Thursday, March 31, 2011
Brainworlds
Mysterious kosmische musik from Atlanta, USA. Minimal waves of primordial bliss, clocking between 20 and 30 minutes to ensure full immersion. I think the simple, black and white artwork of the albums really goes with the music - very well thought out and executed. All albums available for absolutely free on Bandcamp (although you're free to support the guy)! Recommended.
Wednesday, March 30, 2011
Interview with Daniel D. Smith
You have an impressive discography. How long does it take you to create an album? Does most of the stuff you create go online/to the tape or are the public releases just a tiny fraction of all the music you create?
It all depends. I recorded the LP for Aguirre in something like 2 nights. A lot of times I already have the music recorded, then I send it out to see if someone would be interested in putting it out. Or if I get a request from someone I usually have something lying around or something I started. I do put out a ton of music, but I really jam a lot and do not always feel the need to hit record. Sometimes I play around for fun and come up with a bit I really like and want to see how I can expand upon it, that’s when I like to hit record. Which one of your own albums you like the most?
I really enjoyed the way the LP turned out. And I am into “Come And Melt Your Face Off” on Sacred Phrases. I have a release called “Shanghai Complex” that I really like because it was a huge departure for me. Voices, acoustic guitars, computer processing. I just released Night Visions and the title track is my favorite recording of mine.
I really enjoyed the way the LP turned out. And I am into “Come And Melt Your Face Off” on Sacred Phrases. I have a release called “Shanghai Complex” that I really like because it was a huge departure for me. Voices, acoustic guitars, computer processing. I just released Night Visions and the title track is my favorite recording of mine.
When you create music, do you have a detailed plan of what a track will sound like, or does it come “by itself” in the process of creating?
It all depends. There are some patches I can recreate at any time, on my Nord or on my modular synth. Those are starting points some times. Recently I have been using an electric piano and my analog sequencer to create dynamic sequences. I wanna make sure I get the notes perfect and have everything synced up. From there I connect the sequencer to my Nord and let things evolve sonically. Creating a patch for that is where it really starts. And even more recently I have started to make super minimal techno and more danceable music.One of your latest projects is named “70s Era Pink Floyd”. Is this name just a nostalgia thing or are you making musical references to such synth Pink Floyd tracks as “On the Run” or “Welcome to the Machine”?
I actually have “On The Run” stored on my sequencer. I am a huge fan of Pink Floyd, but that is about as far as any connection goes musically. 70’s Era Pink Floyd is basically a more abstract project for me. Lets me run a bit more wild. The releases tend to be a bit more in the strange department. Noisy and hectic. It is exclusively for my growing obsession into the modular synthesizer world.
The line-up of your Neon Marshmallow Fest was very impressive. First edition of the festival and already some big names, like Government Alpha or Burning Star Core. Was it hard to get all those people in one place for this event?
It was obscenely hard to organize this event. If I didn’t have Matt helping me, it wouldn’t have turned into what it did. He helped me bring it to the next level. The amount of money spent on this was more than I anticipated, so I took a huge risk. A HUGE RISK. But in the end, it was worth it to me. I wanted to do it, I did it. It happened and it was a great event. Matt and I are currently putting the finishing touches to the 2011 edition.
What equipment do you use? Is it just analog/digital synths or also a computer?
I use my Nord Lead 2 religiously with Red Electric Rainbow, as well as the Doepfer MAQ 16/3 sequencer. I have a Moog Little Phatty, a Korg Poly Six (poor guy), and I have had a Paia Proteus 1, a Siel Mono that never quite worked right. Not too mention the amount of modern digital keys I tried out. Right now I am on a huge modular synthesizer spurt. I went with the Eurorack format and I have a 9U case with about 12U worth of modules. I sold a ton of gear to help finance this habit. Guitars, amps, effects, some synthesizers. I sometimes use MAX/MSP, Reason, Abelton and some other programs, but I have not been using any of those for some time. I like MSP for making granular stuff.Do you have a “dream label”, on which you would just LOVE to have your album released?
Nah, I am pretty chill. I do like Raster-Noton though, but it is only because I am going through this huge techno kick right now.Apart from Neon Blossom label, you just started another label, Hyperdelic. Does it mean you moved from Neon Blossom to Hyperdelic, or is Hyperdelic just another label for other kind of music/artists?
Neon Blossom started at as a fundraiser label. Very DIY, very messy, etc. I wasn’t happy with the way some of the releases turned out. So I wanted to start fresh. Which I did. I am very happy with the way Hyperdelic turned out. I put it a lot of work into the creative process of how I want it to look, sound and feel. So the overall result is something I want to continue doing. Neon Blossom is still going to be around and doing releases, but they will stay in the realm of the original purpose and aim of the label.What’s your current musical obsession?
New Wave, Minimal Wave, Minimal Techno, EBM, Synth Pop, Acid House, rare 80’s gems etc. A lot of dance music. Sequencing, clockwork, monophonic analog jams. 808s etc.
Monday, March 28, 2011
Rene Hell - The Terminal Symphony
New album by Jeff Witscher, released on Type Records. Angular, semi-melodic synth goodness. Snippets of ambience, rhythms coming and going. Recommended! Available on Boomkat.
Link removed by request, stream from Soundcloud:
Rene Hell - The Terminal Symphony by _type
Fabric - A Sort of Radiance
The first album off the wonderful Editions Mego offshoot label Spectrum Spools. Matthew Mullane. Best kosmische musik traditions. Analog nirvana. Top of the fucking game.
