has an outside the box type of approach to both guitar and bass that you just have to let it ride. I can't believe this actually happened. I'm thrilled."

          "It's very rare you get a chance to work with three folks from the 'Break A Wish' foundation, all at the same time," said Pinkus. "I believe they'll remember their experience with me forever (or until they finally all lose their fight with S.I.D.S)."


          Charlemagne Palestine & Rhys Chatham

          Youuu + Mee = Weee

          This is the first recorded collaboration between Charlemagne Palestine and Rhys Chatham. And it's precious. After the musical meeting with Tony Conrad (SR204), and with Z'ev (SR340), this new Sub Rosa session creates a trilogy. 166 minutes with Charlemagne Palestine: piano Bösendorfer, orgue Yamaha and voice and Rhys Chatham: trumpet, loop pedal, electric guitar.

          Rhys Chatham studied under electronic music pioneer Morton Subotnick and minimalist icon La Monte Young and was a member of Young's group, The Theater of Eternal Music, during the early seventies. Chatham also played with Tony Conrad in an early version of Conrad's group, The Dream Syndicate. By 1977, Chatham's music was heavily influenced by punk rock, having seen an early Ramones concert. He was particularly intrigued by and influential upon the group of artists music critics would label No Wave in 1978. Members of the New York City noise rock band Band of Susans began their careers in Chatham's ensembles; they later performed a cover of Chatham's "Guitar Trio" on their 1991 album, The Word And The Flesh. This parallels the way that members of fellow NYC noise rockers Sonic Youth began their careers in Branca's ensembles.

          Profligate

          Finding The Floor

            Philly trawler Noah Anthony’s pulverized industrial designs under the black Profligate flag have grown increasingly caustic and cracked, culminating in the eight misery beat clawhammers comprising his sophomore full-length, Finding The Floor. What’s particularly impressive given Anthony’s history in form-frying outfits like Form A Log and Social Junk is how deft and purposefully these pieces are arranged – asylum weaponry fashioned from scavenged hardware.

            Of the record’s eight cuts, only “Can’t Stop Shaking” has seen release before (though the LP version is a fresh edit); the rest rip through variously frenzied frequencies of slaughterhouse techno, basement desperation, maniac minimal wave, heavy breathing, and shattered glass dub. Only the closer, “We Can Have It All,” hints at an escape hatch, glassy synth-pop bliss pinned against a Belgian new beat rhythm. All in all a slaying, sleek selection by one of our favorite heads in the game. Electronic body music as existential prison break: “Can’t stop shaking / can’t stand myself.” Mastered by Alex Nagle. Sleeve design by Noah Anthony.

            Psychic TV

            Snakes

              Angry Love Productions is proud to present Snakes, Psychic TV's first full-length LP since 2009's Alien Brain vs. The Skinwalkers. A psychedelic journey from start to finish, Snakes has a wide variety of material that musically touches on various parts of Psychic TV's 35-year history, yet feels extremely cohesive as an album. Singer Genesis Breyer P-Orridge has and will continue to be a press darling for h/er reputation as a "cultural-engineer" and will be promoting the album full-tilt while Psychic TV as a band have and will continue to promote it on the road.

              This LP will be a limited run of 1,000 copies bearing stunning five-colour artwork and will have the trademark "random recycled vinyl" colour process, meaning each copy of the vinyl will be completely unique in colour.

              Secret Pyramid

              Movements Of Night

              Secret Pyramid is the solo project of Vancouver-based musician Amir Abbey, whose previous output includes The Silent March cassette (to be reissued on vinyl by Students of Decay in early 2014). Movements of Night finds Abbey further develop and refine the haunting, faraway sound-world that earned the aforementioned release well-due praise. “A Descent” opens the record; its title aptly portends the track’s dirge-like drones and throbbing cycles of low-end. Throughout Movements of Night, Abbey deftly navigates the properties of sleep and unconsciousness, charting a course that is equal parts harrowing and funereal, tranquil and sublime. Juxtaposing the everyday with the obscured, the half-there melodies and arcs of hazy guitar histrionics of “Closer” dissolve into “To Forget,” a track that posits a more familiar, tangible atmosphere in which radiant drones are tethered to a driving bassline, recalling perhaps a lost ’70s Popol Vuh Herzog soundtrack. “Escape” closes the album on a nostalgic note, akin to the feeling of waking from a wondrous dream which one knows one cannot revisit. With Movements of Night, Abbey casts his net into the abyss of the unconscious and returns with a potent paean to the dreamworld.

