It's been some time since I've posted on last.fm. But that doesn't mean that I've slowed down in listening or reviewing some of my favorite music. Meanwhile a few things have happened. First of all, we have three new mixes posted on the site. The ever popular
Modern Classical mix has some of your favorite artists - just see that tracklist! Then there is the Favorite Ambient tracks from Arrhythmia Sound and our farewall to Chicago. See all of these and more on our
Mixes section on Headphone Commute. And here's a nice installment of 19 reviews for you! Don't forget to check out
Two and a Half Questions with the artists! And we've got some good ones! Check out our mini-interviews with Scanner, Plastik Joy, Carsten Nicolai, Proem, Christopher Willits, Brock Van Wey, Lights Out Asia, Intrusion, Boxcutter, Celer, Richard Skelton, Murcof, and man more!!! As usual, I would appreciate a comment or two, and recommend that you
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Solo Andata - Solo Andata (12k)
Close the doors and turn up the sound. This is ambiance that needs to be really heard. Quietly chirping submerged engines are silenced by waves of bowed cello. The sound of rippling water seeps through the drones of strings. This is the organic world of Solo Andata - an Australian duo comprised of Paul Fiocco and Kane Ikin. Having previously released their debut, Fyris Swan (Hefty, 2006), the duo got picked up by 12k, and contributed a recording to Live In Melbourne (12k, 2008), appearing among tracks by Seaworthy, and label owner, Taylor Deupree. Solo Andata is their highly anticipated release for the New York minimal and ambient label. The album is mastered by Giuseppe Ielasi and is accompanied by a mini booklet of 8-piece photography by Deupree himself. This is a warm album, covering you with a blanket of organic materials, natural field recordings, and swells of ambient soundscapes. The restraint and delicate touch within this production stops time, thought, and all of the pain. Solo Andata is the sensual reflexology for the mind. The concept behind the album, reveals "a theme of travel from cold to warm, water to earth, fluidity to stasis, conceptually representing a thread between water and land." The meditative nature of these pieces focuses the inner ear on within, while the outer contemplates without. At the epicenter lies the focus of the album, Look For Me Here. This is the place that you reach after descending through the laid out paths of an early morning forest, quiet nights, and misty caves. This beautiful track is also available from the label as a single, with remixes by the above mentioned Giuseppe Ielasi and Ryuichi Sakamoto. Make sure to grab that one. And by the time Loom comes out with a crying cello by Louise McKay, you're truly in love. Fans of Hildur Guðnadóttir will melt within. The duo uses barely any electronic instruments. Most of the heard sounds are resonating from strings, voices, guitar and a piano. The sourced material has been painstakingly captured, post-processed, and folded back into the pieces, often reflecting the origin within the titles. For example, “Woods Flesh Bone” actually records wood, flesh (from a dead chicken) and bones. “Canal Rocks” contains a recording of wind through the rocks in a small alcove in southwestern Australia called Canal Rocks. “Hydraulic Fluctuations” is a recording of the fluid fluctuations inside a large pump, “Ablation” is ice and wind. Highly recommended for all wonders of 12k, above mentioned artists, plus Richard Skelton, Lawrence English, and Christopher Bissonnette. Bravo, 12k! Well done! This is a great catch, hold onto this one. And I'll be more than eager to follow this group along its intricately formed path, even if their way is only one way, the solo andata.
Two and a Half Questions with Solo Andata
http://www.myspace.com/soloandata |
http://www.solo-andata.com
http://www.myspace.com/12kline |
http://www.12k.com
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Scanner - Rockets, Unto The Edges Of Edges (BineMusic)
Robin Rimbaud spent his life listening to others. In his early works, Rimbaud tuned into the airwaves to pluck out pieces of radio, mobile phone conversations and police broadcasts. These were intricately edited and folded back into his compositions, producing an experimental genre of his own, often gathering international admiration from the likes of Aphex Twin and even Stockhausen. This is yet another one of Rimbaud's albums as Scanner, adding to his e-n-d-l-e-s-s discography (seriously huge), spawning collaborations with DJ Spooky, Alva Noto, Kim Cascone, and Vitiello among many others. And Rockets, Unto The Edges Of Edges does not disappoint. The album starts off with vocal samples, strums of guitar and Rimbaud's own gentle singing. That is until the kick drops and bounces away. The distorted bits and pieces of voices continue to dominate the background of Scanner's recordings. We are, after all, eavesdropping. This mixture of acoustic instrumentation and electronic treatments evolves, introducing a full on string ensemble conducted in the rhythm of solid beat and bitcrushed percussion. And by the time I arrive at track three, titled Anna Livia Plurabelle, which is full of classical operetta vocals by the acclaimed soprano Patricia Rozario, crying in angst, I realize the grandiose accomplishment of Scanner's work, painting a cinematic masterpiece from lost and found fragments. The rest is just as beautiful. Speckles of found voices, radar transmissions, and environmental recordings are hardly intrusive in this purely musical piece. "The ghostly presence of William Burroughs and philosopher Bertrand Russell weave their way through some of the pieces, opening into the dark heart of "Yellow Plains Under White Hot Blue Sky", an epic, almost menacing work, with corrosive voices, noises and abstract shapes over a primordial electronic beat, that continues to build and ignite with bowed strings into a picturesque precise explosion." Although I can't say that I've heard every album by Rimbaud, I can definitely agree with the critics that this is his most mature and personal album to date. A soundtrack to a voyeur's life finally turned inwards. This is organic, this is digital, this is modern classical at its best. Completely unexpected and highly recommended for fans of Max Richter and Jóhann Jóhannsson. Pick up your copy from the Essen (Germany) based BineMusic, while I scratch this winner onto my upcoming Best of 09. Need I say more? See more of Rimbaud's current and upcoming work in my Two and a Half Questions with Scanner.
