Daniel Brandt is the percussionist of Berlin's Brandt Brauer Frick ensemble, which adjusts modern classical and dance music. His initially solo album is more qualified to detached consideration. What begun off as a more simplistic idea soon developed into something significantly more mind boggling as the London and Berlin-based music maker traversed the world, trying different things with different specialists and distinctive instruments. From his dad's lodge situated in the German countryside with access to only cymbals to being encompassed by guitars in Joshua Tree, his surprising voyage soon advanced into what turned into his initially solo album. Daniel Brandt, best known as the drummer in trial techno trio Brandt Brauer Frick, the thought was to record a album including exclusively of arrangements made utilizing just cymbals. In any case, in the wake of securing himself his dad's lodge for three days, it rapidly ended up noticeably obvious that the thought was not going to be conceivable as new and unexpected ideas came to him that would require the utilization of different instruments. Left with minimal decision however to investigate these new methodologies, Brandt voyaged everywhere throughout the world, exploring different avenues regarding diverse sorts of instruments and different specialists. Accomplishing the sounds drifting inside his go to be an interesting test in itself. Notwithstanding being a capable artist, Brandt found that he needed to take in a portion of the instruments himself, showing a splendid level of sense of duty regarding his vision. The resultant collection sees Brandt playing out the greater part of the instrumentation including the guitar, bass, consoles and synths. The main special cases being the visitor appearances of Florian Junker on trombone, Manu Delago on hang drum and Andreas Voss on cello. Whatever, thoughts he had at the commencement of this venture, definitely moved as he was presented to various conditions and affected by the specialists and instruments he experienced en route. In the event that it was something of a startling voyage for Brandt, then it is unquestionably sudden for the audience as every tune turns in frequently abnormal bearings as he difficulties the desires behind regular melody piece and structure. Eternal Something starts out with an untypical track, ‘Chaparral Mesa’, that could give the wrong impression of the project. It’s great, but for some time, it sounds like overdubbed guitar parts are jostling for space, and sounds more than a little like the kind of post-King Crimson work of Robert Fripp and his musical buddies. Eventually, however, repetitive beats enter against surging ambience, setting up a template that the album will follow. With beats bobbing about like buoys on choppy water, but with a backdrop set in the sea of tranquility, it’s a joy for the ears. Pros in low-end bass will likely not get their stones off, on the grounds that the subwoofer just truly kicks in two or three times, however that is not the point. Everlasting Something is a record where the surface and tunefulness of the percussion alone is a head trek, and after that there are the various sonic hues and patternings to mull over. It is unkind to call this state of mind music, however it works perfectly as a foundation canvas. There's nothing better, in any case, than disposition music that transforms into something else when you connect with it, and sonically and musically, there's sufficient of everything to pacify the faculties. “Eternal Something” is an intricate highlight of the album. Once again the tangled, skittering instrumentation wheels around an uncomplicated, basic piano theme. All things considered, Brandt utilizes the piano more like a DJ would as he bit by bit gives it a chance to construct, giving it something of an old school building feel. As it tumbles down the opposite side of this pinnacle, it undermines to break free totally from any similarity of structure however by one means or another figures out how to hold together notwithstanding resisting the creases. "Casa Fiesta" includes somewhat more metal as it elements vigorously mutilated trumpet, which gives the melody recognizable warmth while keeping up the temperament of experimentation. Collection nearer, "On the Move" is a marginally sad, elegiac piece which feels like the finish of a section as the different closures are consistently tied up. This a beautiful yet surprisingly subtle album. Tracklist : 01. Chapparal Mesa 02. FSG 03. The White Of The Eye 04. Turn Over 05. Kale Me 06. Eternal Something 07. Casa Fiesta 08. On The Move Released on 24 March 2017 Editorial stuff
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Tongues of Light acts as a kind of psychopomp or liminal interpreter for a wide range of belief systems, all rooted in the common conviction that they are channelling sounds from some “other” or “higher” entity or dimension, much in the same way that Sun Ra believed he was channelling celestial bodies thru his music or the Dogon people of sub-Saharan Africa believed they received alien codes describing humanity’s heritage.
