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Peter Broderick

One Hear Now

    This is one 35-minute piece in 11 parts, commissioned to accompany a series of murals by the brilliant Brian O'Doherty. The original art exhibition was called One Here Now: The Ogham Cycle, so I decided to call my piece ONE HEAR NOW.

    This music was composed in a very systematic way, by turning the murals into a score, assigning different notes to different colors, different instruments to different shapes, etc. It was written so that it could be performed solo with the help of a loop pedal, but for this recorded version there were no loops used. All parts were performed fully through. There's also no artificial reverb on this recording. A microphone was placed in the middle of the gallery with the paintings, and the instruments were recorded at varying distances from the mic, allowing the natural reverberation of the room to be captured.

    STAFF COMMENTS

    says: In what must be a record, the second of Peter Broderick's albums to hit the (virtual) shelves this week couldn't be any different. Violin and piano brought together to accompany a series of murals by Brian O'Doherty. Beautiful stark, sometimes hopeful modern classical.

    Peter Broderick & Friends

    Play More Arthur Russell

      This is a short live record made up of Arthur Russell covers which were not included on the first album of of Arthur covers. Recorded throughout various performances in the UK (and one track in Ireland) with a wonderful band of Scots.

      Big thanks to the crowd at The Blue Arrow (Glasgow) in early 2019 . . . it was the energy of these fine folks that inspired this record. The room was on fire while we performed 'Go Bang!' . . . such an explosively fun moment -- and luckily it as recorded -- I thought it deserved to go on a record!

      The audio insanity of Alina Astrova's Lolina moniker continues unabeted on her first set of new music(ish) since 2018's "The Smoke". Here the producer / composer / experimentalist / artist explores deep sonic manipulation and rampant fx abuse across 6 tracks of broken, bezerk beatboxing. Imagine Rahzel and Laurie Anderson being bounced round a phonebox by Tyson Fury and the Bronze Bomber while Thomas Brinkmann runs a little too much power through the unholy offspring of a dial-up modem and a fleshlight. Frankly baffling, but that's why we're all here right?

      When acclaimed South African musician Guy Buttery first sought out Dr. Kanada Narahari in late 2016, it was as his patient.

      “It was a dark time.” Buttery recalls, “I had been bedridden for months and had been suffering from debilitating bouts of fatigue which no diagnosis or medication could help me get to the bottom of. When I first met Kanada, I was at the stage where even picking up my guitar to make music had become a joyless and taxing exercise.”

      As Buttery’s searched for a cure, a family member recommended he see Kanada an Ayurvedic doctor who had relocated to South Africa from India and set up a practice in Durban. It was during this consultation, that the musician first experienced how Narahari infused the healing properties of Indian Classical music into his practice. Rather than treating him with a smorgasbord of pharmaceuticals, Narahari played his sitar and set Buttery on a strict daily diet of Raga’s to fast track his recovery.

      Buttery was not only struck by his doctor’s musical talents but by the powerful healing properties inherent in his sitar compositions. When he left Narahari’s doctors room that afternoon, he asserts he was feeling decidedly clearer, lighter and stronger.

      “Diving into Kanada’s music was definitely one of the reasons I'm still here today.” he admits. “The consistent tonal centre at the heart of Indian Classical Music, literally became my support pillar over this period. A central core of sorts in which to fall back on, strengthen and discover.”

      Narahari as it turned out, was not only a prominent music therapist (and one of the only Ayurvedic doctors practicing in South Africa) but like Buttery, a highly accomplished musician with a devoted following back in his homeland.

      Born in a small village along the Western Ghats in Karnataka, India, Narahari, at the age of nine, had enrolled to study Carnatic classical vocal and developed an interest in Hindustani Classical music with a particular passion for the sitar. While Buttery had secured his reputation as one of South Africa’s musical treasures, a multi-instrumentalist who commands sold-out performances both locally and internationally and more recently had been awarded the prestigious 2018 Standard Bank Young Artist for Music.
      From this consultation, a friendship developed between the two musicians with Buttery soon inviting Narahari to join him in his studio. But it wasn’t all plain sailing in the beginning. While Buttery and Narahari’s sensibilities were very much aligned, there were a range of cultural and musical influences, nuances and inflections that first needed to be navigated and understood.
      “I suppose we had to find a common ground.” Buttery says, before adding, “Which in the end turned out to be pretty "uncommon ground" for the both of us.”
      It was after a few intensive sessions together that something exhilarating began to emerge. What began as a few idle improvisations soon evolved into feverish and lengthier jams. Whenever time permitted, the musicians would meet, descending deeper into the emerging sounds, while reimagining the realms that existed between their African and Indian heritages.
      Over the next few months, the duo would rack up over fifteen hours of recordings in studio, and it was up to Buttery to shape the material into an album which they collectively titled Nāḍī, which Narahari translates from the Sanskrit as "The Channel" or "An Internal River".

