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dustedmagazine · 7 months

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Dust Volume 10, Number 2

Ballister

It’s a leap year, so we all get an extra 24 hours to listen to February music. Why not try some of these selections from our endless piles of when-i-get-to-its? We’ve got unhinged beatmakers and noise-addled Canadians, smashing, grabbing jazz men and psychedelic post-punk. And really a lot more. February always seems long. This year it’s even more extended. Use your time wisely. Play records.

This month’s contributors include Patrick Masterson, Ian Mathers, Bill Meyer, Bryon Hayes, Tim Clarke, Jennifer Kelly, Jonathan Shaw, Jim Marks and Andrew Forell.

8ruki — POURquoi!! (33 Recordz)

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This ain’t your mother’s TTC. Bilingual Parisian 8ruki takes most of his cues from Atlanta, acting with a whole lotta Whole Lotta Red in mind and squeezing 22 songs into his third album — about right for contemporary hip-hop in this vein, which frequently abandons ideas after less than two minutes and leaves a trail of incomplete sketches in its wake; like others his age, 8ruki has evolved to consider this less a bug (especially for stans forever thirsty for the next “project”) than a feature, the default mode of working. I don’t know what good it would do to comment on a song called “Andrew Tate!!” or “Elon Musk!!” at this stage other than to suggest the guy’s just being (what the French call) a provocateur, but peek elsewhere and you’ll find an unexpected beat switch on “VAris//PIENna,” not to mention a world-shrinking reference to the Golden State Warriors; the high-pitched squeaks of “CA$h!!” and “GIVENCHY MARgiela!”; the string sample and rolling bass of “EDQuer!!”; and a whole lot more to enjoy. Ignore the annoying tendency to turn caps off halfway through a song title; this is a fun record with a lot going on that’s even better if you more than half understand it.

Patrick Masterson

ALL HANDS_MAKE LIGHT — “Darling The Dawn” (Constellation)

The credits for this duo’s second release are deceptively simple; Ariel Engle (La Force, Broken Social Scene) as just “voice” and Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt Zion) as just “noise.” But there are whole worlds contained in voice and noise, and there’s a sonic, emotional, and political complexity here that makes it feel much weightier and more elaborate than the work of any two people. (It also had one of the best song titles of last year in “We Live on a Fucking Planet and Baby That’s the Sun.”) There are distinct songs here, even some refrains, but the whole of “Darling The Dawn” also feels like one long ebbing and flowing movement, culminating in lovely, shattered grandeur with the closing one-two punch of “Anchor”/“Lie Down in Roses Dear.” Shoegaze without guitars (although not without occasional strings or drums, from Jessica Moss on violin and Liam O’Neill, respectively), emotional noise music, kosmiche played in a paupers’ graveyard; it’s hard to know what to call what ALL HANDS_MAKE LIGHT does, other than impressive. Maybe voice and noise is enough description after all.

Ian Mathers

Ballister — Smash And Grab (Aerophonic)

In Chicago, the smash and grab game is strong. People aren’t just breaking windows but driving vehicles through them. Ballister apply that spirit of aggressive enterprise to performance on this memento of saxophonist Dave Rempis, cellist Fred Lonberg-Holm and drummer Paal Nilssen-Love’s reunion at the Catalytic Sound Festival in Chicago in December, 2022. The reeds wail and probe, the strings splinter and scrape, the drums smash rhythm in the air and reshape them. And that’s just in the first few minutes. Over the course of the set, they find ways to apply that assertive spirit to quieter passages and slower passages, fashioning rough thickets and inconsolable laments from the same rough material. While Dusted does not recommend literal application of the album’s title when acquiring it, we confidently predict that you’ll find the record sticking to your fingers, obliging you to return it to the playback device for another go around.