              Secret Pyramid

              The Silent March

              Originally released in 2011 on cassette by the Canadian micro-imprint Nice-Up International, The Silent March is the precursor to 2013’s Movements of Night and can be viewed as something of a mission statement for Amir Abbey’s skyriding Secret Pyramid project. Critics have compared the Secret Pyramid sound to the more blasted entries in the Popul Vuh catalog and to Flying Saucer Attack’s cherished fuzz devotionals, and indeed Abbey’s reverb-drenched songforms and titanic edifices of drone do feel at times as though they’ve been cut from the same cloth.

              Opener “Outside” might be best understood as the soundtrack to slow-motion video footage of a first-person plunge over some impossibly grand waterfall on an endless loop, as tumbling overtones fight for air among turbid plumes of distortion. “Still Return” finds acoustic guitar figures struggling to escape a blinding mist, their resolution finally arriving in the form of the sublime tranquility of the titular track which follows. Abbey weaves themes of birth, death, nostalgia and existential dread into an album as cohesive as it is all-consuming, a spell that seeks to simultaneously welcome and protect against darkness in its many forms. This edition of The Silent March features an improved mix-down by Abbey and a remaster by James Plotkin to insure maximum transport.

              Secret Pyramid

              The Silent March / Movements Of Night

              Students of Decay presents a specially priced double-CD issue of Secret Pyramid’s two albums, The Silent March and Movements of Night.

              Originally released in 2011 on cassette by the Canadian micro- imprint Nice-Up International, The Silent March can be viewed as something of a mission statement for Amir Abbey’s skyriding Secret Pyramid project. Critics have compared his sound to the more blasted entries in the Popul Vuh catalog and to Flying Saucer Attack’s cherished fuzz devotionals, and indeed Abbey’s reverb-drenched songforms and titanic edifices of drone do feel at times as though they’ve been cut from the same cloth. Abbey weaves themes of birth, death, nostalgia and existential dread into an album as cohesive as it is all-consuming, a spell that seeks to simultaneously welcome and protect against darkness in its many forms.

              2013’s Movements of Night finds Abbey further develop and refine the haunting, faraway sound-world that earned the aforementioned release well-due praise. Deftly navigating the properties of sleep and unconsciousness, Abbey charts a course that is equal parts harrowing and funereal, tranquil and sublime. Juxtaposing the everyday with the obscured, the half-there melodies and arcs of hazy guitar histrionics dissolve into a more familiar, tangible atmosphere in which radiant drones are tethered to a driving bassline. With Movements of Night, Abbey casts his net into the abyss of the unconscious and returns with a potent paean to the dreamworld.

              Swanox

              Duskrunner

                A sequel of sorts to his 2010 cassette, Dawnrunner, Anthony Orion’s debut vinyl long-player is a vagrant classic of stringy-haired new age loner Americana, above and beyond anything in the Swanox public domain. Mixing personal Casio squatter meditations with crystal jukebox guitar and hitchhiker whistling over echo-smeared SK1 metronomes, Duskrunner feels hungover, spaced out, worn down, and at peace – sometimes all at once.

                The ex-projectionist and current touring drummer for Tony Molina slowly refined the record’s nine songs across several itinerant years in San Fran’s Sunset District, between sublets, day jobs, evictions, work trips, couch life, and muggings. You can hear it: his is a voice muffled and downcast, nights lost smoking cigarettes on the fire escape, the lights of the Golden Gate swooping up dimly into the fog. “There’s a sign at my bar / and it reads NO LOCALS.” Strangeness and truths from an artist apart. Mixed, assembled, and “saved” by Sam Rezendes at Unified Stations Audio. Artwork and design by Sean Hewitt and Alex Coxen (of Milk Music). Comes with a Tres Hombres-inspired foldout poster of a wastoid’s feast. Mastered by Carl Saff. Edition of 299.


