Archive for Avant

Download:Damn Right! “Pyramids”

Posted in News with tags , , , , , , , , , , , on May 19, 2014 by dk

damn right emnDamn Right have long been making waves with their live show, but now after years of touring and refining their sound the Philadelphia/Brooklyn based synth pop trio are now finally gearing up to release their first full length album “Frozen Sun”.  The album is also the first release under their current line up of founding members Tommy Bradel(drummer/producer/designer), Johnny Fissinger (bassist/producer/vocals) and the new addition of established producer FLOTE (instrumentalist/producer). Pulling little bits from pretty much any genre while keeping a constant emphasis on capturing the free flowing emotion of live instrumentation, “Frozen Sun” brings a new energy to both the live and studio settings. Their new brand of nostalgia drenched electronic composition is sure to please fans from all types of circles. And thats exactly what Damn Right is about. Frozen Sun drops Monday, May 19.damn right

Frozen Sun
Release Date: May 19, 2014

1. Like Oceans
2. Small Spaces
3. Halo
4. Frozen Sun
5. Mystics
6. Pyramids (Download below)
7. Stars
8. [The Focus]
9. Maui Falls

Tour Dates

5/28 – Philadelphia, PA @ Silk City
6/5 – Baltimore, MD @ Metro Gallery
6/6 – New York, NY @ Cameo Gallery
6/6-6/14 – Chattanooga, TN @ Riverbend Festival
8/16 – Annapolis, MD @ Silopanna Music Festival

http://www.damnrightmusic.com/

Matmos – “The Marriage of True Minds” February 18th 2013

Posted in News with tags , , , , , , , , , on November 27, 2012 by dk

Expanding upon the ambitious premise of their ‘The Ganzfeld’ EP, Baltimore based electronic duo Matmos are about to release their first new full length album in five years on Thrill Jockey records:The Marriage of True Minds’ due February 18th.

Matmos are known for making toe-tapping rhythmic pop out of odd and unusual sound sources. They have always worn genre loosely, but it’s safe to say that this is the first electronic album to start with tap dancing and end with doom metal, and the only album on which members of Nautical Almanac and the Arditti String Quartet rub shoulders. Comprising stomping techno, eerie synth jams, musique concrete, Latin rhythms, and Ethiopian music, at once at home in the academy, the art gallery, the nightclub and the noise warehouse, the dizzyingly diverse assemblage which is ‘The Marriage of True Minds’ is driven by a tightly unified conceptual agenda: telepathy.

For the past four years the band have been conducting parapsychological experiments based upon the classic Ganzfeld (“total field”) experiment, but with a twist: instead of sending and receiving simple graphic patterns, test subjects were put into a state of sensory deprivation by covering their eyes and listening to white noise on headphones, and then Matmos member Drew Daniel attempted to transmit “the concept of the new Matmos record” directly into their minds. During videotaped psychic experiments conducted at home in Baltimore and at Oxford University, test subjects were asked to describe out loud anything they saw or heard within their minds as Drew attempted transmission. The resulting transcripts became poetic and conceptual scores used by Matmos to generate the nine songs on this album.

‘The Marriage of True Minds’ boasts a promiscuous cast of guest musicians, an array of sonic tactics, and a broad swathe of musical styles, but this diversity is joined together with a common purpose: the translation of this archive of psychic experiments into a delirious hybrid of conceptual noise and electronic pop.

After opening ripples of piano and percussion, a voice whispers: “Telepathy / We want to know…” and sets the theme for the rest of the album. The song is a deconstructed cover of “You”, originally written by Leslie Weiner and Holger Hiller (of post-punk legends Palais Schaumberg). Joining chamber music to tech-house, “You” acts as a primer for the album as a whole that follows it. Other contributions on the album come from Dan Deacon, Dominique Leone, Jenn Wasner (Wye Oak, Flock of Dimes), Angel Deradoorian (Dirty Projectors), Jason Willett (Half Japanese) and many others who go under the digital editing knife as they are chopped into tight, surprisingly listenable songs which for the first time in Matmos’ work prominently features vocalists and voices.

