Stephanos Vassiliadis ‎– En Piry / Bacchae

ギリシャのエレクトロ・アコースティック音楽の先駆者の1人ステファノス・バシリアディス(b.1933 – 。D 2004)の未発表曲。彼はヤニス・クセナキスと一緒に、1979年に現代音楽研究センター(CMRC)を設立、2004年に亡くなるまで、その作品の多くは未完成または断片化された電気音響作品、および多数の子供の歌を含む文書化されていない演劇のための作品で構成されている。 Vassiliadisはまた重要な教授法とイニシアチブのいくつかはギリシャの音楽教育システムを改革した。

EN PYRI (1973)
Recorded in 1976 by Andreas Rodousakis on double-bass and the composer himself on the mixing desk of Radio Sweden Studio in Stockholm, En Pyri presents a previously unreleased version of Stephanos Vassiliadis’s composition for tape and double-bass written in the memory of Jani Christou. En Pyri was composed three years after a multi-fatal car crash that caused the untimely deaths of Anastasia Vassiliadi (first wife of Stephanos Vassiliadis), Jani Christou (acclaimed composer, close friend and collaborator of Stephanos Vassiliadis) and of Christous’s wife Theresia Christou Choremi. The title En Pyri, translating as In Fire, comes from the First Epistle of the Corinthians “..for the day will disclose it, because it is revealed in fire..”, referring to that what remains after death, or in the composer’s words: “man’s song-creation is the only thing that can withstand and overcome destruction”.

The fire is clearly pictured during a particularly long climax starting midway to the end of the piece. The dramatic aspect of this spectrally dense section is even stronger during live shows, with the performer centre-stage fiercely playing double-bass, but failing to be heard over the full-range audio of the 8-track tape. This staged element of En Pyri is inevitably lost with the reproduction of this recording, but the audio alone carries a heavy load. Sounds as if written out of total need and almost physical necessity to deal with death and loss. At the end of the composition, while the performer is still onstage, a quiet tone is “revealed” and held for a few minutes signifying that what remains; that what is “revealed in fire”.
In most performances of En Pyri, Vassiliadis was on the mixing desk. According to statements of his close friends and collaborators, he would gradually increase the level of the 8-track tape to the point he could physically feel the sound on his body. Needless to say, playback of this track in maximum volume is highly recommended.

Stephanos Vassiliadis – Bacchae
Bacchae was written for a production of Euripide’s tragedy The Bacchae directed [and choreographed] by the distinguished choreographer Zouzou Nikoloudi. This particular play was part of the University of California Intercampus Cultural Exchange Program and was never performed in Greece. From the 25th of September to the 3rd of October 1974, it was staged seven times in different campuses of the University of California (Santa
Barbara, Irvine, San Diego, Riverside, Davis, Santa Cruz, Berkeley) . These seven shows were to become the only occasions this composition was presented to the public.
Bacchae seems to be Vassiliadi’s first attempt in bringing together his background in electroacoustic music with the music he grew up to. He beautifully achieves this by juxtaposing modular synthesizer tones with samples of greek traditional music from his collection of archival recordings. These two elements ebb and flow throughout the composition, at times becoming indistinguishable from each other. The manner in which Vassiliadis mixes acoustic and synth drones together resembles electronic music of following decades. Developed gradually over a duration of 23 minutes of uninterrupted and texturally thick audio, Bacchae is a kind of proto-ambient, folk-drone electroacoustic piece, luckily rediscovered in the archipelago of recorded music.
Stephanos Vassiliadis – En Pyri

Stephanos Vassiliadis:
Greek contemporary music composer and teacher (b. 1933 – d. 2004).

Holotype Editions:
Experimental music label based in Athens.