                "We are what we pretend to be, so we must be careful what we pretend to be." A modern-day revenge tragedy in four parts. Symmetrical, finespun, almost courtly; but quick-tempered with it, and far from blood-shy. A picture emerges: domestic disturbance, pissing on the compost heap, noise complaints from hateful neighbours. Sulking, pouting, goading. Cold leaves and Christmas. Body-clocks betrayed, seasonal adjustment disorders. Collecting bottles to smash in the carpark across the road. Marijuana and make-believe. A flaming bower of unbliss. Recommended for fans of AC Marias, Brenda Ray, General Strike, The Poems, Robert Storey and other master purveyors of shut-in, fitfully serene dub dysfunction. Created by C. dal Forno and T. Manek. Mastered by Dan Elleson and cut by Matt Colton. Edition of 300.

                The Thing With Thurston Moore

                Live

                On their tour for their recent studio-album 'Boot' the scandinavian freejazz monsters teamed up with Thurston Moore of SONIC YOUTH fame at London’s Cafe Oto to produce some heavy improvised thunder!

                Recorded live in concert by John Chantler and Jonathan McHugh at Cafe Oto, London, 10th february 2013.

                Mixed July 2014 by Martin Siewert and Mats Gustafsson at Garnison7, Vienna. Mastered by Martin Siewert. Cover by Lasse Marhaug.

                The Wire

                Issue 371: January 2015

                  2014 Rewind
                  The Wire’s review of the last 12 months in underground music and audio culture, with 30 pages of charts, essays and reflections from critics and musicians guiding you through the releases, trends and debates of 2014

                  Rie Nakajima
                  Object lessons from the Japanese sound artist. By Abi Bliss

                  Unplugged
                  Serbia’s last leaf players. By Nick Cain

                  Mette Rasmussen
                  The Danish saxophonist joining forces with Chris Corsano. By Daniel Spicer

                  Divine Styler
                  The return of the psychedelically inclined rapper and producer. By Joseph Stannard

                  Global Ear - Bratislava
                  The ZVŮK festival in Slovakia puts sound art in unlikely settings. By Jakub Juhás

                  Cross Platform - Emeka Ogboh
                  The field recordist tunes into the chaotic frequencies of Lagos. By Clive Bell

                  Invisible Jukebox - Alasdair Roberts
                  The folk singer and songwriter is left reeling by The Wire’s mystery record selection. Tested by Stewart Smith

                  The Inner Sleeve
                  Bob Stanley on Marianne Faithfull’s Come My Way Epiphanies
                  Memory, loss and the passing of time are evoked in sound for Renée Green

                  Print Run
                  New music books: 90 Degrees Of Shade edited by Stuart Baker; The History Of Rock ’N’ Roll In Ten Songs by Greil Marcus; Splitting In Two: Mad Pride And Punk Rock Oblivion by Robert Dellar; Peter Christopherson Photography by Peter Christopherson; Bright Lights And Cats With No Mouths: The Art Of John Balance by John Balance, edited by Liam Thomas and Thighpaulsandra

                  On Screen
                  New films amd DVDs: pirate radio film Drowned City and Eddie Prévost’s Blood

                  On Site
                  Recent exhibitions: The Mechanical Garden And Other Long Encores and Sound :: Gender :: Feminism :: Activism

                  On Location
                  Recent festivals, gigs and clubs: Shabazz Palaces, Brighton, UK; Glassfest, Bristol, UK; Unsound, Krakow, Poland; Abdullah Ibrahim, London, UK; Hassle Fest VI, Somerville, USA

                  Commencing with early pioneers Charles Ives and George Antheil (including the celebrated, Futuristic Ballet Mechanique of 1924), this chronological double disc collection also includes pieces by émigré arrivals in the New World such as Leo Ornstein, Dane Rudhyar and Edgard Varèse, as well homegrown composers including Henry Cowell, Carl Ruggles and Roger Sessions.

                  The second half of the disc offers works by a number of even more modern modernists, notably Morton Feldman, Harry Partch and the immortal John Cage, whose groundbreaking Sonatas and Interludes for prepared piano is presented in its entirety.

                  With a generous playing time of 140 minutes, this fascinating double CD set contains an illustrated booklet with detailed historical notes.



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