Bill Meyer

Cuneiform Tabs — Cuneiform Tabs (Sloth Mate)

The Sloth Mate label is the psychedelic tendril sprouting from the flourishing vine that is the modern Bay Area post-punk scene. There’s certainly an affiliation with Famous Mammals, Children Maybe Later and others of that ilk, but there’s a tendency to stray from traditional idioms that is unique to the Sloth Mate catalog. Violent Change, headed up by the imprint’s owner Matt Bleyle, is at the center of this sub-underground cabal, coming across like a garage punk band noisily banging out Face to Face-era Kinks jams after gobbling some mind-altering flora. Sterling Mackinnon’s The False Berries on the other hand is a lo-fi ambient electronic project that recalls the early beat-inclusive work of Christian Fennesz. Bleyle and Mackinnon collaborate remotely under the Cuneiform Tabs moniker (the latter musician is based in London, England). The cross-pollination works incredibly well, with the most listenable aspects of each unit rising to the forefront. When it appears, Mackinnon’s Dan Bejar-meets-Marc Bolan warble acts as a foil for Bleyle’s deeper crooning. Similarly, the former’s atmospheric tendencies highlight the beautiful melodies hidden beneath the latter’s noise-baked tunesmithery. Cuneiform Tabs’ psychoactive sonorities require work to decipher, but the endeavor is certainly worthwhile.

Bryon Hayes

Mia Dyberg Trio — Timestretch (Clean Feed)

It’s tempting to take the title of Timestretch ironically, since this Scandinavian trio compacts a lot of action into 43.18. There are 14 tracks, all but three composed by bandleader and alto saxophonist Dyberg. But more likely, it addresses this paradox; while the music never feels like it’s in a hurry, there’s a fair bit going on. Tonally, Dyberg shifts easily between slightly sour and just sweet enough, and her phrasing is mobile, but never busy. On a few unaccompanied tracks, she unburdens herself more directly, mourning for those laid low by conflict. Bassist Asger Thomsen anchors the music with stark, strategically placed notes, and adds dimension with occasional sparse, bowed comments. But it’s drummer Simon Fochhammer who gives the music shape, sometimes with a quick rustle, other times by building an eventful structure around his partners.

Bill Meyer

Kali Malone — All Life Long (Ideologic Organ)

Swedish composer and organist Kali Malone takes a rigorous, structured approach to making music, crafting deliberately pared-back and laser-focused pieces that make the listener acutely aware of the shifting harmonic dynamics within thick layers of sound. This 78-minute album presents an intimidating edifice to a casual listener, but it is organized to allow curious immersion in more easily digestible sections. The longest tracks are organ pieces stretching to around 10 minutes in duration, aching with melancholy. However, there are also shorter vocal and brass pieces that deviate away from held drones into more spacious, overlapping progressions that are, on occasion, almost buoyant. All Life Long feels like music for a less easily distracted age; to be patient enough to bear witness to its full, solemn unfolding requires commitment, but how often do you hear music this awe-inspiringly pure?

Tim Clarke

Michael Nau — Accompany (Karma Chief)

Accompany rides the line between cosmic country and garden variety indie pop, its gentle melancholy enlivened by radiant runs of twanging guitar. “It’s an impossible life to get over,” Michael Nau croons in “Painting a Wall,” sounding beaten down but not quite broken, grounded in the ordinary but yearning for transcendence. Nau, you might remember, fronted the indie chamber pop Page France in the early aughts and the slightly more countrified Cotton Jones in the late ones. This fifth solo album hits its peak in plaintive “Shape-Shifting,” where an otherworldly echo sheathes both Nau’s voice and the rumble of piano, and a glow suffuses everything, making it more.

Jennifer Kelly

Note — Impressions of a Still Life EP (The North Quarter)

Manchester’s Note hasn’t been around all that long — the earliest traces of his Soundcloud only reach back to October of 2021 — but just within the last year, he’s demonstrated a knack for fusing airy, sultry R&B moods with the breaks n’ bass of UK dance music’s storied past. Late January’s Impressions of a Still Life EP out via The North Quarter imprint, helmed by Dutch producer Lenzman (himself a veteran of labels like Metalheadz, Nu-Directions and Fokus), is another fine example: Aside from the stirring “Vespertine” that debuted last summer and features poet and spoken word artist Aya Dia, plus “Cold Nights” that came in November, Note fills out the EP with three additional songs of varying speed and mood. The best might be “EVR,” which again features a vocalist, this time singer-songwriter Feeney. Employing deep bass, fluttering percussion and featherweight piano flourishes, the production here is top-notch Brit-inflected R&D&B. Watch this space.