Channeled Messages At The End Of History comes from Demdike Stare and Andy Votel's label Pre-Cert Home Entertainment, but the comforting familiarity stops there. From the freaky cover art to the words encompassing the press, there's most likely some genuine thought and contemplative idea put into the discoveries and tests on the record. Part into two recordings; "Healing Side" and "Awakening Side", the record takes you through fascinating sounds, mixed with act of spontaneity, and weaved together like a high contrast history book of agnosticism and some other faction convictions that fit a bizarre and strange generalization.
Demdike and Votel's label delivers this incredible, ancient-but-modern sound collage painstakingly constructed over a number of years out of Youtube samples - total mind-bender this one, somewhere between New Age meditation tape and the sound of your nightmares...
Totally stunning record from the elusive Tongues of Light, drawing cosmic, primordial vectors between glossolalia, sound poetry and improvised music via the nebulæ of Youtube for Demdike Stare & Andy Votel’s Pre-Cert Home Entertainment.
Arguably the label’s most striking, even transcendent release, Channelled Messages at the end of History started life as a gift for a friend following long conversations about the nature of improvisation, spontaneity and musical mediumship and subsequently dawned as a remarkable document of occult praxis in the digital age. Tongues of Light acts as a sort of psychopomp or liminal interpreter for a wide range of belief systems, all rooted in the common conviction that they are channelling sounds from some “other” or “higher” entity or dimension, much in the same way that Sun Ra believed he was channelling celestial bodies thru his music or the Dogon people of subsaharan Africa believed they received alien codes describing humanity’s heritage. The record unfurls as a seamlessly sequenced compilation of samples - all framed by plasmic drones and synth pads which connect and highlight the links between seemingly disparate elements. By the record’s end the effect is really quite uncanny; compounding disparate new age coordinates on a common plane, and thereby revealing their underlying, subconscious metaphysics. It’s great to hear Pre-Cert Home Entertainment connecting the dots between generations of new age thought and practice, and we reckon this slab will standout as one of their defining releases for time to come.
artwork by Andy Votel.
Hear the full album, below:
Part 1: Tongues Of Light -Channelled Messages At The End Of History (Awakening) [Pre-Cert 2016]
Tongues Of Light -Channelled Messages At The End Of History (Healing) [Pre-Cert 2016]
by Dejan Stojkovski
An Unintended Space glides in the unsearchable ambient ether, its delicately engaged music like a predawn light which still can't seem to settle and transform into a total, emphatically brilliant thing. Rather, the music is implanted with the promising gleam that messengers a breaking morning.
Spots of tidy populate the music, littering the record like white bits of think about the eyelashes, bringing the music gradually up and out of its fantasy state. Encompassing music has a place here, however, and these peacefulness tones and gradually creating phrases would prefer not to move; they absolutely never need to get up, rather wanting to remain under warm, soothing spreads, completely zonked as the light gradually tilts in. Quiet sounds that never appear to have a beginning stage skim daintily into A Unintended Space – tenderly, delicately – and as they do, alternate notes gradually rearrange around, clearing a path for the new in order to not mess up the music. Because the music is moderate and dream-as, it doesn't imply that it's tired. Brighter, polished notes offer a puncturing gleam of daylight, and the more drawn out tracks just guide in making a sweet dream.
Daylight dapples the music, on account of the presentation of tolling, climbing notes, and as the record advances what once begun in the key of early day break transposes into nine or ten in the morning. The music has moved in time with, and tuned in to, the sun as it adventures over the sky. Sandy harmonies summon a sort of gauzy and brilliant Beach Boys vibe, and surfing adjacent to it is the soul of California with the stifling warmth of early afternoon and the sheer alleviation of a cool wave as it sprinkles against tanned skin. What's more, similar to a soul, it's there one moment and gone the following.
With a practically tyke like honesty, the tolling sounds energetically investigate their environment. Delicate and curious notes develop too adjusted tones that never quit learning – turning, swooning, swelling, blurring, subsuming, circling. A Unintended Space is delicate music, touching, protecting and watching over its condition, which for this situation is a surrounding overflowing. The alleviating sounds are a sort of sound-showering, washing without end the grime that is settled on the skin yet going significantly more profound than that in its purging of the heart; the heart is a sufficiently bright internal sanctuary, and its light opponents the evening sun.
artist : stijn hüwels & danny clay
album : an unintended space date : 05.05.17 duration : 50.11 mn
by Dejan Stojkovski
'The Words She Said' writes its own empirical story through the use of traditional instruments and experimental recording techniques, offering a flood of emotional and sincere beauty.