Ending with another cover that returns us full circle to the beginning of the record, Matmos save their wildest provocation for last: a polyglot deconstruction of The Buzzcocks’ “E.S.P,” which gearshifts across multiple genres over eight minutes, testing the limits of how different styles and moods can flow and fold into each other. “Do you believe in E.S.P.? / I do and I’m trying to get through to you” growls Gerry Mak of Brooklyn experimental doom metal band Bloody Panda in a withering Cookie Monster voice. Connecting the latent family resemblance between surf rock and black metal, the Buzzcocks song plays out until, for the first time in twenty years as a band, M. C. Schmidt and Drew Daniel sing together, harmonizing the words “If you’re picking up on me, then you’ll know just what to do…” Abruptly switching off this romantic closure (Daniel and Schmidt are a couple who recently celebrated their 20th anniversary), the song cuts to dead silence as Schmidt delivers the final lyrics of the record. It’s an emotionally naked and risky ending to one of the strangest records you will hear this year, and a fittingly open-ended conclusion to a sonic experiment in the possibility of purely mental connection.

Designed by Rex Ray, the album’s packaging presents in the liner notes the complete texts of the psychic transcripts which generated each individual song, along with photographs that document the Ganzfeld sessions. The vinyl version of the release also contains a bonus locked groove of white noise so that the home listener can put on the eye-coverings and headphones which accompanied the deluxe edition of ‘The Ganzfeld’ EP and complete the re-enactment of the experimental conditions that created the songs. The result is an artifact which is an art object, a scientific report, a practical joke and a daring pop record.

Release date: Monday, 18/February/2013

1. You
2. Very Large Green Triangles
3. Mental Radio
4. Ross Transcript
5. Teen Paranormal Romance
6. Tunnel
7. In Search of a Lost Faculty
8. Aetheric Vehicle
9. ESP

Upcoming UK shows
19th March 2013 – XOYO, London

More info at Thrilljockey
or HERE

Nothing But Noise – Not Bleeding Red

Posted in News with tags , , , , , , , , , , , , , , on March 19, 2012 by dk

Artist: Nothing But Noise
Title: Not Bleeding Red
Label: Future Noise Music
Released: 16th April 2012

20 years in the making, Nothing But Noise, the trio led by Front 242 mastermind Daniel B and featuring original Front 242 member Dirk Bergen and Erwin Jadot, finally release their debut album ‘Not Bleeding Red’ on April 16th 2012 via UK independent Future Noise Music.

Borne from a deep love of analogue synthesizers and inspired by the likes of Manuel Göttsching, Tangerine Dream’s early albums and Bowie’s Berlin period, ‘Not Bleeding Red’ is an album that fully deserves its place in the long and distinguished history of European synth acts.

Created in Daniel B’s studio the album features an array of rare and vintage analogue synthesizers such as the Moog Voyager, Prophet8, Juno 106 and Arp Odyssey. No nostalgia fest though, the album also explores the possibilities afforded by today’s new breed of analogue synthesizers. It’s lineage might be clear but this is an album that looks forward, respectful of the past but not in its thrall.

Not Bleeding Red’ is an expansive affair, an album in love with sound itself and tracks such as the elegiac nearly 19 minute long ‘CK’ are given time to evolve and develop in stately fashion, unfolding like some grand cosmic ballet.

Uncompromising and haunting, this is an album that conjures up vast vistas of space, both cold and beautiful at the same time. On tracks like ‘Puzzle Cosmique’ and ‘Second Seven’ Nothing but Noise join the dots between the likes of electronic pioneers such as the Radiophonic Workshop through to present day acts such as Sunn O))).

Having honed the Nothing But Noise sound over the course of two decades and a series of critically acclaimed live performances, ‘Not Bleeding Red’ is the culmination of a lifetime’s obsession with synthesized sound and a timeless example of how raw circuit boards can produce something stunningly beautiful.