Two and a Half Questions with Scanner
http://www.myspace.com/scanner |
http://www.scannerdot.com
http://www.myspace.com/binemusicgermany |
http://www.binemusic.com
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KiloWatts - Undercurrent (Somnia)
In terms of technique, Jamie Watts, the man behind KiloWatts, is an extremely accomplished producer; he knows how to make music that sounds great. His last full-length album, Ground State, released on Evan Bartholomew's Native State Records, stood out for its fresh and chunky sound. It featured a rolling mid-tempo groove, using mostly an acoustic drum sample set, to go with dynamic and full-bodied synths that displayed Watt's taste for thick, growling lead sounds in the lower register. At times, the bass took center stage and propelled the music forward, like on the excellent track Dub Serious. Watts has tried his hand at a variety of genres. His last few releases have ranged from the mid-tempo IDM grooves of Ground State to the tech house of the Snakewinds and Love on Saturn EPs, both released on Noah Pred's minimal techno and house offshoot of Native State, Thoughtless Music. Now, with Undercurrent, he's followed Evan over to his new Somnia label for a stab at downtempo/ambient. “With this album, I wanted to focus on the essence of melody and expose it in a raw form through the electronic medium," says Watts. "The source of the main melodies came from repetitive hooks I found myself sporadically singing or humming during day to day business. Think of the joyful tunes whistled during a walk. These melodic mantras seem to pop up out of nowhere and go on repeating forever... From a larger perspective, I felt that the search for these melodies was similar to unearthing subconscious archetypes that drive reality. the process was like discovering an ever-flowing undercurrent of reality that can be translated directly into melody." The funny thing is that taken as a whole, the album is not defined by the strength of the melodies. There are a couple of standouts - Rode Falls and Ayandan - that are blessed with the kind of riffs that seem to have been around forever. They're like old friends you haven't seen for a while. The Undercurrent Is Love is also hummable if not as memorable. But more often than not the album is defined by the mood it evokes. Most of the tracks are based on short repeated motifs that ebb and flow with the undulating tide or the movement of the current. Opener Cascade Serenade flows by effortlessly, but most of the album is tinged with a darker hue. As if gray clouds are gathering and the waves are beginning to swell. There's an ominous undercurrent to Couette and Seed is vaguely sinister, like a snake slithering along just underneath the water's surface. On Nightshade, the crickets and other creatures of the night come out to play. The album culminates in the 12-minute The Moment Just Before Dawn, with a single phrase repeated over and over again like a persistent mantra, slowly building toward a majestic crescendo. The sonic landscape of Undercurrent is compact, with clearly defined boundaries. The sounds mostly seem to originate from the same source, as if Watts decided to stick with one trusted synth and one electric piano throughout the making of the album. Most significantly, he has largely - though thankfully not completely - done away with the beats that have been such a defining feature of his music until now. It has to be said that while there are moments of beauty on Undercurrent and the album as a whole grows on you, the tracks that make the biggest impression are the ones that have a pulse. Watts is most in his element when he's working with a beat, or at least a strong rhythmic element, such as on Rode Falls, Seed and Nightshade. The percussion, although further in the background than is usual for him, gives the songs a much more vivid presence and sense of development. Nevertheless, it's clear that Undercurrent has served to expand KiloWatts' horizons, even if the addition of one more genre to his discography risks confusing some of his audience. Be sure to check out Watt's digital releases on Thoughtless Music, Harmonious Discord, as well as his own outlet, KiloWatts Music (see Six Silicates EP). Also, looks like Jamie finally re-released his collaboration with Peter Van Ewijk as KiloWatts & Vanek titled Focus and Flow (Dependent, 2009).
Two and a Half Questions with KiloWatts
http://www.myspace.com/kilowatts |
http://www.kilowattsmusic.com
http://www.somniasound.com
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Plastik Joy - 3:03 (n5MD)
Plastik Joy is an intriguing duo, if only for the fact that one of them, Cristiano Nicolini, is from Italy and the other, Fannar Ásgrímsson, is Icelandic. You can’t get any closer to “fire and ice” than that. The two met while studying audio engineering in Barcelona and began working together on a couple of songs at the end of 2007. Little did they know what a fortuitous decision it would be when they decided to establish a Myspace page shortly thereafter, in January 2008. First, Myspace led them to Swedish singer Sarah K. Hellström, who ended up writing the lyrics and melody and recording the vocals for their first tune, Hands. She didn’t actually meet Cristiano and Fannar in person until months after the song was completed. But more amazingly, in June 2008, they received a message on Myspace from Mike Cadoo, owner of renowned electronic music label n5MD, who had heard their songs on the site and wanted to discuss a record deal! One short month later, Plastik Joy had signed with the label. And now, 3:03, the debut album from the Myspace poster boys is here for all to hear. At first, if you're not in the right frame of mind, the dreamy, downtempo vibe of 3:03 may strike you as a bit too laid back - like the heat from the fire has melted the ice. But the simple, unassuming melodies grow on you. It’s an album that rewards – in fact, demands – repeated listening and immersion. You’ll come to love the undeniably warm, feel-good glow of Sleepy Quest for Coffee and Hands, the opening tracks of the album, which also happen to be the first two songs that the pair wrote together. From there, the rest of the album opens up like a budding flower. The subtle electronics and acoustic instrumentation, with mellow guitar in a prominent role, make for an addictive concoction. Although Plastik Joy employ several singers on the album, it comes across very much as an instrumental album. Rather than leading the way, the vocals more often than not serve like any other instrument, adding one more color to the bittersweet vibe. On Hands, for example, Hellström’s breathy vocals, which hint slightly at Nina Persson of The Cardigans, blend completely into the sonic landscape. There are one or two brief moments on 3:03 where the surface calm is broken by an outburst of noise, like an involuntary release of pent up energy, but in general, subtlety is the name of the game. It takes a great deal of skill and sensitivity to sustain an atmosphere of such refined delicacy throughout a whole album but Fannar and Cristiano carry it off with aplomb. Considering that this is just their first album, it whets the appetite for what's to come. 3:03 gets its name from the time of morning at which recording sessions usually ended and n5MD touts the album's "nocturnal vibe". There's definitely something to that. 63 (she was trying to sleep, I was trying to breathe), for example, is a pure lullaby. But the first half of the album conjures up images of late afternoons lounging on the beach with a cool drink in hand. If you're looking for something to relax to poolside, it'll most certainly do the trick. Just watch out you don't fall asleep in the sun.