Patrick Masterson

Plaza — Adult Panic (Self-Release)

The novelist and rock critic (and one-time Dusted writer) Michael Fournier spent the pandemic on Cape Cod with his wife Becca, he learning the bass and she the drums. Adult Panic collects 11 spiked and minimalist cuts from this experiment, almost entirely instrumental (there’s a shouted refrain on “(The Real) Mr. Hotdog”) and rife with lockdown agitation. The drums are pretty basic, a skitter of high-hat with snare on the upbeats, but the bass parts wander and jitter intriguingly. The title track has a Slint-ish post-rock open-ended-ness, repeated riffs left to linger and shift in the air. “The Tomb of Santa Claus” moves faster and more insistently, letting surf-like bent notes flare from rickety architectures. The whole experience is rather dour and claustrophobic, right up until the end when “(The Real) Mr. Hotdog” clatters into earshot and the two Fourniers seem to be, finally, having some fun.

Jennifer Kelly

Caroline Polachek — Desire, I Want to Turn to You: Everasking Edition (Perpetual Novice)

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I’m not gonna sit here and tell you all about how big Caroline Polachek’s 2023 was; if you were paying any attention to the conversation, you already know Desire, I Want to Turn to You was universally, justifiably acclaimed. The Everasking Edition tacks on seven additional songs, five fresh out the box, one an acoustic rendition of “I Believe” and one a cover. Regarding the latter: Anyone paying attention to the machinations of the modern music business will know the name Jaime Brooks, who was half of Elite Gymnastics and now works as Default Genders in addition to unflinching commentary on whatever the fuck is going on with Billboard charts and the ugly realities of how no one’s getting Spotify royalties. “Coma” was originally theirs from Main Pop Girl 2019, a beautiful, delicately skipping adrenaline rush of a love song. Polachek doesn’t radically reinvent what’s already great; instead, she leaves the music alone and takes ownership of the rendition with her lower pitch and breathy delivery. A heartfelt nightcap on an imperial year, you couldn’t have scripted that Valentine’s Day release any more perfectly.

Patrick Masterson

Proton Burst — La Nuit (I, Voidhanger)

When the wife of storied French comics artist Phillipe Druillet died in 1975, Druillet poured his grief and rage into an idiosyncratic graphic narrative, La Nuit (1976); it’s full of mutant biker gangs, Druillet’s signature fever-dream architectural forms and hair-raising violence. French thrash metal weirdos Proton Burst loved the book, and in 1994 they produced an album-length project, part response, part soundtrack to the comic’s maniacal intensities. I, Voidhanger has given that Proton Burst record a deluxe reissue, including the original music, an extended live performance of it from 1995 and a booklet including eye-popping images from Druillet’s comic and an essay. If you’re in this for the music, the real treat is the live set, which is nearly as unhinged as Druillet’s illustrations. The band rages, rants, foments and froths—and is that a harp? Who knows. Like the original graphic narrative, what matters here is the volatility of the feeling tone, more so than any sense-making (or sonic) throughway. Lose yourself in the violence of it. Maybe that feeling of dislocation gets closest to the irrational agony of loss Druillet drew La Nuit in the teeth of, some 50 years ago.

Jonathan Shaw

Mariano Rodriguez — Exodo (self-released)

Mariano Rodriguez is an Argentinian guitarist in the Takoma school tradition with a large and high-quality back catalog. He often focuses on playing with a slide but is equally adept at playing without one and sometimes incorporates experiments with sound, as on Huesos Secos (2020), and fuller traditional instrumentation, as on Praise the Road (2017), into his recordings. Exodo, released late last year, is a set of mainly guitar soli. The playing is typically inspired, impressive without being flashy, and the compositions are tuneful and well-developed. Included is a 12-string anthem (“Lazaro”), Rodriguez’s signature slide work (such as on “The Desterrados”), bluesy 6-string meditations (“Diaspora”), and a couple of experiments with studio effects and overdubs (“The River and the Blind”) and drone (“Mother of the Road”). Over all, Exodo is a fine set of tunes that flows cohesively.