      During this period, Narahari bestowed upon Buttery, the moniker Guruji while Guy would refer to him, in affectionate return, as Panditji. Each time the musicians would meet, the studio space would be cleared by an impromptu ritual, with Guruji burning African Imphepho while Panditji would chant a Sanskrit mantra dusting Indian Agarbatti clouds over their instruments.

      Once the room had been made hazy with this aromatic alchemy (with the ancestors welcomed in) the musicians would pick up their instruments and plunge into shimmering tides of sound. Reflecting on these sessions, Narahari recalls the immense creative freedom he felt throughout: “Guy and I tried to wander as much as possible, without any speculative, preoccupied ideologies or limitations. Love remained at the forefront of our journey together.”

      “Those evenings we spent together in the studio” adds Buttery, “felt incredibly rich with purpose and a profound sense of freedom. While improvising, anything could happen and mostly did.”

      On a first listen, the tracks on Nāḍī emerge as salty, humid invocations to the inscrutable depths and misty myths of the Indian ocean-- that vast body of water that stretches between, and laps the shorelines, of the artists’ respective homelands.

      When asked to describe the sound him and Narahari refined, Buttery prefers to relay a series of evocative images.

      “For me” he explains, “Nāḍī is a lighthouse, a beacon that resides at the bottom of the ocean.” As Buttery envisions it, “what once offered light to guide ships to safety, has been submerged and re-purposed by marine life as a coral-reef temple. Similarly, this sunken lighthouse exists as a concealed cenotaph, memorializing the ancient sea-routes and passages that once connected the two distant lands.”

      On paper this may sound obscure but listening to the songs, it serves as an apt metaphor.

      Across each meditative movement, listeners are able to relive the journey, immersing themselves in a series of incantations, replete with high dynamics, delicate African-Indian inflections and virtuoso string playing of an entirely new order. Further complimenting the fusion of musical dialects are a range of guest artists including Shane Cooper on bass, Thandi Ntuli on vocals, Chris Letcher on organ, Ronan Skillen on tabla and percussion and Julian Redpath on guitar, synth and backing vocals.

      Now like the submerged lighthouse, the recordings stand as a monument, a marker and snapshot of this fortuitous meeting, a tribute to the healing gifts of Guruji and Panditji in performance. It’s a process that already, both musicians look back on with reverence and nostalgia.

      Buttery ruminates in closing, that when he first met Kanada his illness correlated with the biggest drought South Africa had experienced in many years “…for whatever reason, whenever we would connect and make music together, the sky would tend to open. Even if it was just a few drops. This went on for months, until finally the drought dissipated and my health had been restored.”

      By the time the heavens did open across the East Coast, a deep friendship had been forged and with it abundant musical offerings poured down. A treasured sample of which we able to share in every time we press play and immerse ourselves in the sacrosanct musical universe that is Nāḍī.

      Dan armstrong makes the sort of widescreen ambient music that makes you sit up and listen, eagerly drawing in all the tentative synth swells and panned industrial churns. Opener, 'Alpha Wave' for example, is a growing swell of ambient synth churns joined by drawn-out long-envelope pads and reticent twinkling peaks. Though the echoic churn is a gritty analogue mono drone, the glimmering airy spikes glisten with a warm digital air, ofsetting the doomy drone behind.

      It's this sort of build-up and release that lend the key changes and slow seismic shifts further gravitas, with pieces like the stunning 'Epsilon Wave' providing a more rhythmic and dynamically forward juxtaposition, and relying upon a foundation of euphoric beats and repeated themes overlaid on top of each-other rather than the moody but hugely effective drone of earlier.

      Dan has crafted a beatiful album here, tastefully and unintrusively flickering between the more serene moments of rhythmic beauty and full-spectrum sonic walls of sound. 

      Carla Dal Forno

      Top Of The Pops

        Pearl blue cassette comes wrapped in colour printed J-cards and with colour sticker inlays. Artwork designed by Carla dal Forno. Photo taken in Yorkshire Grove, Hackney. “Everything begins and ends at exactly the right time and place, look...” Carla dal Forno presents ‘Top Of The Pops,’ a self-released cassette disclosing six songs of sultry pop devotion. This late-Spring cassette of cover songs gets the wider autumnal release it deserves, showcasing the full range of dal Forno’s virtuous taste, style and production in her distinct post-punk, pop (but) minimalist sensibility. Not without cheek, the wink-and-a-nod blue film bawdiness of ‘Lay Me Down’ (Renee) and ‘Give Me Back My Man’ (B52s) are complemented by the earnest ballads of ‘A Silver Key Can Open A Lock Somewhere’ (Liliput) and The Fates’ ‘No Romance.’ Kiwi Animal’s ‘Blue Morning,’ which over the last year has grown with every live performance, finally gets a recorded release. This cosmic inner dialogue of love lost is matched only by the penultimate track, ‘Summertime Sadness’ which is the best example of how devastatingly personal a pop song truly can be. It’s all emphasised by dal Forno’s sparse production which, as with each of these six songs, brings her au fait vocal interpretations to the fore. 

