With Excavation, London-based electronic producer Bobby Krlic, aka the Haxan Cloak, offers a multifaceted roadmap of the afterlife. The record, his first for Tri Angle, is about the journey taken after death, and it's bold and domineering, the kind of music that towers over you and casts a giant, intimidating shadow.
Tim Hecker's latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality. Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording.
In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity.
It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.
While the title of the piece "Hatred of Music" might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record.
They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Hecker's continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears. This work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production.
Ravedeath, 1972 is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010.
Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.
For Fans Of: Jetone, Aidan Baker, Pan American, Stars of the Lid, Eluvium
The meeting of Tim Hecker and Daniel Lopatin aka Oneohtrix Point Never at his Software Studio yields an otherworldly and near symphonic suite apparently conducted "…to mimic the tropes and techniques of jazz-based improvisation, with little preparation prior", effecting a wide-eyed and fascinating sound as dramatic and enchanting as any we've heard this year.
As you'd expect from a Tim Hecker record, the sense of diffuse, layered, analog-treated and digitally simulated space is just incredible, and paired with both his and Lopatin's feel for cinematic, heart-rending melody and complex harmonics 'Instrumental Tourist' is an impressive piece of work by any standards.
180g Vinyl + Download Code Gatefold Sleeve The German instrumental duo SANKT OTTEN (Stephan Otten, Oliver Klemm), founded in 1999, has been releasing music on Denovali Records since 2009.
Their 10th full length album called MÄNNERFREUNDSCHAFTEN UND METAPHYSIK (eng: Male Friendships and Metaphysics) is once again a collaboration record - this time with fellow countryman and experimental guitarist N (Hellmut Neidhardt).
The eight pieces on the album are based on freely improvised studio sessions and have all been recorded live, with a few overdubs added by SANKT OTTEN later.
SANKT OTTEN's Denovali labelmate N - for whom this album is release nr. 47 - is well-known for Noise, Ambient and Drone sounds standing apart from classical song writing.
The aim of this collaboration was to combine the perspectives of the genres of both partners, with N adding a grave and menacing mood to SANKT OTTEN's Electronica and Kraut Rock and SANKT OTTEN providing the sound walls of N with an unusual dynamics.
Two years since their eponymous 12" - Blackest Ever Black's first release - sounded a mandate-like synthesis of late '70s industrial gloom, palsied techno and burned-out breakbeats with a gothic elan, they've come to epitomise the label's aesthetic whilst remaining its most elusive, enigmatic operators, flitting from surround sound installations to chastening mixtapes and now this monolithic LP. In that time, their ambitions have remained steadfast yet progressed in parallel with BEB's: as the roster grew to incorporate Regis, Cut Hands, Young Hunting, Black Rain, Vatican Shadow and Pete Swanson, they've stealthily revealed scarred instrumental flesh like some kind of sickening, self-abusing striptease.
When we first heard them it was what we always wanted dubstep to become (before it predictably lapsed into bad hands), but with 'Quarter Turns Over A Living Line' they're so far beyond that, carving out something as close to doom metal as dub, divining wrinkles in space-time between the helical torques of post-punk and jungle. At its entry point 'Passing Over Trail', Ambarchi-esque sub-tonal quakes instil an eschatological atmosphere which remains unbroken 'til close, luring curious souls through the tantric, versioned vortex of 'The Last Foundry' and the funereal procession of 'Soil And Colts' to the queasy sensuality and quasi-step dynamics of 'Exist In The Repeat Of Practice' at its watershed apex. From here the descent takes a new course with quite possibly our favourite Raime track to date, 'The Walker In Blast And Bottle'; hanging plunging bass guitar strikes and demonic, ultra-wide wails from a rusty cowbell hook which scrapes its way up the track's spine.
The role of power is then promptly switched to haptic, whiskey-fingered guitar, flaying a petrifying desert doom refrain against hob-nailed wooden percussion to leave us in a puddle of our own piss before 'The Dimming Of Road And Rights' resolves to eat its own tail, poised at the crossroads of keening, Earth-like strings, dawn-seeping pads and prison bar percussion. It's practically one of the greatest movies you've ever heard, and articulated with a sense of gnostic responsibility and obligation implying that basically everyone else needs to up their game, seriously, before its all too late.
"AFTER 4 YEARS FINALLY REPRESSED - COMES WITH A NEW CD & LP ARTWORK. Formed for the improvisation nights Dynamo in Brest, France, this quartet made of musicians covering a wide variety of musical styles creates a sound that mixes electronic (samples, cuts, sound treatments) and acoustic elements (guitars, saxophone, trumpet).
They're playing moody ballads that sound as if they would come out from one of David Lynch's movies.
Like in the films of Hollywood's master of bizarre pieces, there is something like a dark and poisonous colour broken by red thunderlights and blue cigarette smoke.
The music spawnes some odd characters and landscapes while the listener makes out some more friendly faces that loom up out of this nowhere place: the voice of Zalie Bellaccico, Milanese streets sounds, a lazy flute, or some distant breathing swim on the surface of this deep troubled waters.
""Paroles de Navarre"" is an invitation for opening the red curtain of this Dark Jazz cabaret made of shimmering and whirling walls.
One of the best musical outputs from France of the last ten years and already a classic.
Recommened if you like BOHREN UND DER CLUB OF GORE or THE KILIMANJARO DARKJAZZ ENSEMBLE.
REISSUE of the iconic second Dale Cooper Quartet full length from 2011 - new black on black artwork - vinyl limited to only 350 pieces in clear blue The bizarre Dark Jazz cabaret is opened again.