Two and a Half Questions with Plastik Joy
http://www.myspace.com/plastikjoymusic |
http://www.plastikjoy.com
http://www.myspace.com/n5mafia |
http://www.n5md.com
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Grischa Lichtenberger - ~Treibgut (Raster-Noton)
~Treibgut fits snuggly into the sonic world of Raster-Noton. For this EP, his first release for the label, Grischa Lichtenberger's primary sources are found sounds from the world around him, including the sound of a sliding tabletop, the noise of a radiator and the humming of a broken device. Apparently, the music reflects Lichtenberger's reflections on the landscape of the river Rhein. Which, frankly, comes as something of a surprise since nature is just about the last thing that the music evokes. The atmosphere is extremely industrial and manufactured. Like the music of label primus motor Alva Noto, Lichtenberger's work is all percussive. He takes his sound sources and manipulates and processes them, cuts them up and rearranges them into rhythmic structures. But while Noto's music is often quite refined and minimal, ~Treibgut is like a jackhammer and power drill got together and decided to form a band. Opening track, 0406_01_RS!, is like the cacophony of a factory – metal on metal, pistons pumping rhythmically, distorted bursts of steam, flying sparks from a welder’s blowtorch. With one exception, the tracks all bear similar names, rows of numbers and letters, like numbered incidents in a long line of laboratory experiments. Or products on an assembly line. There are no melodies in the conventional sense of the word or other discernible instruments at play. The drill effect that users of the Ableton Live's Beat Repeat are so familiar with is the defining sound throughout. It’s a mechanical world. The one exception is calipso, which appears to refer to the CALIPSO environmental satellite launched jointly in 2006 by NASA and CNES, the U.S. and French space programs, and which measures aerosols and clouds 24 hours a day. Appropriately, it features a slightly lighter touch and an unusual sounding guitar providing the sole instance of melodic content on the EP. But the power tools are back in full force on the closing track, 0106_13_lv_3 sand ausheben, which translates as "excavate sand" - an indication that there is more heavy lifting to come. The title ~Treibgut refers to the German proverbial Treibholz, describing a piece of wood floating in a river or the sea. "In this sense it expresses a relation to things: between the observer and the floating thing, which has obliterated its functionality, there is no immediate connection – there is a lack of unifying meaning. Of it, the observer always only sees aspects, while the thing, without him on its mind, drifts by." It'll probably take you a while to grasp the meaning of the concept. Meanwhile, it is best to let the power tools do their work... Recommended for all Raster-Noton fan, as well as Pan Sonic, SND, Hecker, and Atom™
http://www.myspace.com/grischalichtenberger |
http://www.raster-noton.de
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Alva Noto + Ryuichi Sakamoto with Ensemble Modern - utp_ (Raster-Noton)
Alva Noto and Ryuichi Sakamoto are unquestionably among the masters of modern experimental music. Noto has crafted a musical language all his own based on the most elemental of sound sources - electricity, static, white noise - and helped to raise laptop production to new heights. Sakamoto has such a varied an brilliant career, ranging from his days in the pioneering Yellow Magic Orchestra and his Neo Geo Japanese pop, to bossa nova, classical works and majestic film scores - including the unforgettable theme from Merry Christmas Mr. Lawrence, in which he also starred opposite David Bowie. And, of course, his explorations in electronic music where his collaborations with artists like Fennesz and Noto stand as milestones. The release of a major new work from the duo is noteworthy to say the least. Utp_, the third collaboration between Noto and Sakamoto, opens with a sustained electronic tone that is gradually joined by a cello note to form an electro-acoustic drone. On top, a series of angular jabs from the Ensemble Modern string section combine with rhythmic bursts of white noise from Noto. Sakamoto's muted piano is introduced on track 2, "grains", but is much less prominent throughout than in the duo's previous collaborations. The piano is only out front on a couple of tracks - "grains" and "broken line" 1 and 2 - which also happen to be the most melodic and easily approachable tracks on the disc, bubbling along to Noto's delicate microbeats. Like the previous collaborations, utp_ blends together electronic and acoustic sounds to hair-raising effect. The contribution of Ensemble Modern, one of the world's leading ensembles of 'new music', adds dynamism and breadth to the sound pallet but the tone is not so far removed from the intimacy and melancholy of Insen, the duo's last full-length release from 2005. The most striking difference is that while the previous outing centred on Noto's laptop treatment of Sakamoto's piano, here it is the Ensemble - particularly the string section - that is most prominent. There's a sombre intensity to the music, which blends modern classical with experimental electronic music in a way that bridges the divide between past and the present. The piece was commissioned on the occasion of the 400th anniversary of the city of Mannheim in Germany and at times the deep and vibrant cello tones seem to be calling from that distant past. But most of the time the Ensembles' instruments are employed to produce sounds that are far removed from the 'classical' conception of music, melding seamlessly with the bleeps and glitches of the present in a way that feels completely organic. On tracks like "silence" and "particle" 1 and 2, the result is a blanket of ambient sound while on "plateaux" 1 and 2 the electro-acoustic drone is all encompassing. The title of the piece, utp_, is derived from the word "utopia" and the concept that Sakamoto and Noto developed for it is derived from the rasterized structure of Mannheim, which was conceived as the "ideal city" in the 17th century. This and more is explained in the documentary film on the development of the piece, which is included along with the utp_ concert movie on a DVD that accompanies the CD. So far I've only had a chance to listen to the music but it looks like the DVD provides a lot of insight into the development of the piece and the way Noto and Sakamoto work. I can't wait to get my hands on it. Also included in the impressive package, which is indeed worthy of the music, is a full colour booklet and the score. Utp_ is another feather in the cap of these two masters of modern experimental music and one can only hope that there is more to come.
Two and a Half Questions with Carsten Nicolai
http://www.alvanoto.com |
http://www.sitesakamoto.com
http://www.raster-noton.de
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Rival Consoles - IO (Erased Tapes Records)
Rival Consoles' debut album, IO, comes as quite a surprise after the 'modern classical vs. breakcore' vibe of his last EP, Helvetica. Instead of the rather unique mix of piano and strings on top of drill 'n bass, IO offers up a heap of crunchy analogue synths and straight ahead techno beats. Once you've gotten over the surprise, what really makes IO stand out is Rival Console's "lust for catchy music", as Ryan Lee West - the man behind the music - put it himself in an Interview with Headphone Commute back in March. He really hit that one on the head. You couldn't ask for a more anthemic start than the troika of Milo, IO and 1985 that kicks off the album. The first few times I listened to the album, I couldn't make it past these three because I found myself going right back to the beginning to hear them again! The other defining feature of IO is the down and dirty sound. There's nothing fancy or refined about it. It's old school synth action - just your basic waveforms in all their gritty and distorted glory. Rival Consoles doesn't try to wow us with complexity, studio trickery or a smorgasbord of effects. IO stands and falls with the tunes. OK, admittedly track 7, PVAR, does feature some heavenly strings that pop up at just the right moment to sprinkle a pinch of pixie dust over the proceedings. But on the whole, the sound is uniformly bold and direct. It's not all "wave your hands in the air" on IO though. Midway through, the vibe gets weightier and boxier for a few tracks but picks up steam again as the end approaches. The penultimate track, Agenda, is the only one where West reverts back to the rapid skittering beats of the Helvetica EP. But then it's quickly on to rousing closer ARP, another techno barnstormer that quickly gets lodged in your brain and has you reaching for the "repeat" button. It may come as a surprise to find Rival Consoles' music sharing a home with Ólafur Arnalds and Peter Broderick on Erased Tapes Records. But the London-based label focuses on what it calls "Cinematic Pop Music" featuring a wide variety of genres and styles, ranging from neo-classical to post-rock. IO is obviously a very welcome addition to the mix.