A fully realised concept ‘Not Bleeding Red’ arrives in sumptuous packaging, complete with accompanying iPad screens and desktop wallpapers, all designed and produced by Daniel B himself. The album will be released digitally, on double vinyl and in a 2CD edition.

Nothing But Noise – Soundcloud

“Brush” Live

“Mass” live

www.nothingbutnoise.be

My Best Fiend Announce Debut Album on Warp (Feb. 21) Stream:Cracking Eggs+Free Download

Posted in News with tags , , , , , , , , , on January 5, 2012 by dk

My Best Fiend
Announce debut album In Ghostlike Fading
February 21, 2012 on Warp Records

Ethereal 5-piece My Best Fiend announce debut album In Ghostlike Fading. The brooklynites’ debut is full of soaring guitars, crackling vocals and beautifully intense lyrics. All of which are able to be experienced live for New Yorkers on January 27th at Glasslands with The Hundred in the Hands.

“…a dark, dramatic local outfit that comes off like a less-cryptic Sonic Youth”
– Time Out New York

Listen to lead track “Cracking Eggs”

 

While the five members of My Best Fiend live in Brooklyn, the music they create resides somewhere else entirely: in a spacious, dreamlike world all its own. The seven tracks on debut album In Ghostlike Fading feel like reveries, mixing gorgeously atmospheric keyboards with grittier guitars and plaintive lead vocals. On hallucinatory opening track, “Higher Palms,” My Best Fiend achieves a kind of modern, Phil Spector-like spirit, a somewhat woozier Wall of Sound. Lead singer Fred Coldwell’s lyrics weave between decadence and penitence, compulsion and confession. A song that Blurt Magazine says is “…easily our favorite new song…”

Listen to and download “Higher Palms” here

My Best Fiend borrows its name from a 1999 documentary that filmmaker Werner Herzog made about his friend, collaborator and occasional nemesis, the late actor Klaus Kinski. It’s a loaded phrase, suggestive of the tightrope balance of emotions, the love and lunacy, required in both art and life – and, besides, it sounds pretty damn cool. The group originated as a duo, with Kris Lindblade, a Kansas native, on Rhodes piano and Coldwell, who hails from Philadelphia, on guitar and vocals. They ultimately grew to a be a five-piece band enlisting the drumming duties of Joseph Noll, keyboardist Paul Jenkins and, most recently, bassist Damian Genuardi, a childhood buddy of Coldwell’s and a veteran of hardcore band The Explosion.

Though Coldwell supplies the lyrics, the evocative approach of My Best Fiend is the result of a genuine group effort. The material first took shape in the band’s Bushwick rehearsal space. It’s not the setting but it’s the close and constant interaction of the players that dictates the sound. “It was intense making this record,” Coldwell recalls. “It was an emotional time for everyone involved. The process of trying to articulate something that is so complex and important to you in a clear way, from getting the tempo right to finding the perfect aural palette, was pretty heavy”.

My Best Fiend’s hypnotic melodies has garnered comparisons to Spiritualized, and the enveloping wall of sound of Jesus and Mary Chain, even hinting at the sonic build and climax of Explosions in the Sky.In Ghostlike Fading has a loose, impressionistic narrative flow – an undercurrent, really – that develops over the course of its nine tracks, culminating in the seven-minute-plus final track, “On the Shores of the Infinite,” where one can finally, absolutely, glimpse some light at the end of the tunnel.

Integrated into the framework of In Ghostlike Fading, highly personal words become utterly universal sentiments. As Coldwell concludes, “It’s a kindred spirit vibe, a way of not feeling so alone, of keeping some of your ghosts alive.”