After five years of waiting the 2nd full length of the sophisticated experimental collective from france finally saw the light of day in 2011.
Feat. vocals of Gaelle Kerrien (YANN TIERSEN). All lovers of DAVID LYNCH movies, artists like KILIMANJARO DARKJAZZ ENSEMBLE or BOHREN UND DER CLUB OF GORE and blue cigarette smoke in dark bars exulted again.
Métamanoir sees the band shift from their smooth, minimal and instrumental landscapes on the debut record Parole De Navarre to a more lively and rich sound.
Always based upon improvisation and sound research, the solo parts of their music are now embodied by vocals.
The Quartet invited several musicians and singers to record, giving a phantomatic sound with oboe, clarinet, whitewashed drones popping out of the songs.
The sheer chants of Zalie Bellacicco - who appeared on the debut album - the deep tone of Ronan Mac Erlaine and the crystal-clear voice of Gaëlle Kerrien (Yann Tiersen's live show singer) interlaces with the still dark jazz of the band.
Always influenced by classic 50s cool jazz and the more contemporary noise and experimental styles, the Quartet and his guests built a dreamy card castle who swing and grow deeply rooted in fierce strangeness of David Lynch movies.
Métamanoir has been recorded in their native Britanny country, deep west of France, a land swept by climatic inconstancy fed by wind, rain and mystery.
A place which gives the music an overwhelming but beautiful darkness.
There is a tribal element to Arc's 2 long suites that feel somewhat like being stoned in Cologne in 1971. The trios of Aidan Baker, Christopher Kukiel, and Richard Baker return to the quiet with hushed tribal timbres, however, these ambiences are riveting in a way that that other ambiences are not, probably because the group does not think with an ambient attitude. This is the sound of mining midnight. In a universe where experimentalism is often just a nice way of saying "boring," hearing seasoned musicians actually craft something interesting sans computers is like having an orgasm. There really is no compare, except for maybe sneezing, which is Merzbow's department. Vinyl editions of 400 with the subscriber editions limited to 150 copies on 180 gram vinyl and custom made book bound sleeves and signed and numbered certificate.
For this release Aidan Baker (co-founder of Nadja and member of Arc), is aided by his brother, Richard Baker, on drums. Recorded in Toronto and Berlin, 'Smudging' includes six songs comprised of two long epic tracks, with guitar textures and hypnotic rhythm structures to create a beautiful and dreamy listening experience. The guitar drones succeed one another, alternating with more rhythmic and structured brackets. "Smudging" is a work that, both in the execution and in the structure of the six tracks that comprise it, represents another confirmation of the stylistic code reached by the eclectic Canadian musician, who's determined in his aim to drag the listener, with extreme elegance, into the multiple parallel worlds created by his unlimited sounds. Ltd x 400 copies.
Aidan Baker's The Confessional Tapes is another of his more song-oriented albums, though here drifting between slowcore, dreampop, abstract jazz, and glitchy electronica. Baker originally began working on this record in Toronto several years ago, but lost the audio files in a hard drive crash. Those files which were recoverable from the original recordings, corrupted and glitchy, ended up forming the backbone of the album, providing a fragmentary and abstract structure to the songs as Baker worked on them in his adoptive home of Berlin.
Limited Edition 3LP with 6 page booklet in a die-cut cardboard box. Includes original version of Boris' classic album on LP1 and LP2, plus 9 previously unreleased "Forbidden Songs recorded during the Pink sessions on LP3.
PINK Vinyl has original Japanese track list and extended versions of tracks "Farewell", "Pseudo-Bread" and "My Machine".
The deluxe 3xLP box set features an entire album of previously unreleased tracks recorded during the Pink album sessions in 2004-2005.
The bonus Forbidden Songs collects 9 tracks of the same hyperactive, accessible and aggressive calibre of the original album, available here for the first time, mixed (with additional editing and arrangement) in 2015 and mastered in January 2016.
Like the original U.S. vinyl release, the Pink (Deluxe Edition) LP set has three longer edits of songs that were truncated on the original CD issue ("Farewell", "Pseudo-Bread" and "My Machine").
Otherwise, the LP has the same audio as the 2006 release. And, Pink (Deluxe Edition) also features the artwork of the original Japanese release, made by the band members themselves.
This record pushes the idea of sharing a record to the extreme. Both sides start with a new song from each band, long songs (approx 12 min) which let both bands enough time to developp their own ambience full of intensity and melodic loops. These new songs are followed by collaboratives drones which prove that these two bands were made to work together and share a record. The atmosphere is dark but always full of melodies and progressions.
DEATH is the first of two installment of the collaborative effort between thisquietarmy (Canada) & Yellow6 (UK), two of the most innovative guitarists in the current ambient scene. “VALLEY” is the 2nd part of this lonely journey across the desert. While the last track of “DEATH” left us wretched and drained on the ground, “Dunes”, the first track of “VALLEY”, picks up with a slow awakening from this state of comatose.
Petrels second album draws on a fascination with how we deal with what is left over, both physically and mentally. With this thread running through Onkalo, the album also takes inspiration from speculative science, immense time scales, retro-futurism, personal history, and how the post-war optimism of the dawn of the atomic age has come up against a more uncertain vision of the future.
The producer Lee Bannon got his start as a member of Joey Bada$$'s Pro Era crew, but his releases chart a restless musical mind through breakbeats, jungle experiments, and more. The idiosyncratic Pattern of Excel is defined by an abiding calm and feels, in many ways, like a fistful of sketches torn from the notebook.