Two and a Half Questions with Rival Consoles
http://www.myspace.com/rivalconsoles |
http://www.erasedtapes.com
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Proem - Till There's No Breath (Nonresponse)
Proem doesn’t waste any time in setting the scene on Till There’s No Breath. On opening track These Are Demands, it’s as if there is a massive space ship descending from the sky, metal screeching and thrusters on full blast as it lands right in front of you. There are echoes of distorted alien-sounding voices mixed into the grating wall of metallic noise. The atmosphere is filled with foreboding. And it doesn’t let up on A Skin That Crawls, with its huge thumping footsteps echoing off the walls of what could be an underground sewer or cavern. If these words sound over the top, I defy you to listen to this music without having your imagination run rampant. And the rather disturbing track titles -- A Skin That Burns, Faceeater, Deadplate, Dull Throbbing – will inevitably nudge you in a particular direction. This is a dark place and death hangs in the air. But it’s not the kind of malevolence that hits you over the head with a hammer. It’s a quiet menace. An ambient nightmare. Like when the fellowship in the Lord of the Rings entered the Mines of Moria, you know that evil lurks deep within. Or at least an amoral consciousness. The title track Till There’s No Breath evokes a sensation of paralysis. Like being unable to move and helpless to escape the unthinkable. The man behind these disquieting soundscapes and the Proem moniker, is Houston, Texas resident Richard Bailey. He has been releasing music since 1999 on labels like Merck, n5MD, and Hydrant, and Till There’s No Breath is his seventh full-length album, his first for the recently resurrected Nonresponse imprint. It’s quite a departure for Bailey. His previous releases have been of the classic IDM variety and he has been seen as one of the early members of the US-based IDM scene that started around 2000. Till There’s No Breath, on the other hand, is pure dark ambient. Save for one or two tracks, Proem does away completely with the beats. The sound design and textures are the thing... and they are impressive. Thankfully, Proem’s world is not a bottomless pit of doom. After the detachment of Faceeater, the mood lightens with Coil In Small Field. It’s as if there’s a break in the clouds, if only temporarily. Bright pads suggest that something positive is happening, although the deep rumble in the background refuses to give way. Alas, in the end, after the brighter tones have evaporated, the sense of unease remains. Nevertheless, the second half of the album is calmer and less oppressive. The subtle glitchy beat of Alt Enter The Busket will even get your toe tapping and head nodding. And Dull Throbbing is more soothing than anything that precedes it. The metallic grating, distorted rumbles and alien noises of the first half of the album have completely given way to gentler synth washes that sound at times like a church organ in the distance. All in all, it’s an immersive piece of work from Bailey. He paints a vivid picture, although it may not be one that you’ll want to look at for too long at a time. The release includes a free digital EP, the code to which is hidden in the physical artwork. If you own a digital copy, send Proem a screen shot of your receipt and he'll furnish the login details. The artwork on the album is made up of seven separate watercolor paintings that Bailey made and then stitched together in Photoshop. The full poster is available for viewing and purchase on the Proem's site in the merchandise section. Recommended if you like the dark soundscapes of Murcof, Hecq, Lustmord and The Mount Fuji Doomjazz Corporation.
Two and a Half Questions with Proem
http://www.proemland.com |
http://www.placeguntohead.com
http://www.myspace.com/nonresponse |
http://www.nonresponse.com
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Christopher Willits - Live On Earth - Vol. 1 (self)
Fans of Christopher Willits rejoice! The San Francisco based musician has something special just for you! If you were one of the lucky 1111 fans to first join the Christopher Willits Fans page on Facebook, this special digital release of live performance recordings is yours! The seven tracks on this self released exclusive album, include live performances from venues around the world over the last few years. Here are some gems from Berlin, Philadelphia, Tokyo, Bangkok, Chicago, Kyoto and Foshan (China). And yes, this release is limited, exactly to the first 1111 people! The album begins with an Improvisation piece, featuring lush layers of smooth ambient pads flowing from Willits' guitar into his custom-designed software. Soon, the waves begin to glitch, triggering themselves at various positions to create unique phrases and textures. On Passage, recorded live in Philadelphia, the patterns of effectuated harmony get backed by a pulsing bass that sends the main melody in a tremolo-like twitching. These are all trademark Willits techniques, which he explores throughout his works, and occasionally shares through his lessons on XLR8R TV, via his multi-part feature, What You Talkin' Bout, Willits? For those not familiar with Christopher's unique sound, you have a whole journey ahead of you! With numerous albums and collaborations, his discography includes releases on Australian Room40 label, Japanese minimal Plop imprint, and Ghostly International. Fans no doubt treasure his collaboration with Taylor Deupree on Listening Garden (Line, 2007) as well as the critically acclaimed work with Ryuichi Sakamoto on Ocean Fire (12k, 2008). I witnessed Christopher perform live this past Spring in Los Angeles. His shows add a whole other dimension to live electronic music. Especially if you think about ambient and experimental textures being performed in front of an audience. For most of the acts, I would close my eyes and absorb the frequency waves emanating from the surround sound system, occasionally waking up, in that red-eye-flight-trance, to see the artist's face illuminated by the laptop. But with Willits I kept my eyes open. After all, he had an instrument - a guitar - which he would play and feed back through DSP hardware. You see the hand strumming, your ear holds on to bits of familiar sounds, and then the rest is like a puzzle, struggling to come together in your mind. This creative process is perfectly captured on the forty-five minutes of Live On Earth. It is especially evident on Orange Lit Space during which the sounds morph into a rhythmic structure, over which the guitar leaps into a soaring solo. This is a treasured acquisition for every Willits fan and a taste of things to come, if there will be more releases as the subtitle Volume 1 suggests. Recommended for fans of the above mentioned artists, as well as Fennesz, Tim Hecker, Stephan Mathieu, Philip Jeck and Christopher Bissonnette.