Jim Marks

Twin Tribes — Pendulum (Beso de Muerte Records)

Pendulum by Twin Tribes

It’s unclear precisely which tribes are twinned here, but if the music on Pendulum is any indication, it’s the deathrock freaks (with their long-standing romance of moldering, undead bodies) and the coldwave kids (who like to dance in place, furiously, disaffectedly, bodies frosty for entirely different reasons). Twin Tribes hails from the bastion of moody electronic music that is Brownville, TX, and somehow these Latinx fellows have managed to survive their local cultural climate long enough to release three LPs, a live tape and a whole bunch of singles and remixes. Pendulum refines the essential sonic template laid down in 2019’s Ceremony: tuneful, shimmery synths; snappy, brittle rhythm tracks; baritone vocals about zombies at the disco. If that sounds like fun, it surely is—but you’ll have a hard time convincing the kids in black eye makeup to crack anything like a smile. This reviewer can’t help it. The songs are too good, the vibes are way too goofily gravid. Dance, you flesh-eating misfits, dance.

Jonathan Shaw

Volksempfänger — Attack of Sound (Cardinal Fuzz / Feeding Tube)

Attack Of Sound by Volksempfänger

Attack of Sound’s swirling boy-girl harmonies instantly call to mind shoegaze luminaries Slowdive, but Volksempfänger’s noise-strewn guitar latticework is more aligned with The Jesus and Mary Chain. Furthermore, the Dutch duo’s melodic flavor is as sweet as 1960s AM radio. Ajay Saggar (Bhajan Bhoy) and Holly Habstritt combine these disparate sonic strands to create tidy noise pop gems, which they wrap in Phil Spector sonics. The wall of sound approach imbues each song with a pulsating thrum. This is the beating heart of their sound, underpinning the delightful vocal harmonies, shimmering guitar melodies, and waves of coruscating feedback. The pair attains a balance between saccharine and savory aromas: dream pop wistfulness (“What the Girl Does” and “Your Gonna Lose Hard”) interchanges with propulsive garage rock (“How We Made It Seem” and “Damned & Drowned”). The album closes out with the kaleidoscopic psychedelia of “You’ve Lost It,” introducing yet another aspect of Volksempfänger’s oeuvre. This last-minute shift in mood adds a quirky sense of quietude to an otherwise exhilarating journey.

Bryon Hayes

Ian Wellman — The Night the Stars Fell (Ash International)

The Night The Stars Fell by Ian Wellman

Recorded in the fire swept forests and deserts of Southern California, Ian Wellman’s The Night the Stars Fell plays like a Disintegration Loops for natural disasters. Wellman’s treated field recordings encourage the listener to subsume themselves in the natural rhythm of the wind that fanned the wildfires much like Basinski’s seminal work. While Disintegration Loops drew its potency from the association with 9/11, Wellman’s project is a more deliberate meditation on destruction. He coats his field recordings of deteriorating human structures — railcars, homes — and landscape ambience with short-wave radio static and decaying tape loops. There’s a concentration on both the violence of the destruction and the desolation of the aftermath. Huge swells of sound are interspersed with howls of wind, coruscating swathes of static and the creak and crank of burnt timber both natural and manufactured. The Night the Stars Fell is an absorbing evocation of nature’s power.

Andrew Forell

Wharfer — Postboxing (Self-Release)

Postboxing by Wharfer

Wharfer’s Kyle Wall has long made the kind of shadowy, pared down indie-folk singer/songwriter music that elicits comparisons to Bill Callahan and Will Oldham. This time out, however, he ditches vocals and verse chorus structure entirely and enlists Chuck Johnson (pedal steel), Ian O’Hara (acoustic bass) and Duncan Wickel (violin) for a set of ambient, piano-forward reflections. These tracks are quietly riveting as, like “Wishing Well in White Noise,” the blend the chalky, elegiac tones of the piano’s upper registers with limpid pools of sustained pedal steel. Not quite ambient, the piece swirls and rounds to its own subtle rhythms, a faint thunk of bass ordering it forward. “Alto” brings the long, bowed vibrations of violin into the mix, then a sprightly sprinkle of pizzicato strings. And in the title track, a ritual voice flickers in and out of focus, but only as tone and texture. The piano carries the narrative, as string washes build and bass notes drop in and seagulls cry in the distance. It’s a subtle but powerful voice on its own, and you don’t miss the words one bit.

Jennifer Kelly

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doomandgloomfromthetomb · 10 months

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Prairiewolf - Lagniappe Session (Deluxe Edition)

A couple months back, I let y'all know about Prairiewolf's Lagniappe Session over on Aquarium Drunkard, featuring covers of Yo La Tengo and Eddie Harris/Melvin Jackson. Now, that session is available as a pay-what-you-want download on the Bandcamp. Lossless, if you're a FLAC freak. But wait, there's more! If you're a true sicko, we've added the 34-minute unedited version of "Silver Cycles." Deluxe! We thought we'd post this one today, the first day of Hanukkah, because of that Yo La Tengo synergy.