Stephanos Vassiliadis ‎– En Piry / Bacchae
Holotype Editions ‎– HOLO6
Vinyl, LP
Aug 2017
Abstract, Experimental, Drone, Musique Concrète
A En Piry
Double Bass – Ανδρέας Ροδουσάκης
B Bacchae
Mastered by Νίκος Λάβδας
Mastered at Kiwi Sound Studio
Recorded at Sveriges Radios Studios
Artwork [Insert Artwork] – Stephanos Andreou
Design, Layout –
Photography by [Cover Photo] – S.K.
– En Pyri (1973)) –
Recorded in 1976 by Andreas Rodousakis on double-bass and the composer himself on the mixing desk of Radio Sweden Studio in Stockholm.
– Bacchae (1974) –
Bacchae was written for a production of Euripide’s tragedy “The Bacchae” directed (and choreographed) by the distinguished choreographer Zouzou Nikoloudi.
Mastering from the original tapes by Nikos Lavdas at Kiwi, Athens, 2017


STL ‎– Untitled

Blundar is a label shrouded in mystery, although it seems aligned with artists like Lowtec and those orbiting crews like Smallville. The latest transmission on the dusty house imprint comes from STL, whose disheveled sounds is a natural fit for what has come before on Blundar. “Track 1” peers through a thick haze of smoke, exhaling pads and drones and keeping the bass pulsing throughout. The rest of the EP is given over to experimental and ambient tones, with the second track on Side B being an especially arresting piece loaded with melancholic contemplation. It’s another strong addition to the Blundar repertoire, and another example of STL’s skills and adaptability in the studio.

jakob jennerholm hammar
Upcoming STL release on Blundar.
Visuals built by Jakob Jennerholm Hammar

Stephan Laubner
The mysterious Harz-based producer breaks his silent state: RA’s Todd L. Burns tracks down Stephan Laubner for his first English language interview, finding that there’s much more than house music to talk about with the multi-faceted artist and label owner.


STL ‎– Untitled
blundar ‎– BLUNDAR3
Vinyl, 12″, 33 ⅓ RPM, EP, Stereo
12 Sep 2017
Electronic, Non-Music
Field Recording, Abstract, Ambient, Dub Techno
A1 Untitled
A2 Untitled
B1 Untitled
B2 Untitled

Ben Frost ‎– Threshold Of Faith

以前のレコードはフロストがその時点で生きていた場所(オーストラリア、アイスランド)で書かれていたのに対し、この「Threshold of Faith」と同時期に発表された「The Centre Cannot Hold」は、スティーブ・アルビニとの共同録音で、Electric Audioのスタジオで行なわれた。シカゴの北側の端に隠れて、2人は2016年の夏に10日間スパートンのライブ・パフォーマンスをテープに編集した。オープニング・トラック「Threshold of Faith」は、残響のある壁やその周囲の文脈といった特定の場所の感覚のための、以前の作品の具体的で具象的な手段との変容がみられる。不安定で、過負荷になり、崩壊寸前の広大なシステムは、洞窟の中のスタジオ内のアンプのアレイに供給され、ガラスの後ろで、アルビニはこれをテープにして断続的に剃刀で切って2時間以上の音楽を録音した。 Threshold Of Faith EPは、これらのセッションからの最初のリリース。

「Frostは、Eurydice’s Heel(Hades)の神経を痛めつけた弦のコンボリューションから、EPの残りの部分に亘ってタイトルトラックの電気的な暴風雨と深度の電荷のデトネーションを入力し、黙示録的なミューズを狩り、ビンゴタウンで死んでないビートと、Threshold Of Faith(信仰の発端/信仰の限界?(あなた自身の血)と震えて、激烈なトルクとの色彩的な部屋のヴィジョンへ。フィナーレ・クライマックス、重い無神論的な無秩序。
アルバムの破裂した流れと一体化したオール・ザット・ユア・ラブ・ウィル・エヴェンシー(Albini Swing Version)は、マスターエンジニアの静かなダイナミックな瞬間を捉え、いつでも壊れてしまう激しくも明るい淡いトーンの雲を描く。JanusメンバーとBjörkのリミキサーであるLoticは、チノアモビの夢の旋律のような渦巻きのドラムロールで同じ要素を送っている( Boomkat Product Review:) 」

Ben Frost – Threshold Of Faith (Official Audio)

Ben Frost
Threshold of Faith EP
Assisted by Steve Albini, the Australian-born, Iceland-based electronic musician summons a gargantuan, apocalyptic din—one that is occasionally tripped up by its own bombast.
Threshold of Faith, the new EP from the Australian-born, Iceland-based composer Ben Frost, opens with a cheeky bit of studio debris. Before slamming you with exquisitely rendered kick drums and buzzing, synthetic avalanches, we hear something more quotidian: an engineer (presumably Steve Albini, who recorded Threshold), letting Frost know that “we’re rolling.” Like the four clicks from the drummer or a count-in caught on a room mic, this bit of ephemera is the type of thing one encounters on countless rock records, often left in as a point of scrappy pride. One does not expect it from Frost, though, an artist whose reputation rests on his immaculate, austere touch.