The musical universe of the present day established keeps on blooming, as the new era of authors joins customary solo piano pieces with electronic medications, weaving in components of blended arpeggios, swaying cushions, and acoustic surfaces. He might not have been the, to begin with, but rather maybe Nils Frahm opened the entryway with his live exhibitions of solo piano and Roland's Juno-60, which has roused innumerable counterparts to investigate that excellent marriage, amongst natural and man-made. On The Words She Said, Limerick-based (Ireland) composer, Paddy Mulcahy, offers his profound feelings through a perfectly made excursion of the eight pieces, making a complex move between his piano and his synth. “Originally I wanted to uncover what I love so much about the sounds of piano and synthesizer,” says Mulcahy in regards to his collection, “there is something so beautiful about the raw tones of an analog oscillator… especially the one that that hasn't been tuned in a while!” Perhaps Mulcahy will pardon me for drawing the correlation between his music and that of Frahm's, yet there is simply something so inviting and natural in the delicate piano keys, the nearly mixed hammers, the floating pitch-twisted synth tone, slight echoes of the xylophone, and warm simple bass. Also, I can't get enough of this sound (while genuinely battling the inclination of taking a shot at a comparable way). The collection title itself is passing on a fairly wistful message, conceivably nostalgic, despairing and blue. Be that as it may, the notes on the pieces float in an inspiring vapor of congruity, conveyed forward by the strings and regulated signs of the synth. The collection is gotten by the extremely productive 1631 Recordings, which brags a list of the incredible present day established discharges to keep you occupied for quite a while.
Tracklist:
1. Rifo's Dance 05:39 2. Brother Walks In 04:25 3. Arms 03:18 4. Fire & Storm Song 06:26 5. On A Hill In Swinford 03:52 6. On The Steps 05:13 7. Luke's Tree 05:18 8. Clicktracks On Mars 04:16
Released March 1, 2017
Artwork: Eoin O'Connor
by Dejan Stojkovski
"Avifaunal” is the most recent album from U.K. based pair Pausal, the sound and visual workmanship venture of Alex Smalley and Simon Bainton. It takes after past releases on names, for instance, Barge Recordings, Students of Decay, Own Records and Infraction. Exclusively, Alex has discharged various works under his alias name Olan Mill and Simon has released on Hibernate Records.
Their music has been portrayed as "surging, vaporous, and cloud-like", "a shining cloudiness of damp mood and shimmering field recordings", "a brilliant, yet spooky, the universe of moderate moving, reviving sound". Live shows are a totally immersive experience, using vast scale visuals made by the band. They have performed over the U.K. and in Europe supporting artists, for instance, Grouper, Mountains, Stars of the Lid, Chihei Hatakeyama and Greg Haines.
In 2015 the band was solicited by Martin Boulton from Touched Music to perform in Pembrokeshire, Wales and started creating new material for the show. It was additionally a chance to build up another hardware setup including a circled turntable, voice amplifiers, and synths. A neighborhood lobby was contracted for extemporization and practice sessions which gave an intriguing sonic space to investigate and potential outcomes to work at far louder volumes, both of which molded the inevitable live set and the track "Murmuration" as that is spoken to here. “Spiral”, “Scatter" and “Soar” were likewise edited and assembled from the recording sessions around this time. Taken all in all, the subsequent collection is a different issue however could be said to have more in a similar manner as their heavier work to date, (for example,“Forms”, 2012) joined with an energy about surface (beforehand clear on "Sky Margin", 2013) than the encompassing material they are maybe better known for ("Lapses", 2010 and "Along The Mantic Spring", 2014). From the crackling ramble mist of "Murmuration I" and hazily hallucinogenic "Murmuration II" – through to the dire percussive metallics on “Scatter” and peaceful synth-scapes of “Soar”; there is a far reaching sound world here for the audience to understanding and similarly as the title of the record recommends, they are urged to enable personality to take off…
Tracklist:
1. Murmuration I 11:13 2. Murmuration II 4:32 3. Murmuration III 8:41 4. Spiral 5:44 5. Scatter 5:43 6. Soar 10:18
Released - April 28, 2017
Artwork – Maria A. Schmidt Design – Nick Smalley Mastered By – Porya Hatami Written by producer – Simon Bainton Written by producer, artwork – Alex Smalley |
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