It's been a fun year for Prairiewolf. We sold out of two vinyl pressings of our debut (CDs are still available, dudes!); we played a lot of shows, each one of them radically different from the next; we hung out with a lot of cool Colorado music lovers and musicians; we even got started on LP #2! Thanks to everyone who bought a record, shared a bill, set up a show, ran sound, listened ... you are the real heroes.

We even got some press. Always fun to see how people respond to that crazy Prairiewolf sound! Here's a smattering of semi-raves.

Raven Sings The Blues: The album’s most appealing endeavor is the erosion of barriers between the slow motion tessellations of spiritual jazz and the pastoral hues of Kosmiche.

The Slow Music Movement: Sounds like it was recorded in a Hawaiian beach bar & someone seems to have slipped a tab into the easy listening communal water supply.

Mojo: Faintly psychedelicised tiki bar easy listening.

Petal Motel: The entire record is monumental, heady and meditative and rambling yet intentional. More hook and less wook – although there’s truly something for everyone here whether you’re into spiritual jazz, electronic ambient, kosmiche jam, and beyond.

M. Sage: Spaghetti prairie jams for astral ranch hands.

The Boulder Weekly: A vibe-forward feast of texture and rhythm taking listeners on a laid-back journey to the far reaches of the universe.

Tablet: Will it sound a little like elevator music to some? Sure. But this is an elevator you could live inside.

Aquarium Drunkard: Listen and you’ll hear it…the howl of the Prairiewolf. On their self-titled debut, guitarist Stefan Beck (Golden Brown), keyboardist and synthesist Jeremy Erwin (The Heat Warps), and bassist Tyler Wilcox (who Aquarium Drunkard and Doom and Gloom from the Tomb readers know well) explore kosmische drifts, nocturnal guitar tangles, and expressively jazzy passages.

Spectrum: Music for a chill-out tent inside a biosphere, retro sounds for an alternate future, an intriguing mélange of artificial and natural, machine and human.

The Long Play: Exotica/ blunted Americana wafts, insular space rock and mountain-side streams.

#prairiewolf #aquarium drunkard

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inner-islands · 2 years

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Nimbudala - Peace Rock

“Peace Rock” is Steve Targo’s second outing as Nimbudala, following last year’s “Universal Compassion”. He carries on with the intentions that inspired the Nimbudala project: looking less towards the natural world and more toward the human experience, widening the instrumental palette, and embracing a more diverse array of sonic influences. This work comes from a love and appreciation of Jazz, Kosmiche, Psychedelic, and New Age musics. And while one can hear those touchstones, these pieces still manage to sound like no other work besides the endeavors of Steve Targo. These tracks diverge from those on “Universal Compassion” in that they are much looser and less cyclical. They have a meandering and dynamic quality that is enhanced by their duration, allowing the listener to settle in and become absorbed in these meditations and freak outs. The album opens with the relatively mellow ebbs and flows of “Radical Expansions of Love”, setting the scene and inviting us into the space: an ever-growing fanfare of percussion playing call and response with spaced out synth melodies. “Peace Rock I” takes us to the other end of the spectrum with an insistent groove, layers of weaving synths, and a constant shimmer of bells, which all cohere into an ecstatic blend. “Peace Rock II” finds itself resting upon more relaxed rhythms with adventurous interpretations of repeating melodic figures, bending and warping around the beat for a hazy ride. “Nan Midol” closes the album with fiery drumming that steadily calms into a more sedate rhythm against an assemblage of interlocking synth lines to gently guide us to the conclusion of the journey.

#inner islands #nimbudala

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nnjzz · 2 years

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HIROKO KOMIYA & LENA CIRCUS + PIERRE PIERRE PIERRE + RAVI SHARDJA + CREAM WHITE

SAMEDI 04.02 HIROKO KOMIYA & LENA CIRCUS jp / fr CREAM WHITE us PIERRE PIERRE PIERRE fr RAVI SHARDJA fr

au Petit Café 14, bd de Strasbourg 75010 M° Strasbourg St Denis

ATTENTION !! EARLY SHOW !! 19:00 portes 19:30 action ! 22:30 fin concerts... .. MERCI pour votre compréhension... ..

