アーカイブ

月別アーカイブ: 9月 2017

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)

https://bedroomcommunity.bandcamp.com/album/threshold-of-faith-ep

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
2017
Electronic
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

広告

Shit And Shine ‎– Some People Really Know How To Live

いま、Demdike Stare-Cosmogonyの動きに象徴されるように、先端はINA GRMだといえば、バカみたいにミュージック・コンクレートや古い現代音楽だけを聴く無知な音楽ファンをぼくは信じてない ( INA GRMの古い音源にもダサすぎて聴くに堪えないものも多い ) 。クラブミュージックのMumdance & LogosやShapednoiseのDifferent Circlesなどの異形ダンスミュージックの表出があったからこそ、INA GRMの音楽に繋がったこと、忘れては、事実を履き違えることになるし、結局そうしたリスナーは先端音楽の本質を理解していない、といえる。断言すればShit And Shine ‎の異形ダンスミュージックこそコンテンポラリー・ミュージックなんだ。

Editions Mego
Shit and Shine ‘Notified’ (EMEGO 238)

Even among listeners whom already have demonstrably “open-minds” when it comes to experimental music, the recorded output of Texas-born, London-based noise mangler Craig Clouse can be a little…divisive. Gone are the days in which Clouse’s Shit and Shine project simply enthralled us with manic, noise-rock songs that suddenly made “Tom” your explicable favorite first name; because recently, he’s been mining a new vein of mutated dance tracks (albeit still percussion-addled ones). Listen to the 2015 release Everybody’s a Fuckin Expert, for instance, and it still sounds like “drums” are the centerpiece from which all things originate (like some ineffable Abrahamic God…or a street performer who’s, like, super good at juggling), but orbiting that cosmic centerpierce are chaotic satellites of minimalist electronics. Two years later, what new, unholy mutations can we expect from the shape-shifting likes of Shit and Shine? (You are asking this, yeeeeees?!?)

For your answer, please acquaint yourself with Shit and Shine’s newest — and perhaps least readily-apprehend-able — release on Editions Mego, Some People Really Know How To Live, which just came out on vinyl and via digital download. Judging by the album’s first two genuinely batshit singles, Clouse’s latest experiments are out there to an extent that the even the word “danceable” appears only in the blurry, darkened distance, shrouded by bushes. But don’t take my word for it. Plunge off the deep and and listen to the tracks “Notified” and “Blick Von Der Berg” below. Then, one you’re out there, snag the whole album right over here.

Bleep
Typically twisted shock out system shakers from Shit & Shine for Editions Mego, continuing a busy year that has seen $&$ already drop brilliant LPs for Gang Of Ducks and Diagonal.
Moving further away from his percussive led early work as a more conventional band, Shit & Shine’s second Mego album finds him experimenting further with the rubbery laptop bounce of the EVOL end of Mego’s brand of electronica. Turning up the bass to the maxxx Some People Really Know How to Live is in many ways Mego’s rave record, from the Sleaford Mods gone glitch of Lil Wannabe Gangsta through the Powell/Not Waving-esq new beat rumble of South Padre Low Life. The dance-floor dwellers will find much to feast on here.

Shit And Shine:
Craig Clouse:
“Shit & Shine’s sidestep from percussion led bunny rabbit rock ensemble performance based glee to ultimate heavy fools of the sticky dancefloor remains one of the more inspiring turn around’s in recent years. With highly acclaimed releases on Editions Mego, Diagonal, Riot Season and others Shit & Shine have wasted no time clearing away the rubbish whilst cutting up their own path towards giddy bass heavy shape shifting dance mutations. Snapping the twigs of disco, hurling clouds of exquisite dissonance, mangling modulations, boiling beats, twisting tweaks… this is a crew that will throw anything at the wall, and you.” – Editions Mego
Member:Craig Clouse, Jeffrey Coffey, Nate Cross
https://soundcloud.com/shitandshine
https://shitandshine.bandcamp.com
https://www.facebook.com/sshitandsshine
http://jealousofshitandshine.blogspot.jp
https://www.last.fm/fr/music/Shit+and+Shine
http://editionsmego.com/release/EMEGO-238



Shit And Shine ‎– Some People Really Know How To LIve
Editions Mego ‎– eMEGO238
Vinyl, LP, Album
Austria
05 Sep 2017
Electronic
Techno, Experimental
A1 Behind You Back
A2 Dish 2 Dish
A3 Lil Wannabe Gangsta
A4 Raining Horses
A5 South Padre Low Life
B1 Notified
B2 Man Bunny
B3 Blick Von Der Berg
B4 Girl Close Your Eyes
B5 The Crocodile
Recorded in Austin, Texas
Photography Coco Clouse
Design Stephen O’Malley
EDITIONS MEGO 2017