Conversations with Christopher Willits
http://www.myspace.com/christopherwillits |
http://www.christopherwillits.com
http://www.facebook.com/christopher.willits.fans
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Brock Van Wey - White Clouds Drift On And On (echospace [detroit])
On his first full-length album, White Clouds Drift On And On, Brock Van Wey (better known as Bvdub) abandons dub techno conventions and returns to his West Coast chill-out room roots. It’s a step in the right direction, making for some of his most emotional music to date. The opening track, “Too Little Too Late” is gentle and ambient with voices drifting in and out of the mix. “I Knew Happiness Once” features fuller vocal samples that sound Eastern in origin. “Forever a Stranger” is beautiful and relaxing, with slow washes of textured sound. Repetitive choral pulses guide “A Gentle Hand to Hold.” I’m reminded of Philip Glass’ soundtrack for Koyaanisqatsi (in a good way). “A Chance to Start Over” seems to ask a question. Its ascending three-note pattern is joined by plucked strings and echoey vocals. The title piece is awash in long drifting chords. All six pieces are airy and beat-less with little bass. They are perfect for summer’s late twilight. I’m sure lazy afternoon or late-night post-party listening sessions would work equally well. Van Wey and Stephen Hitchell both played live at a LWE loft party in Chicago over the winter. They must have kept in touch, because not only did Hitchell publish this album, he also contributed a full disc of interpretations. These versions will undoubtedly please dub techno fans. The “Intrusion Shape” of the title track gradually reveals itself with full, deep bass and lingering chord caresses. It turns the uplifting original on its head, adding elements that are dark yet sensuous. At over twenty-four minutes, it’s no lightweight. The Intrusion version of “A Chance to Start Over (Intrusion Shape III)” bears little resemblance to the original, but is pretty in its own right, with contemplative analogue synthesizers and wonderful surface noise that gives way to downtempo percussion. “A Gentle Hand to Hold” gently sways to congas like a pop song de-constructed. There is an entire world built into its subtle changes. “I Knew Happiness Once (Intrusion Shape V)” reminds me of The Orb, but for being serious (and more sparse). On “Too Little Too Late (Intrusion Shape VI)” metal shivers and beats tick while piano notes glisten. This double CD is an amazing two-and-a-half hours of quality electronic music. Listening to it straight through, I’m reminded of the good old days when synthesizers offered glimpses of an alien world, when bedroom producers created whole atmospheres in space and time. Sometimes you need to look back to move forward. It’s a revival.
Conversations with Brock Van Wey
http://www.myspace.com/bvdubtechnology |
http://www.bvdub.org
http://www.myspace.com/echospacedetroit |
http://www.echospacedetroit.com
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Lights Out Asia - Eyes Like Brontide (n5MD)
If it looks like I am desperately trying to catch up on some amazing albums, and tell you about them since they first came out, it's because I am. There is just way too much music for me to go through these days. And let's face it, complaining about too much good music is a sin. Yet the fact that I have already listed Eyes Like Brontide on my Best of 2008 List last year should tell you something about my excitement for Lights Out Asia. Never mind the lack of time on my part to give it a thorough review. So I give you no apologies. But I give you these words. The third full length album by the Wisconsin based band opens up with atmospheric swells and echoes of commentary on music, until the drum machine patterns merge into acoustic percussion along the shoegazing, reverb drenched guitars and then... and then we are in the familiar territory of Lights Out Asia's staple sound, with epic harmony and Chris Schafer's desperate vocals. What continues to impress me throughout the works by LOA is the group's ability to effortlessly maneuver their song structures and production between acoustic and electronic, no doubt only belonging to one of my favorite labels, n5MD. I first came upon Lights Out Asia when they released their sophomore album, Tanks and Recognizers (n5MD, 2008). Since then I've been a follower and a fan. The formula behind their work seems simple, yet the emotion evoking execution is flawless. The sound of LOA falls between lush post-rock, organic ambient, crunchy IDM and ethereal cinematic soundscapes. If just that description gets you drooling, then of course, this album is for you, synthetic strings and all... To hear where it all started, pick up the group's debut album, Garmonia (Sun Sea Sky Productions, 2003). Lights Out Asia even made it on Tympanik's compilation, Emerging Organisms Vol.2, as well as ??record Compilation (Zankyo, 2008) [yes, those are Japanese characters in the album title you're seeing], where they shared the spot among Manual, 65daysofstatic, Bitcrush, Helios, I'm Not A Gun, Do Make Say Think, and many others. This album is seriously recommended for the above mentioned artist names, as well as Hammock, Port-Royal, July Skies, and Jatun. Pick up your copy directly from n5MD's mailorder.
Two and a Half Questions with Lights Out Asia
http://www.myspace.com/lightsoutasia |
http://www.lightsoutasia.com
http://www.myspace.com/n5mafia |
http://www.n5md.com
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The Archivist – The Keeper Of The Library (Lacies)
Out of a small label in the UK, run by fabulous Miss Alice and Andrew Hargreaves, comes a beautifully crafted release from The Archivist. This is only the second release for the label, but OK, it's got my attention! At first, I was a bit surprised at the intricate production behind the album, The Keeper Of The Library, but once I realized who was behind it, I had that sigh of relief that comes with familiarity of the sound. The Archivist is none other than Craig Tattersall, whose name should be already familiar if you have ever subscribed to his releases as a member of The Boats, The Sea, Famous Boyfriend and of course, The Remote Viewer. As the alias and the title hints, the recordings on the album are compiled from an extensive archive of Tattersall's unreleased material. Some pieces have been scraped from crackling hard drives and hissing cassette tapes, accumulating to over 45 minutes in length. The first lucky 150 collectors were able to secure an additional 3" CDr that came within the handmade package. And the music... well, it speaks for itself. Tattersall uses lo-fi processed scratches and airy filtered percussion which he turns into beats with sparse melodies. Simplicity and elegance are at the core of this recording bringing lightweight electronica back to the home listening experience. Relying on repetition, the tracks roll over in beat with my morning train, glitching on chords, micro programmed rhythms and gentle strums of guitars. Using a coarse brush, the sounds are blotted around the audio canvas with plenty of space in between, leaving just enough room for the mind to rest, and fill in the gaps. This destitute pattern creates music full of fragile memories, elaborate design, and delicate beauty. If you're a fan, make sure to grab Tattersall's release as The Humble Bee, A Miscellany For The Quiet Hours (Cotton Goods, 2009) made from cassette tape-loops, as well as his offshoots and collaborations appearing on the Moteer label. See for example his collaboration with Andrew Hargreaves, where the duo take on the aliases Kibbee Theodore and Bernd Hamblin, to deliver The Scientific Contrast (Moteer, 2007). I also recommend you pick up Lacies' third release by Danny Norbury, Light In August. This album is highly recommended if you enjoy Pole, Arovane, and Yasume.