PA.F. 6€

HIROKO KOMIYA & LENA CIRCUSjp / fr

Nouvelle rencontre entre lc trio parisien de pourvoyeurs d'excellents jams psyché-kosmiche de haut vol ( depuis une bonne vingtaine d'années... RESPECT! ) & une de leurs sœurs d'armes de longue date.

Formé en 1999 par Antoine Letellier (guitares, instruments à vent) & Nicolas Moulin (guitare, électroniques), LENA CIRCUS est d'abord un duo

(avec à son actif neuf EPs publiés à un rythme mensuel, sur divers labels indépendants), avant d'être rejoint en 2003 par Guillaume Arbonville (batterie, percussions).

Le trio enregistre depuis plusieurs, joue en France et en Europe, fait évoluer sa musique au gré des rencontres & collaborations: danse butô, vidéastes, ciné-concerts...

Suscitant des comparaisons avec les expérimentations de Sun Ra, Don Cherry ou Taj Mahal Travellers, leur univers, fruit d'une communication quasi-télépathique entre les musiciens, fait preuve d'une alchimie du son bien particulière, explorant les recoins d'un paysage tout en finesse et en tension permanente.

Parmi leurs acolytes de prédilection et de longue date HIROKO KOMIYA occupe une place de choix, ayant enregistré avec le trio deux albums déjà: "Toki No Arika" en 2008 et le tout récent " Five Degrees of Frost" publié en 2012.

"(...) percussionniste qui évolue également dans l'univers butô, après avoir étudié la percussion auprès d'un jouer de table indien (...)

son approche primale de la voix et sa panoplie des percussions, objets et sons naturels divers accentuent les reliefs et les strates des espaces creusés par le trio (...)"

(Stéphane Fougère, TRAVERSES n° 24)

"(...) assise sur un tapis, environnée d'objets (saladier de métal où faire tintinnabuler l'eau, lamelles de bois, galets..) d'instruments jouets (cliquets, sifflets), de micros"

HIROKO KOMIYA joue des objets et utilise sa voix. Elle se sert d'eau et de pierres, de multiples petites percussions et flutes du monde entier pour exprimer une musique très personnelle.

Installée en Europe depuis 2002, elle joue et acompagne les performances de la compagnie de danse d'Atsuki Takenouchi "Globe JINEN".

"Jouée par une formation free-jazz au demeurant non violente, cette musique est hypnotique, forçant l'attention vers une jubilatoire tension de l'écoute, où les objets sonores pétillent, irradient.

Hiroko Komiya, qui double les sons d'un geste, est une partenaire parfaite : elle malaxe et fait crisser des coquillages dans une main, tapote des tringles, froisse des fibres, jouant de l'instrument et du son comme le chat

avec un caillou, une souris ou une pelote de laine. La matière sonore extrêmement dense ets toujours sensuelle, ce qui rend très amicale une trame pourtant complexe."

(Marteen B., Mille Feuille)

En 2019 elle a publié EAU NOUVELLE, un album remarquable produit par Ramuntcho Matta.

https://www.youtube.com/watch?v=uzfjO1vPW-0

https://lenacircus.bandcamp.com/album/lena-circus-hiroko-komiya-five-degrees-of-frost-partycul-system-records-2012

https://lenacircus.bandcamp.com/album/lena-circus-hiroko-komiya-toki-no-arika-2008

CREAM WHITE us rennes

Andy Armstrong joue avec ordinateur, idées, guitare, harmonica(s), jongle avec samples et jubilation et fait des collages des plus réjouissants et loufoques avec ses deux mains, une souris, son esprit et autres accessoires.

NB / A fait - "entre autres " - partie de deux super groupes parisiens ( CITY BAND, COKE ASIAN... ) avant son " exil " breton actuel.

" Cream White a commencé dans l'Illinois en tant que élec trique Country Band en 2005 et continue aujourd'hui comme projet solo de collages audio tentaculaires et déroutants sur k7 et radio. "

https://creamwhite.bandcamp.com/album/weekend-in-the-tower-aug-21

https://creamwhite.bandcamp.com/album/channel

https://creamwhite.bandcamp.com/album/peripherique-bootlegs

https://creamwhite.bandcamp.com/album/santwann

https://creamwhite.bandcamp.com/album/spillway

PIERRE PIERRE PIERRE fr nantes

Artiste autodidacte intéressé par les matériels et situations dysfonctionnelles. Joue avec des instruments électroniques faits-main, des appareils hifi domestiques ou des langages de programmation informatique dédiés à la synthèse sonore.