Sunday, March 27, 2011
DD 2-14 - Discarded Axioms
Incredibly thick layersz of sound. Enveloping ambience. Coastal seance. Life. Death. Transcendence. Recommened, especially if you like Tim Hecker and Fabio Orsi. Listen and download from DD 2+14's Bandcamp (check out his beat research experimental hip hop project Endor, too!).
K-Lub - Way Down Low Down
What can I say: nearly 20 minutes of scorching hot, deranged free improv psychedelic tribal punk. Lo-fi, abrasive and energetic as fuck. Released on Lee Noble's No Kings label. Highly recommended!
Saturday, March 26, 2011
Sky Stadium
Sky Stadium is Jeff R.. Pure New Age lo-fi synth worship. Body dissolving. Clouds rolling. Forever floating. Make sure to check Jeff's blog!
Ocelote Rojo - Pacarina
Solo project of Francisco Aravena. Chilean psychedelic tropical ambientalistic guitar noodlings with a bit of field recordings. Beautiful homemade zones.
Stitched Vision - Open Palms
Stitched Vision is Jason Campbell straight outta Newcastle, Australia. Dreamy, textural drones in the style of Borges/Witscher steeped in gentle, hypnagogic washes of white noise. The highlights are the first track, when the melancholic, violin-like synth arpeggios rise from the sea of sandpaper drones and the last track, which is a blissful, calm rest from the rather abrasive textures of previous three tracks. Check out Jason's blog and his Eternal Solitude Tapes, too!
Sunday, March 20, 2011
Review: Caligine - L'Autunno di Rame & Teratology - I
Hey guys, two reviews for now. Pics showing the packaging coming very soon!
Caligine – L’Autunno di Rame
The album is packaged in a humble, yet elegant black envelope made with high-quality paper. The only mean of identifying it without pulling out another, this time very colorful cardboard envelope containing a CD is a small strip of paper with the name of the artist and the album on one side and the name and internet address of the record label with the year of release. The cardboard envelope inside the external envelope hits us with a beautiful collage artwork with track list and band members on the other side. The first track, “Hastings (Parinirvāṇa Blues)”, is truly a standout: a lengthy (almost ten minutes long) fingerpicking journey through a staggering gamut of moods, ranging from melancholic to bucolic and pastoral. The whole passage is topped with nice field recordings, together making for a truly zoned out atmosphere (although it’s kinda strange to use words “zoned out” for a folk record, for I always felt this was more fitting for synth albums, but still, drown yourself in sound!). Next is “Una Goccia di Rubino”, almost as long as the first track, is all about vocals and lyrics – I truly wish I understood Italian, because I feel I’m missing out on something great. Acoustic guitar dialogue paired with emotional, almost whispered vocals conjure up an atmosphere of magic, like telling of an old folk tale. In some strange, twisted way, this track feels almost like a folkified version of Slint’s Spiderland. “Salagrama” is a skirmish of raga-like soloing guitar with dissonant and screechy violin (or at least an instrument similar to violin). This track feels closer to Caligine’s noisy, minimalist beginnings with their two volumes of Minimalia. “Arida II” is closest to a traditional song, with more lyrics in Italian and a nicely wrapped acoustic-electric guitar interplay. The last track, “Jack Rose” is obviously a tribute to the sadly deceased raga folk master Jack Rose, all together with an interview excerpt (in English) in the beginning. The rest is a sparse and emotional acoustic guitar solo in the style of Jack’s solo work. L’Autunno di Rame may quite possibly be the best work by Caligine so far – truly shows their potential and their will to evolve. An album which at the same time fills you with psych folk goodness and leaves you willing for more. More!
Teratology – I
Teratology is a quintet that has Gabriele de Seta (1/2 of Caligine) in their line-up. Teratology is an entirely different matter, so different, it’s hard to believe it’s the same guy who provides moody raga passages in Caligine: this unit is free improv at its noisiest, quite close to Supersilent, AMM and purely acoustic Nihilist Spasm Band with the members playing (as listed): “drums, objects, sax, acoustic guitar, loudspeaker, electric guitar, subtle electronics”. The album was released on Gabriele’s Monstres par Exces label and containts two tracks clocking between 12 and almost 19 minutes long. The CD comes in a nice package (you gotta give Italians credit for giving a lot of attention to make the packaging look as good as possible) with probably the most interesting cardboard flap I’ve ever seen. The bands mentioned above might give you a good idea of what Teratology sound like: sprawling clatter with hissing and crackling electronics always present in the background. The free and anarchic nature of the music seems to go hand in hand with the anarchic and anti-commercial message on the back of the package: “No copyrights, no compromise”. The group unwinds slowly: beginning with sparse, random sounds, gradually creating a deafening, bludgeoning wall of sound to which the phrase “take no prisoners” applies best (yes, I know, the phrase has already been used to describe the sound of Borbetomagus – which is also a good reference point for Teratology). I’d recommend I for fans of something truly different, those, who are not afraid to go to the outer limits and are willing to sacrifice themselves on the altar of noisy improv. This project also shows how diverse Gabriele de Seta’s musical interests are – truly a Renaissance Man!
Tuesday, March 8, 2011
Weird Ribs
Wednesday, March 2, 2011
Gypsy Treasures - Buried Goods
The cassette is still available at Not Not Fun.
Intelligent Dancers
Intelligent Dancers are a "electro-psych"/"synth-gaze" duo consisting of Jordan & Tim, who hail from Brooklyn, NY. Their music is a blend of pop, electronic bleeps and bloops, druggy ambient aesthetics and often harsh, in-your-face blasts of synth extravaganza. Kinda like Caboladies gone pop at times. Available for free on Bandcamp, obviously.
Long Pond
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