http://www.myspace.com/moteer |
http://www.myspace.com/bepputheboats
http://www.myspace.com/welovelaciesrecords |
http://www.alicesurlalune.com
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Phylum Sinter - From Unity to Segmentation (En:peg Digital)
When Phylum Sinter sent me a promotional copy of his digital release on En:peg Digital, little did he know that I was already a fan. And how could I not be, when his music tickles my spine with triggered percussion jittering across beautiful harmonic atmospherics and refined melodies. Like in Telefon Tel Aviv's Fahrenheit Fair Enough (Hefty, 2001), Christopher Todd uses a light IDM touch and driven bass lines around effected synth lines to slap the confidence back into those solid rhythms. In some places on From Unity to Segmentation, dirty chopped analog acid lines cut through the muddled thick oscillating pads, while the seemingly random drums glitch throughout the frequency space. This is quality electronica, perfectly fitting on n5MD's digital-only offshoot label. Detroit based Todd, has been producing for a while now, getting picked up by net labels like PostUnder and [ai]D['mju:zik] (I have an excellent release from this label by Ed7). He even contributed an outstanding remix to Hecq's 0000 (Hymen, 2007), and it looks like Mr. Ben Lukas Boysen returned the favor by remixing Sedna Demik on the album. Meanwhile, the name Phylum Sinter, may be already familiar to you, if you own a few compilations by Tympanik Audio, IVDT, and Xynthetic Netlabel. I've seen Todd perform before, and I must agree with n5MD's affirmation - he is definitely one of the overlooked and underrated artists. I guess that gives him a little edge. Especially when compared by the latter to µ-ziq, Proem, and even Funckarma. Thanks again to the folks at n5MD for finally giving this artist the proper attention he deserves. For fans of glitchy melodic IDM by artists like SubtractiveLAD, Keef Baker, and Lackluster. If you follow the Kahvi, Monotonik and Sutemos releases, then this release is for you. If not... Well, it's time to check it out! Also, be sure to stop by the above mentioned digital division of n5MD, enpeg.com for the latest FLAC releases from Ruxpin, Fell, Anklebiter, and Todeyoshi.
Two and a Half Questions with Phylum Sinter
http://www.myspace.com/phylumsinter |
http://www.phylumsinter.matterwave.net
http://www.myspace.com/enpeg |
http://www.enpeg.com
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Intrusion - The Seduction Of Silence (Echospace [detroit])
The dub sound of Intrusion is like an early stroll along the empty beach. Waves of white noise and minor chords splash and bounce against the glistening, polished, and rolling bass. The rhythm is measured, natural and hypnotic. The background four-four beat creates a trance-like experience. And the overall emotion is indeed seductive. Although the formula behind the production builds up on the previous successful sound of Echospace, the warmer side of the duo perfects the minimalism by injecting a fusion of Jamaican and South African dub. And it works. I could listen to this album over and over, like a head cleaner, after dense days, heavy nights and exhausting people. The minimal dub techno sound of Intrusion no doubt belongs to none other than Stephen Hitchell, one half of the above mentioned Echospace, who along with Rod Modell froze our hearts with The Coldest Season (Modern Love, 2007). Where as the latter critically acclaimed album captured the lower spectrum of the virtual thermometer with swishes of wind and falling snow, The Seduction Of Silence is more than a few degrees warmer. This is indeed a lovely twilight stroll under the ocean. The album is the first full length solo release for Hitchell, inadvertently compiling previously released EPs and 12-inchers. This may, perhaps, be an answer to a solo release by Modell, Incense and Black Light (Plop, 2007), with Hitchell taking his turn to demonstrate his individuality. The album welcomes an appearance by Paul St. Hilaire (Tikiman), where the Dominican artist contributed reggae vocals. The tracks morph into one another with swells of white noise, sometimes clocking in at over 11 minutes long. Tswana Dub is perhaps one of my favorites, having previously appeared as a limited 12" on Intrusion's sub-label of Echospace. Recommended if you appreciate the sound of minimal dub from Modern Love and Basic Channel, as well as Yagya, Gas, and of course, DeepChord Presents Echospace. Last minute edit: be sure to pickup the latest release on Echospace [detroit] by Brock Van Wey (aka bvdub) titled White Clouds Drift On And On. This is a double disk release with the second part full of Hitchell's interpretations of Wey's original works. Truly sublime. Back to back!
Two and a Half Questions with Intrusion
http://www.myspace.com/echospacedetroit |
http://www.echospacedetroit.com
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Boxcutter - Arecibo Message (Planet Mu)
As I queue up the latest release from Planet Mu, the long awaited Variance by Jega, I realize that I never got the chance to tell you about one of my favorite albums of the year so far, Arecibo Message by none other than Barry Lynn. Meanwhile, I've spun these glitch influenced, dirty, acid, and deep dubstep beats over a dozen times. This Northern Ireland musician continues to impress me with his advanced production skills, unlimited bag of tricks, and intelligent tracks that retain their value throughout the years. I say that, because Oneiric (Planet Mu, 2006) and Glyphic (Planet Mu, 2007) still show up in my rotations on a regular basis. For his third full length album under Boxcutter, Lynn takes his production even further. Although still relying on dubstep structure, the elements of acid house, jazz, garage, and of course, IDM, are incorporated deeper into the music. Even vocals made it on to the album with a slightly poppy track, A Familiar Sound. The bass is always in the spotlight, sounding more analogue than before, living in its own frequency space around the painstakingly effected beats and individual elements prickling the neurons of your constantly wandering mind. The album title, Arecibo Message, refers to a message beamed into outer space via FM radio waves during a ceremony celebrating a remodeling of the radio telescope, located in Arecibo, Puerto Rico. This signal was transmitted only once. And I'm not sure what Lynn is referring to with this reference, but the same titled track has been already played over and over on these speakers. This is a must have for those a bit tired by the constant dubstep grind, and want to add a little spice into their daily muddled wobble. Good to know someone keeps the genre on the edge of experimental electronica. If you like your dubstep with a zing, then Boxcutter is for you! Besides the above mentioned albums there are more goodies from Lynn. Last year, he delivered a collection of previously unreleased material produced in his earlier years, Balancing Lakes (Planet Mu, 2008). Although the tracks had a few dated components (namely because they were written between 2002 and 2005), they still made an impact on me, and the album rose to the top of my favorites for 2008. So make sure to grab that if you can. Recommended for fans of Vex'd, iTAL tEK, 2562 and Autechre.