A collaboré entre autre avec Clinch (AV2), Will Guthrie (WAV2), Rui Leal (RRR), Mariane Moula (Prana Cotta)…

Membre du feu CABLE#, festival de musiques expérimentales, et Mire, association de cinéma expérimental, à Nantes. PPP organise des évènements de manière sporadique sous le nom de 50hz.club … (Instants Ch.)

Paysages sonores fictifs, field-recording fantasmés, musique d’ambiances impossibles, aberrations acoustiques, l’Excursion au pays des Digiblobs est un live de musique électronique à écouter dans le noir.

Mélange de son de synthèse codés à la main et d’enregistrements lo-fi, il n’y a rien à voir sur scène, tout est dans la tête et les oreilles.

Bientôt une cassette chez Biome Tapes (Bruxelles), réalisée à partir d’enregistrements live de juin 2022 à l’Atelier Mimesis (Lyon) et aux Instants Chavirés (Montreuil).

https://www.youtube.com/watch?v=1HPWJ79-2pc&t=28s

https://50hz.club/.../solo-excursions-au-pays-des-digiblobs/

RAVI SHARDJA fr vincennes

Présentera “ Modalités(pour basse, et amplificateur” R.Shardja est un compositeur, expérimentateur, improvisateur, bassiste, platiniste, flutiste murali, etDJ / animateur de l4émission Epsilonia sur la FM à Paris depuis 2003.

En 1989, il est l4un des fondateurs des groupes français GOLOKA, devenu GOL, puis en 2014 de Couloir Gang.

Il fait partie du groupe franco-italien Oleo Strut, et depuis 2017 il a rejoint avec sa basse Art & Technique.

Fondateur du label Suara ( qui deviendra Suara Papua). A joué ou enregistré des disques avec Ghédalia Tazartès, Charlemagne Palestine, Charles Hayward, Tony Allen, Jello Biafra, BrunhildFerrari, Dave Nuss, Mike Quantius, Iancu Dumitrescu & Ana Maria Avram, Günter Schickert,GOL, Couloir Gang, Oleo Strut, Art & Technique ... et les labels Grautag, Planam, Dokidoki...

https://www.youtube.com/watch?v=lOV_s4pVIUo&t=1290s

https://www.youtube.com/watch?v=xmUO3InmCWA&t=269s

https://soundcloud.com/ravi-shardja

Fly - Jo L’Indien

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weisskalt · 2 years

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Synth explorations from Föllakzoid founder & musician Juan Pablo Rodríguez at the early stage 2011-2012, spreading mass sounds through space

"Special Cases spills over with low-key majesty and purpose. From the vantage point of the future where his band have cornered a niche within modern psychedelia, it evinces JPR as a rare shaman of kosmiche savvy." — Brian Coney, TheQuietus

Recording and mixing by J.P.R.G. during 2012-2013 at BYM Records Mastering: BYM Records Art design Tomás Olivos Gear: Roland JD800, Roland SPX404, Samick guitar Released originally on cassette via ETCS Records 2014 © Weisskalt Records 2020 Licensed by Special Cases ℗ Special Cases

#special cases #weisskalt #weisskalt records #juan pablo rodriguez #föllakzoid #bym records #etcs records

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burlveneer-music · 2 years

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Nimbudala - Peace Rock - four longform meditative electro-acoustic jams (Inner Islands)

#Nimbudala #meditative #synthesizer #electronic #new age #steve targo #2022 #inner islands #folk

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theeverlastingshade · 2 months

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AMAMA- Crumb

Within the broad, well-trodden world of psychedelic music, artists tend to go one of two routes; they begin traversing stranger, more far-flung sonic realms, or they compress their wide-eyed sense of wonder into more digestible packages that only hint at something beyond the temporal. The path of the New York-based four piece psychedelic rock band Crumb has unfolded somewhere down the middle, with the band showcasing a bolder, more ambitious level of compositional acumen with each subsequent record while simultaneously progressing into a more approachable band capable of writing sharper hooks and more distinctive melodies. Crumb’s first two LPs, Jinx and Ice Melt, respectively, are strong realizations of their versatile psych pop sound that encompass elements of jazz, kosmiche, and trip-hop without ever quite exceeding their depth, and they suggested that Crumb hasn’t come close to saying all they have to say. On their 3rd and best LP, AMAMA, Crumb continue to evolve beyond the reductive Stereolab and Broadcast comparisons into a band with an idiosyncratic allure completely unto themselves.