Tracklisting:
01. Higher Palms
02. Jesus Christ
03. ODVIP
04. One Velvet Day
05. In Ghostlike Fading
06. Cracking Eggs
07. Cool Doves
08. I’m Not Going Anywhere
09. On The Shores of The Infinite

Download:I Break Horses – Hearts (Tom Rowlands RAR Mix)

Posted in News with tags , , , , , , , , , , on June 15, 2011 by dk


Download:I Break Horses – Hearts (Tom Rowlands RAR Mix)

Introducing by Bella Union
Allow us to introduce you to the world of I Break Horses, the nom de plume of Maria Lindén and her musical partner Fredrik Balck. Residing in the Swedish capital of Stockholm, the duo have quietly been crafting the nine tracks that make up debut album Hearts throughout stolen moments gathered up over the past three years.

Songs were written, committed to tape, destroyed. The task of capturing the sonic density of Lindén’s compositions was painstaking. Balck’s lyrics constantly teasing the senses “Lay your cold hand down on my hardest vein” (‘Cancer’) are at times insular, cold to the touch. It’s only when interpreted by Maria’s effortless croon that a warmth is added, like the first rays of sun on a cold winters morning. A balancing act of light vs. dark that reveals a beauty within the darkness.

Perhaps one would think that the results of such endeavours would be somewhat disjointed, with the influences and experiences of 36 months being thrown into the mix, Hearts could almost come across as erratic, unfocused. Thankfully, it’s quite the opposite.

Although heavily (and openly) influenced by My Bloody Valentine, Slowdive, Jesus & Mary Chain et al – Hearts is far from an exercise in typical shoegaze fayre. Lindén, possibly the most diminutive and unassuming person one could ever wish to meet, is transformed on record to appear 10 ft tall: a shit kicker in high-fidelity. And, perhaps where contemporaries would hypnotize the listener into their world by sheer volume alone, I Break Horses lock firmly onto the very thing that makes each and every one of us ‘tick’. Our pulse. Our Hearts. The common thread that links the nine songs together; always present, always beating – the albums strength and presence guided entirely by it.

Coupled with Lindén’s vocal, a gorgeous Scandinavian croon that’s bathed in an ocean of reverb and tremelo, Hearts is quite the sonic experience. It can’t be cast aside via a few meagre adjectives or genre classifications; you have to live it, live inside it. It will soak you up, embrace you and give back what you put in and so much more.

http://www.bellaunion.com

Download: Robag Wruhme -Bud Bukkerl

Posted in News with tags , , , , , , , , , , , , , , , , , , , on May 3, 2011 by dk

You don’t know what to expect with the pampas. There are no guideposts, because there is nowhere to direct to. In fact, you trust your inspiration, which you find in the blowing of the wind and the scratching of the gobbler. It’s an attitude like this, that is used by the label maker DJ Koze and Pampa acts like Jackmate and Isolée to make their contact with House music. It’s an encounter with an open end. When musical clichés are forgotten, they look at the music with children’s eyes.
Download: Robag Wruhme -Bud Bukkerl

More info about new album Thora Vukk on Pampa Records
here

Robag Wruhme – Thora Vukk (Pampa Records)

Posted in News with tags , , , , , , , , , , , , , , on April 21, 2011 by dk


Release Date: April 29t, 2011
You don’t know what to expect with the pampas. There are no guideposts, because there is nowhere to direct to. In fact, you trust your inspiration, which you find in the blowing of the wind and the scratching of the gobbler. It’s an attitude like this, that is used by the label maker DJ Koze and Pampa acts like Jackmate and Isolée to make their contact with House music. It’s an encounter with an open end. When musical clichés are forgotten, they look at the music with children’s eyes.

In January Gabor Schablitzki released his first track for Pampa under his majestic and well known alias Robag Wruhme. Koze knew that behind “Thora Vukk” was way more than what met the eye.  Schablizki remembers: “Stefan (Kozalla) told me : If you’re in the flow right now, then produce an album! So I did, which took me half a year. During this time I worked a lot with piano Rhodes and field recordings. Stefan recognized this phase and plowed me a way to create an album. “Wupp Dek” was done right after “Thora Vukk“ : A rhythmic clangor touched by a smooth pad Schablitzki’s voice sings in a promising way : “Like it, like it, like it”. Again and again you wait for the grooves and the track makes you stay there full of expectations. “It’s a classic opener, it takes forever ’til the bass drum hits. But once it’s there, it’s really there and doesn’t leave that soon. The whole album is found on that track!” Then the rousing grooves and seductive sounds fade away to leave room for something else, something unexpected : Water runs, echo sounds draw a picture of a vast, cold room. Within seconds a pressuring atmosphere evolves that wakes one’s curiosity on a whole different level. That cut, that canyon is the silver lining through the whole album.

