Traditional Synthesizer Music is a collection of songs created and performed live exclusively on the modular synthesizer by Aaron Funk. Each sound contained within was created purely with the modular synthesizer. No overdubbing or editing techniques were utilized in the recordings on Traditional Synthesizer Music.
Each song was approached from the ground up and dismantled upon the completion of it's recording. The goal was to develop songs with interchangeable structures and sub structures, yet musically pleasing motifs. Many techniques were incorporated to "humanize" or vary the rhythmic results within these sub structures.
An exercise in constructing surprises, patches interrupting each other to create unforeseen progressions. Multiple takes were recorded for each song resulting in vastly different versions of each piece.
Aaron Funk surprises yet again, drawing on new ideas and on moods that have only been touched upon in his previous work. The album seems to have a flowing sense of narrative, something akin to an opera, and unusually Aaron sings songs on it, which reinforces the sense of an emotional journey.
Right from the start it's clear we're in new territory, with the distressed and violent '10th Circle Of Winnipeg', featuring a world weary jazz singer intoning deep emotional loss between crashing breaks and a corkscrewing bassline, giving us a sense of bewilderment and hurt, whereas 'Deleted Poems', all mournful strings and flamenco guitar, evokes empty desolation. '1000 Years' is the first time we hear Aaron's romantic singing with its orchestral accompaniment, coming across with a slightly medieval quality, cut up dramatically with angry fitful drum programming.
On 'Your Smiling Face' Aaron's voice is both lamenting and slightly manic over an empty downbeat drums and piano, switching quickly in mood to the cartoony rush of 'Amazon'.Title track 'My Love Is A Bulldozer' is as close as Snares gets to a pop song, with its gothic, self-deprecating vocals and dark synth melodies, but this is quickly splintered apart by rushing drumwork and metal stabs leaving you breathless. 'She Runs' sees things get warmer and more romantic, with epic chords and building, fidgety drums, rushing closer and closer in anticipation towards the end as if they're speeding towards a destination.
'Too Far Across', drops back to sparse, lonely lyrics, the vocals yearning to see a distant lover, over sad plucked guitar. 'Dear Poet' is an epic track that starts by working up strings and brass into shivering shapes cut with violent stabs, before amens drop in and the orchestral work becomes a dramatic accompaniment, the melodies darting across the deftly programmed drums.
'Your Blanket' finishes off the album, cold, beatless and balletic, gently building some light into the string arrangements, before the track finally forms together with bombastic brass, suggesting a potentially positive end.
Composer/producer Nils Frahm's latest album with his childhood trio nonkeen highlights that Frahm is best when he's having fun: proposing limitations but then pushing back against them when the musical moment seems to call for it.
nonkeen’s history has always been shaped by the mysterious convergence of coincidence with the band’s steady exploration of as yet unheard sounds. After all, ever since Frederic Gmeiner, Nils Frahm and Sepp Singwald discovered, in their childhood days, a shared passion for rudimentary tape machines, they’ve refused to shy away from letting their music respond to the erratic nature of their recording process. What started as a playground radio show in a suburb of Hamburg, where Gmeiner and Frahm experimented with their cassette players and the noises of their daily environment, soon developed into a long-lasting friendship, and eventually led to the foundation of nonkeen.
“This music could be written on a lonely island or onboard of a spaceship looking on our planet. Time becomes a new unit and feelings become more weight.” That’s exactly the feeling Bersarin Quartett still conveys on this album. References to STARS OF THE LID, ULVER's Perdition City, BOHREN & DER CLUB OF GORE and CINEMATIC ORCHESTRA are fully justified.
Nikos Veliotis was an initial involvement in the Athens pop/electronic scene during the late 80s as a founding member of In Trance 95, Veliotis later turned to the experimental field (working primarily with cello & video). Xavier Charles is an active clarinetist in the world of improvised music, known from a variety of constellations and ensembles like ‘Dans les arbres’ and ‘Contest of Pleasures’.
From its humble beginnings as a limited CDR, it was expanded for full CD release a few years back. It is now issued on double vinyl with Side Four taken up with a previously unreleased live version of "Memory Leak" .
This double LP is limited to just 500 copies and is pressed in 180gm heavy splatter colour vinyl.
LP one is white with black splatter, LP two, black with white. The stunning package is finished off in a luxurious matt laminated gatefold sleeve.
Reflecting and refracting the uncertainty of a darkening era, ‘Mirror’ is a work of bold rein-vention and raw renewal, sculpting chaos and discord into a formidable statement of in-tent. Only one thing is certain - wherever Gnod choose to go next, their ire and inspiration blaze as brightly as ever.
Junk marks M83's first studio album in over four years, the last album being Hurry Up, We're Dreaming. Gonzalez noted that he was inspired by 1970s and 1980s television shows such as Punky Brewster and Who's the Boss?, stating, "I feel like TV shows are starting to sound and look the same. There's no more passion anymore. So this album is a tribute to those old-fashioned shows."
Half a decade in the making, it’s an exploration of ritual music without dogma. For the first time in his 33-year career Lustmord places vocals at the centre of his abyssal ambient creations, coaxing incantatory performances out of Aina Skinnes Olsen, Jarboe (ex-Swans), Maynard James Keenan (Tool) and Soriah.