        Black Meteoric Star

        No More White Presidents - Original Soundtrack

          This is the soundtrack to the film "No More White Presidents"
          “Black Meteoric Star - No More White Presidents” is a multi layered abstract film that I, a White, recently out Trans-Woman completed in January of 2017. For the film I developed what I am calling the “flash film” technique. Initially it was a structural device similar to the chance operations used by composers such as John Cage to get out of the practice of creating “slick” edits or “moves” predetermined by overarching institutionalized aesthetic norms. However, as I worked with it I began to discover that the technique, although certainly “experimental”, has more kinship with craft techniques I have practiced such as beading, knitting, weaving and braiding. Although on the surface it could simply be a long form music video for my Black Meteoric Star project it is in fact a complex of evocative and energetic themes gathered around the necessity for abolition and reparations.

          The themes that are “braided” or “beaded” together include a repetitive meditation on death, an assessment of global capitalism as so overburdened by the karma of the triple legacies of slavery, land theft/genocide and imperialism that it can no longer function, an invocation of several of the Orishas prominent in the Regla Lukumi tradition and an exploration of my emerging Trans-Feminine identity. The intention of the film is to open up a territory for exploration and interpretation around our current predicament, allowing the viewer to come to their own conclusions about the specific details and possible solutions, both individually and through discussions with others.

          FORMAT INFORMATION

          Cassette Info: Hand numbered limited cassettes in printed cardboard slipcase.

          Black Meteoric Star (Gavin Rayna Russom)

          3 Love Songs

          A very exciting release, and one not often seen on these shores (unfortunately) comes from LCD's synth-master and all-round legend, Gavin Rayna Russom under the name 'Black Meteoric Star'. '3 Love Songs' is a trio of hardware jams, brimming with analogue grit and shadowy, post-apocalyptic drive. First off, we get the appropriate echoed warning to 'Take Cover' before the snappy envelope and manipulated filters of 'Love Song #1' really take hold. Underpinned by an insistent woody kick and a shuffled hats, the throbbing saw wave near-octave (such is the wonder of modular synths, being innately fiddly to tune, some of the less experienced manipulators among us might stumble upon this microtonal anomaly, whereas in experienced hands such as these, it is obviously intentional and perfectly measured) pulls the piece along with a dystopian momentum, brimming with feeling but saturated and distorted to give the impression of a cast of characters collaboratively playing the leading role through co-operation and cohabitation.

          We get a gradual build-up of pressure, through the introduction of space-echoed vocal snippets endlessly looping and slowly degrading, with pinpointed percussive grooves and perfectly manipulated filters. At no point during it's almost 8-minute length does it feel laboured or over-familiar, retaining enough melodic intrigue and stylistic variance to keep the hypnotic drive afloat.

          'Love Song #2' retains the same sense of pace and sonic qualities as its predecessor, building on the steady pulses and tentative sonic exploration, but with a more syncopated percussive undertone, alternating between the sonic domination of the weighty LPF sweeps on the primary saw-wave and the lengthy decay on the open hi-hat, creating a sort of call and response duality. The machinated pitch variances led by an offset-controlled quantiser help to break out of the robotic drive by adding a sense of randomisation, and work away from the industrious guidelines of the previous piece, opening up into the majestic closer and groove-led throb of 'Love Song #3'

          By far the most humanised piece on the whole collection, but introduced at just the right time, the third piece kicks things off with heavily shuffled hats and resonant oscillator taking the lead role, joined by vocal shards pushed through reams of tape, and brought to the front of the sonic workspace. Once again, there are echoes of the previous pieces on here but unhampered by recidivism, it's a progressive and developmental suite of pieces, designed to be heard together and all the better for the thread of continuity running through the collection. 3 Love Songs is brimming with analogue grit, but at the same time feels almost organic, blooming into a dark but emotive suite of throbbing pulses and hypnotic bunker jams. Stunning stuff. 


          FORMAT INFORMATION

          Ltd 12" Info: Marbled pink vinyl.

          Tercelvoice

          Tercelvoice

            Anyone left with a gaping hole in their heart since "For Emma..." by Bon Iver (or Elliot Smith for that matter...) needs to pay attention now! Recorded at Greenmount Studio's in Wakefield, this debut album from Tercelvoice is a beautifully sparse indie-folk record. The wholesome and thought provoking lyrical style, coupled with the simple acoustic guitar work evokes memories of open roads, log cabin nights and fire-side conversation. From the haunting ending of "Shattered Friends" to the simplicity and brutal vulnerability of "Bad To The Bone", this album was made the old way, stripped down to the bare emotion of music.

            Behind Tercelvoice is singer / songwriter Andy Squires. On the album he plays acoustic and electric guitar, drums, bass, Rhodes, Hammond, and all vocals. Considering the overdubbed process it has a natural ebb and flow which could easily pass off as a full live band recording. His vocal style is unique and beguiling, a fragile falsetto laden with heavy emotion.

            The album was recorded to tape and mastered by Adam Gonsalves at Telegraph Mastering, Portland, USA.

            BBC Introducing has aired 5 tracks from the album, and has booked Tercelvoice for a session in February while he (they?) play The Islington in London on the 20th of January. 



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