The club tracks are separated from each other by six eerie sometimes disturbing “bridges” (Brücke in German). Thora Vukk unites two streams, one bright and one dark, twisted in each other, which cannot be more conflictive, but depend on each others existence. It’s the dark gloominess of those soundscapes that make the clubby melodic tracks shine. After the first bridge, the clanking glasses of the album version of “Thora Vukk” sound as if they were sung with the tongues of angels. Where the percussions of the 12″-Edit spread the party vibe, the album version is enchanting with grace. “Bommsen Böff” with its unexpected break sounds like a postcard out of sound from a past era. Schabliztki explains: “Those three tracks brought the album to life.” After those were done, the creative Eros took possession of him. “I can’t really tell anything about “Pnom Gobal” I was already in the flow when I made that one. In that phase I am unable to interact with the “outside world“ and later I can’t recreate what happened with myself. One’s for sure, I like the track! It sounds so dry. Then there is the deep bass drum. I sang the vocals right into my laptop after a hard week-end with a hint of alcohol left on my vocal chords.” The first three tracks are body music. The gracefully built grooves communicate with every single fibre of your muscles. They pull on your extremities like on the strings of marionette. With „Pnom Global“ the album enters your soul: Adorable strings create an absorbing meanwhile unseizable Pop moment.

Tulpa Ovi” is the only track that was not created during last years’ sessions. It is a remainder from 2004/2005 and was supposed to be part of the Wighnomy Brothers album. The blue prints of the unreleased album were rumbling around in Schablitzki since then. Now it’s getting realized: In contrast to Robag Wruhme’s first album, the new one was set to be “more grounded and filled with melodies and self recorded samples- ideal for the bedroom or passenger cabins of any kind.” Schablitzki created a huge library of sounds like slamming drawers or mid-summer rain recorded in his friends’ spacious kitchen. Those field recordings are no secondary accessories. By setting them into a rhythmic shape they dominate the structure of the tracks. Due to the constant variation the fan of the grooves is opening up every time in a new manner. The rattling sound of dishes in “Prognosen Bomm” is easy to identify, the filtered and transposed starting-click of a neonlight is hard to recognize as such. With the breathtaking hook lines of the second triptych Schablitzki is drawing a wonderful Pop fresco. One is still stunned and Thora Vukk is already at the end. That’s the name of the last track – Schablitzki: “Ende” was giving me headaches, I told Stefan three times: I can’t get it done, but he constantly responded : Stay with it. The idea is good.” Schablitzki asked friends and long time companions to sing a short vocal phrase so he could assemble that into a choir: “Of course only a few amongst them are singers, so it was really hard to mix it down to a whole chorus – but the result is absolutely astonishing, it’s my favorite track of the album.” The charm of the choir is lying in its fragility. “Ende” is a whispered, enchanting good-bye – a lullaby you still hear, when you are already dreaming.

TRACKLIST CD                                                             

1.Wupp Dek                                                                    
2. Thora Vukk                                                                      
3. Brücke Eins                                                                     
4.Bommsen Böff                                                                
5.Brücke Zwei                                                                     
6.Pnom Gobal
7.Brücke Drei                                                                      
8. Tulpa Ovi                                                                          
9. Brücke Vier
10. Prognosen Bomm                                                       
11. Brücke Fünf
12. Ende

EMN:After so many promo releases we have listen today,this one is the best!
We will describe as NU Post Modern Minimal Sound