Two and a Half Questions with Boxcutter
http://www.myspace.com/barrylynnmusic |
http://www.planet-mu.com/artists/Boxcutter
http://www.myspace.com/childrenofmu |
http://www.planet-mu.com
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Celer - Engaged Touches (Home Normal)
On Enaged Touches the husband and wife duo digitally stretch the loops of field recordings and analog samples of ambient strings and minimal distant pads. The creative use of delays blending into almost metallic reverb resonates the sound beyond its cycling waves. As the beatless drony chords morph into deep vibrations of bass, swelling in dynamics along with my emotions, the sound rolls over my head towards my chest and then slips through the cracks in between the walls. At times, there is silence which is followed by an onslaught of frequencies reminiscent of chemicals flooding your brain. Recordings of passing trains bridge the creatively named passages by Danielle that touch the tear glands, and jerk the nerves with titles such as "A Once And Meaningful Life". Or the lengthy leaps of imagination with a title like "Hanging Herself On The Lonely Fifth Column (Gramophones That Remind Us Of What Sounds Once Were)". Yes, the latter in the double quotes is a single titling of a section within the two tracks of the album. The first at twenty-six minutes, and the last at fourty-and-a-half. The album cover features photography by Danielle during her journey through India. Will and Dani started writing music for each other. Sharing their love first through letters, and then through little gifts of sound, they self released over twenty five recordings, some digital only, some beautifully crafted in hand painted packaging. In 2008, Celer collaborated with Mathieu Ruhlmann on Mesoscaphe that got picked up by the Japanese minimal experimental label, Spekk. 2009 saw the duo release work on Dragon's Eye, Smallfish, and Digitalis Limited. Engaged Touches got picked up by Home Normal, a label specializing in minimal and organic sound. Started in 2009, the label has already released recordings by Library Tapes, The Boats, and Christopher Hipgrave. On July 8th, 2009, Danielle Baquet-Long passed away from heart failure. At only 26 years of age, Danielle has released numerous works under her solo moniker, Chubby Wolf. She is known for her poetry and writing, and of course as one half of Celer. A few months ago, in March 2009, I got to meet and interview the duo at the Los Angeles Resonant Forms festival. The audio interview has finally been transcribed and posted here, on Headphone Commute. The overall album is a true masterpiece. Among the many albums that I heard, Celer's Engaged Touches is the most emotional. Highly recommended if you appreciate works by like Taylor Deupree, William Basinski, and Richard Chartier. Be sure to pick up a free release by Chubby Wolf, titled Meandering Pupa available as a free download from bandcamp (click here). As well as the latest album by Celer, Breeze Of Roses out on Dragon's Eye. Spekk is yet to release another album by Celer, which is still in the queue...
Conversations With Celer
http://www.myspace.com/celersite |
http://www.artificialcolors.blogspot.com
http://www.myspace.com/homenormal |
http://www.homenormal.com
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Richard Skelton – Marking Time (Type / Preservation)
In the past few years I have become a bigger fan of simple and elegant works, sometimes consisting of a single instrument, sometimes of a single theme. I wonder if it is perhaps related to the process of aging and a calming mind. Ambient music begins to make more sense. The silence in between is just as important as the sound around it. On Marking Time, Richard Skelton uses a limited palette of organic instruments to reveal an elementary artistic craftsmanship through slowly drawn out, bowed and scratched strings, plucked guitars, and light touches of piano keys. In the spotlight of dark themes stands a lonely cello, sometimes agonizing over long lost hours of silence, sometimes sad for settled dust. Surrounded by echoing instruments it cries in monotonic notes, sans any swings in harmony, repeating the oscillating frequencies assigned to each fret of a string. It is like a pendulum on a grandfather's clock that the musicians on Marking Time bow the strings back and forth, back and forth, in a tireless rhythm, while something scratches in the attic, perhaps to gain an entrance, but most likely to escape. It is this tone that tells a story. A story that is neither sad nor happy, neither good nor bad, but is simply just there. Like changing weather. Like cycling seasons. And like life and death. Marking Time is Skelton's first release under his real name. His previous works were put out under a number of monikers including Clouwbeck, Heidika, Carousell and A Broken Consort. This is also the first album that came out on a label other than his own, Sustain-Release. The latter, is a private press operation full of works by Skelton himself, dedicated to his wife, Louise, who died in 2004. This loss continues to seep through Skelton's works in a sound of sorrow. After Marking Time got picked up by Australian label, Preservation, in 2008, it was well received by the critics. And earlier this year, John Twells of Type Records had put out a beautiful, limited edition, remastered vinyl pressing of the album, featuring Skelton's own photographs on the cover. Recommended for all of your modern classical and soul resting needs. Fans of Lawrence English, Elegi, Machinefabriek, Jasper TX, Svarte Greiner, Rudi Arapahoe and of course, Hildur Guðnadóttir, will be delighted.
Two and a Half Questions with Richard Skelton
http://www.myspace.com/landingsdiary |
http://richardskelton.wordpress.com
http://www.typerecords.com |
http://www.preservation.com.au
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Murcof - The Versailles Sessions (Leaf)
I am way overdue to give this album a proper review. I first heard The Versailles Sessions back at the end of 2008, when this Leaf release immediately made it on to my Best of 2008 list. Then, as time flew by, I was expecting to cover the upcoming release, Océano. The latter is expected to be a fourth installment in a five part album series, that spells out Fernando Corona's shortened Murcof alias with the initial letters of the titles (Martes, Ulysses, Remembranza, Cosmos, Océano, F___?). Alas, Océano is still in post-production. Meanwhile, The Versailles Sessions still haunts me at night. During the 50-minute experience, the instruments howl, screech, and cry in a tormented industrial prison of sound. Intense heartburn of horror rises through the pulled and scratched strings until it spills over into the bile of harmony. Rhythmic structure ignores the background beating of sacrificial drums, as the violins tune up into the unison of terror. Darkness surrounds all, as the melodies creep up the underground stairs towards the purity of light. In The Versailles Sessions, Murcof creates one of the most dramatic, suspenseful and cinematic soundtracks to date. The imaginary film consists of the images from the annual festival of sound, light and water at the Chateaue de Versailles. The score is composed entirely out of 17th century instruments, such as harpsichord, flute, violin and viola de gamba, and is performed by a troupe of professional baroque musicians. This commissioned release for the festival's Les Grandes Eaux Nocturnes, is unlike any of Fernando's previous albums. In 2002, Martes hit the scene to overwhelming critical acclaim, juxtaposing samples of Arvo Pärt and Morton Feldman over deep rolling bass and micro programmed beats. The Mexican producer followed up his debut with an even more elegant and mature production. With Cosmos, you simply fly away (a must, in any serious connoisseur's library). But The Versailles Sessions stands out completely in its own spectrum of compositions. The dark ambient and modern classical passages haunt the listener into a corner of eerie memories and distant fears, evoking an unnatural response of increased blood pressure and cold sweat. Highly recommended for the likes of Deaf Center, Julien Neto, releases by Alva Noto + Ryuchi Sakamoto, Kangding Ray, Dictaphone and Arovane. If you're digging around to complete your Murcof discography, pick up Corona's release as Terrestre, Secondary Inspection (Static Discos, 2004), and Terrestre vs. Plankton Man (Nimboestatic, 2004) as well as his collaboration with H.Amézquita, C.I.D.I. (AR) (Statis Discos, 2004), and his latest work with Erik Truffaz, titled Mexico (Blue Note, 2008). Best of 2008 for sure!