The general sound of AMAMA probably won’t come as a surprise to anyone who’s followed Crumb up to this point (chunky, gated drums, effects-laden guitars and bass, an abundance of disorienting texture, frontwoman Lila Ramani’s mesmerizing vocals, a creeping sense of unease, etc) but there are still plenty of satisfying new developments that emerge throughout. Whether it’s the frantic cymbal storms that barrel into the mix between the deep organ swells on “Crushxd”, the drum and bass chug along with Lila’s lovely vocal melody on “Dust Bunny”, or the way that “The Bug” achieves liftoff through its dense, effects-heavy guitar solo, Crumb are feeling themselves a little more than usual this time around, and their bold choices add plenty of distinctive flare to what are already dynamic psychedelic pop songs. While AMAMA’s highlights have these dynamic embellishments in spades, it’s hardly relegated to these. Even something as seemingly inconsequential and tossed off as the “Nightly News” interlude is nonetheless a superb sequencing inclusion that takes us from the livelier first half into the record’s more spellbinding second half. Crumb’s sonic parameters haven’t really expanded on AMAMA so much as the band are writing and playing with more ingenuity within them.

While plenty of bands traffic in druggy, downtempo music that prioritizes “vibes” above all else, Crumb have retained a distinctive edge for many reasons, but in large part because of their shrewd songwriting that subverts any preconceived notion of where a song is going, or supposed to go. These songs aren’t necessarily challenging, but they are gleefully unorthodox, unfolding according to their own sense of logic while still exuding a strong pop sensibility. Accordingly, the best songs on AMAMA feel like logical extensions of their sound while simultaneously unfolding like excursions into the unknown. The aforementioned “The Bug” in particular really showcases that sense of limitless possibility through the driving guitar solo taking liftoff well after the music had settled into a dreamy, mid-tempo, low-end shuffle. “(Alone) In Brussels” snaps out of its lush keyboard reverie for a closing suite replete with throbbing bass, chintzy 16 bit synths, and colorful panned effects that imbue the music with quite a bit of additional, immensely vibrant color, while the first half of closer “XXX” is a slow-building breather that tees up the second half for a vivid collage of triumphant guitar work, bright washes of synth, and a massive, strutting snare beat. On AMAMA, the thrill of hearing how Crumb’s songs unfold remains a distinctive, increasingly satisfying pleasure of their music.

Lyrics aren’t the strongest selling point for Crumb, not because they’re lazy or uninspired, but because everything about the actual music itself is such an easy draw. But Lila’s writing has always been imbued with an imaginative, thoughtful touch that pairs superbly with the music Crumb make, and on AMAMA her vibrant imagery reaches a new peak. On “The Bug” Lila references the titular creature as anxiety personified “Two bees can change/The motions still the same/But my wings won’t open wide/ While the bug stays on my mind” while “Dust Bunny” uses the titular object as a stand-in for the gnawing feeling of spinning one’s wheels in place for years “How long ‘til it comes?/Pull the weight off my tongue/In the air above, won’t you watch it erupt/And the dust cover up what it was”. “Genie” finds Lila imaging herself as a genie who begins to question her sense of self and spiral down an existential tunnel “All these roads end up at you/Drive these roads and pass right through/The places that I’ve been before/There’s nothing left for me anymore” while “Sleep Talk” imagines sleep as someone who follows you around once you’ve woken up “She’s movin’ into your home/With all her things/She let go of the past/To be with you”. Lila’s subject matter superbly compliments these richly-rendered compositions while still being capable of standing just as strong without the sonic accompaniment. On AMAMA, Crumb’s immersive, unpretentious music remains a beacon of eclecticism that sounds increasingly unlike anyone but themselves.

Essentials: “The Bug”, “Crushxd”, “Dust Bunny”

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