It’s an interesting moment—you might not assume this music was even recorded in a studio, much less with microphones. Frost’s textures live on the cutting edge of the digital, often overlapping with the gargantuan palettes so popular in our post-Michael Bay Hollywood. Taken at face value, Threshold sounds like it could exist entirely in the computer, an object expertly constructed in the endless world of software automation. But when you consider his obsession with the physicality of sound, its presence, depth, and force, the pairing with Albini makes sense. Both as an engineer and a musician, Albini is an icon for a type of inscrutable purity, as arresting as it is emotionally cooled. Ben Frost fans here may nod their heads in recognition.

Once the music begins, though, it’s impossible to discern, or even care, how it was made. Frost has a knack for grabbing attention, and you can’t ignore the lurching assault of the opening title track, which heaves, crumbles, and explodes with enough bravado to soundtrack the apocalypse. I couldn’t help but be reminded of [this infamous Godzilla trailer recut with a Wolf Eyes song; Frost would sound great in a monster movie. But as the piece unfolds, new layers emerge. Over six-and-a-half minutes, “Threshold of Faith” descends into its own storm, moving from heroic vistas into a garbled, snow-blinded melee. Distant choral pads, a glistening upper-register sheen, submerged piano, and groaning harmonies all stack up into a geologic crescendo that extends into infinity. “Eurydice’s Heel” continues this mood by trimming some layers and opening up space. The recurring bass dives call back to Jóhann Jóhannsson’s soundtrack for Sicario, while the cavernous drones on top could have been made in collaboration with Godspeed You! Black Emperor.

Both that group and that soundtrack share with Frost a tendency for bombast, however: a humorless view of the world that risks veering into deflating self-seriousness. Throughout Threshold, Frost continually brushes against this barrier. Whether scrambled or restrained, there’s a preciousness and an egoism here that’s difficult to shake. As impressive as Frost’s music is, he seems always a bit too eager to impress, a sure turn-off. It’s less a matter of the parts Frost writes, which are often lovely and/or awesomely grand, and more in the way he frames them. The atmosphere that this music breathes feels finessed to the point of airlessness: The dulcimer plucks of “Threshold of Faith (Your Own Blood)” merge into a sustained mass that practically insists on awe, while “All That You Love Will Be Eviscerated – Albini Swing Version” bathes in high-end reverb trails and pregnant pauses which feel strangely unearned (the titles don’t help). We hear exactly who Ben Frost wants us to think he is but get precious little view of the man behind the persona.

This doesn’t mean it’s all for naught—“The Beat Don’t Die in Bingo Town” is a tasty 2:36 of fluttering exhaust, the kind of beauty-in-decay detritus that Arca expertly wove on Mutant. “Mere Anarchy” uses wounded pitch bending and rich, simple chords to close things out on a more open-ended tone. Nonetheless, for all its hubbub, Threshold of Faith feels oddly hollow, a work by hemmed in by its own presumptions of importance.

Ben Frost ‎– Threshold Of Faith
Mute ‎– 12MUTE559
Vinyl, 12″, EP
UK & Europe
Noise, Ambient, Drone
A1 Threshold Of Faith 6:40
A2 Eurydice’s Heel (Hades) 3:14
A3 Threshold Of Faith (Your Own Blood) 2:34
B1 All That You Love Will Be Eviscerated (Albini Swing Version) 5:20
B2 The Beat Don’t Die In Bingo Town 2:36
B3 All That You Love Will Be Eviscerated (Lotic Remix) 3:16
B4 Mere Anarchy 3:30
Mastered – Lupo (Calyx Mastering Berlin), Valgeir Sigurðsson
Mixed – Daniel Rejmer, Lawrence English
Recorded – Steve Albini
MUTE 2017