Two and a Half Questions with Murcof
http://www.myspace.com/murcof |
http://www.murcof.com
http://www.myspace.com/theleaflabel |
http://www.theleaflabel.com
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The Kilimanjaro Darkjazz Ensemble - Mutations EP (Ad Noiseam)
Coming in with slow jazzy percussion, deep rumbling bass, and all acoustic instrumentation, The Kilimanjaro Darkjazz Ensemble enters from the shadows of ghostly vocals and crackling dust. Violins, trombones, and jazz trumpets howl and growl, along digitally effected beats and bit-crushed atmospheres of decay. Darker than future jazz, yet lighter than doom jazz, the purveyors of sound composed of both digital and electro acoustic, are no strangers to the scene. The seven member ensemble includes Jason Köhnen, who has already added his trademark sound to our collections with numerous releases as Bong-Ra on Planet Mu, Ad Noiseam, and Sublight Records. Plus, the entire troup has already put out their live improv recordings as The Mount Fuji Doomjazz Corporation with two full length albums, Doomjazz Future Corpses! (Ad Noiseam, 2007) and the recently released Succubus (Ad Noiseam, 2009). A few words from the label's site: A bridge between their first album on Planet Mu and the forthcoming second one on Ad Noiseam, the "Mutations EP" is The Kilimanjaro Darkjazz Ensemble's coming of age. Profound and organic but dark and impressive, it is a perfect rendition of the ensemble's live shows and the proof that there is still something fresh to be done at the meeting point of post-rock, jazz and drones. A deeply emotional and original trip. At only 40 minutes long, the eight-track EP is a profoundly mature collection of abstract and experimental jazz riffs that get the heart pumping with anticipation of buildups that break into cinematic soundscapes of beauty. Like an abandoned farmer's house in a post-war eastern european silent film, the evoked environment of sounds is a little eerie and at the same time melancholic. I'm especially impressed with the jazz drumming by Gideon Kiers that lightly gets processed through FX. The above mentioned Jason Köhnen strums the fretless and the double bass, while the beautiful Nina Hitz works the cello. This is a serious record worth being promoted to an LP. With Succubus just hitting the streets in June 2009, the upcoming Here Be Dragons album is currently being mastered, and is due to be released sometime in September 2009. I'm glad that the ensemble's live performances could be rendered on a recording for a headphone experience - I only wish that I could catch them live next time they're in town. Don't forget to grab that Succubus! Recommended if you like Jacaszek, Blackfilm, Deaf Center, Triosk, Bersarin Quartett, Skalpel, and Kashiwa Daisuke. Other noir-jazz and experimental jazz groups to check out: Bohren & der Club of Gore, Kammerflimmer Kollektief, Dale Cooper Quartet & The Dictaphones, and Contemporary Noise Quintet.
Two and a Half Questions with The Kilimanjaro Darkjazz Ensemble
http://www.myspace.com/tkde |
http://www.tkde.net
http://www.myspace.com/adnoiseam |
http://www.adnoiseam.net
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last.fm artist and label cloud mentioned in the above post: Solo Andata, Seaworthy, Taylor Deupree, Giuseppe Ielasi, Ryuichi Sakamoto, Hildur Guðnadóttir, Richard Skelton, Lawrence English, Christopher Bissonnette, Scanner, Aphex Twin, DJ Spooky, Alva Noto, Kim Cascone, Vitiello, Patricia Rozario, Max Richter, Jóhann Jóhannsson, KiloWatts, Evan Bartholomew, KiloWatts & Vanek, Plastik Joy, Mike Cadoo, Grischa Lichtenberger, Pan Sonic, SND, Hecker, Atom™, Lusine, Hecq, Deru, Yasume, Trentemøller, Yellow Magic Orchestra, Ensemble Modern, Fennesz, Rival Consoles, Ólafur Arnalds, Peter Broderick, Proem, Murcof, Hecq, Lustmord, The Mount Fuji Doomjazz Corporation, Christopher Willits, Tim Hecker, Stephan Mathieu, Philip Jeck, Bvdub, Brock Van Wey, Stephen Hitchell, Intrusion, The Orb, Lights Out Asia, Manual, 65daysofstatic, Bitcrush, Helios, I'm Not a Gun, Do Make Say Think, Hammock, port-royal, July Skies, Jatun, The Remote Viewer, The Archivist, The Boats, The Sea, Famous Boyfriend, Pole, Arovane, Phylum Sinter, Telefon Tel Aviv, Ed7, Funckarma, SubtractiveLAD, Keef Baker, Lackluster, Ruxpin, Fell, Anklebiter, Todeyoshi, Echospace, Rod Modell, Yagya, Gas, Deepchord Presents Echospace, Jega, Boxcutter, Vex'd, iTAL tEK, 2562, Autechre, Celer, Chubby Wolf, Library Tapes, The Boats, Christopher Hipgrave, Mathieu Ruhlmann, Richard Skelton, Clouwbeck, Heidika, Carousell, A Broken Consort, Lawrence English, Elegi, Machinefabriek, Jasper TX, Svarte Greiner, Rudi Arapahoe, Murcof, The Kilimanjaro Darkjazz Ensemble, Jacaszek, Blackfilm, Deaf Center, Triosk, Bersarin Quartett, Skalpel, Kashiwa Daisuke, Bohren & der Club of Gore, Kammerflimmer Kollektief, Dale Cooper Quartet & The Dictaphones, Contemporary Noise Quintet ... 12K, Bine Music, Somnia, Native State Records, Thoughtless Music, n5MD, raster-noton, Erased Tapes, merck, HydraNT, ROOM40, Kabouter Plop, Ghostly International, Echospace, Tympanik Audio, en:peg digital, kahvi, monotonik, Sutemos, Modern Love, Basic Channel, Planet Mu, Spekk, Dragon's Eye, Smallfish, Digitalis, Type, Preservation, Leaf, Ad Noiseam, Sublight Records
Lustmord
Country Boner". Po tym singlu Puscifer wydał na iTunes EP pod tytułem "Don't Shoot The Messenger", które o wiele bardziej zarysowało muzyczny image Puscifera, który - trzeba pamiętać, wtedy był jeszcze nijaki. EP zawiera 4 utwory, z czego 3 pojawiały się już wcześniej na ścieżkach do filmów, premierową kompozycją jest jednak "Trekka (Sean Beaven Mix)". Całość utrzymana jest w industrialnej, nieco trip-hopowej stylistyce opartej na samplach i różnych odgłosach w tle.
- Great
- Good
- Letdown (but decent)