Shit and Shine ‘Blick von Berg’
EditionsMego

IIKKI
Andrea Belfi ‎– Alveare
Danny Clay ‎– Stills

Matthias Heiderich + Andrea Belfi = Alveare (IIKKI 002)
IIKKI
complete preview from the fine art book “Alveare”
Photography : Matthias Heiderich
Music : Andrea Belfi (mastered by Giuseppe Ielasi)
preview soundtrack (excerpt) : A1 : vano + B1 : Abito
(ps : please watch and listen it with some decent headphones)
“Alveare is a journey across and around man-made cement beehives – the legacy of a group of visionary architects. Their playground: post-war Italy. Their vision: affordable dwelling designed to meet as many human needs as possible. A superficial look at these architectural reveries decades later might bring to mind terms such as “excessiveness” and “megalomania”. But these massive edifices are prototypes of a city of the future – an urbanized future that was yet to be shaped by bold ideas and dreams. Meandering across the endless corridors of Nuovo Corviale or Rozzol Melara is like a surrealist hike through the realities of thousands of inhabitants of a beehive. And although the walls are made from rigid concrete, they have an organic feel to them. Facades move, shapes shift. Human demands are stronger than concrete and nature will always find a way. Alveare is a look at drawing board visions cast into concrete and their human adjustments.”
“Matthias Heiderich”
more infos + photos here :
http://www.iikki-books.com
http://www.matthias-heiderich.de
http://www.andreabelfi.com
IIKKIは、視覚芸術家と音楽家の2つのフィジカル・インプリントによるダイアログ。それぞれ500冊に制限されている美術本とヴィニール。

IIKKI:
French edition project focused on some dialogs between visuals artists and music artists which work as series with 3 publishing by year dispatched in 2 physical imprints : a vinyl and a fine art book.
https://www.iikki-books.com
https://iikki.bandcamp.com/releases
https://soundcloud.com/iikki-books
https://www.facebook.com/iikki.books/
https://vimeo.com/iikki

ジャケットにみられるMatthias Heiderichの建築写真はドイツの伝統の影響が遍在している。 Bechers、Heiderichはまた、産業の建物や構造の類型を作成するが人間の姿には興味がないのだが、それに反してそれぞれの写真は人間性に満ちており、建物が人間の心と技能の産物であることを強調している。 “Gwen Lafage(グウェン・ラファージュ)”
「Alveare」は戦後イタリアの先進的な建築家のグループの遺産で、その遊び場、ヴィジョンは人間のニーズに対応できるように設計された手頃な価格の住居。これらの大規模なedificesは未来の都市のプロトタイプで、まだ大胆なアイデアや夢によって形作られていない都市化された未来。 “Matthias Heiderich(マティアス・ハイデリッヒ)”

Die SchachtelのZeitコンポーザーシリーズに登場したり、BoltのPopulistaシリーズからも出したり、またDavid Maranhaとの共演作を、そしてHapna、Room40をはじめ数多くのレーベルから作品をリリースしている幅広い活動を行ってきたイタリアのドラマー/コンポーザーAndrea Belfi。フランスの新レーベルIIKKIから発表した2017年LPタイトル[Alveare]。
2014年にMiasmahレーベルからフルアルバムAndrea Belfi : Natura Morta [CD]がリリースされている。

IIKKI
Andrea Belfi – Alveare (album preview)

Andrea Belfi:
Italian drummer, percussionist and composer, born in 1979.
http://www.andreabelfi.com

Andrea Belfi ‎– Alveare
IIKKI ‎– IIKKI002
Vinyl, LP, Album, Limited Edition
France
23 Jan 2017
Electronic
Abstract, Ambient, Experimental
A1 Vano 7:38
A2 Statico 3:32
A3 Grigio 9:24
B1 Abito 5:20
B2 Passo 8:34
Composed By, Recorded – Andrea Belfi
Drums, Percussion, Synthesizer – Andrea Belfi
Cello – Audrey Chen
Rotating Speakers – Attila Faravelli
Mastered – Giuseppe Ielasi
Producer – Mathias Van Eecloo
Artwork – Matthias Heiderich
Design – Sprflxgrfzm
All tracks played and composed by Andrea Belfi on drums, percussion and synthesizer between 2007 and 2016.
Audrey Chen: cello on “grigio”
Attila Faravelli: rotating speakers on “abito”
Mastered by Giuseppe Ielasi in September 2016
Alveare is the result of a dialog between the artist Matthias Heiderich and the music artist Andrea Belfi initiated by IIKKI, between February 2016 and October 2016.
The complete project works in two physical imprints : the book and the vinyl.
it should be appreciated in different manners : the book watched alone, the vinyl listened to alone, the book and the vinyl watched and listened to together.
IIKKI 2017

Katrien De Blauwer + Danny Clay = Stills (IIKKI 001)
IIKKI
Preview from the Fine Art Book : “Stills”
Photography : Katrien De Blauwer
Music : Danny Clay (mastered by Taylor Deupree)
preview soundtrack : track 03 : 6.12.2015 (I) + track 06 : 06 10.15.2015 (II)
http://www.iikki-books.com
http://www.katriendeblauwer.com
http://www.dclaymusic.com


Danny Clay:
Danny Clay is a composer and sound artist from Ohio, now based in San Francisco, drawing upon elements of American folklore, genealogy, art education, children’s theater, improvisation, digital media and everything in between to make music. He has recorded some works on Heat Death Records, Audio Gourmet, Somehow Recordings and more.
https://www.dclaymusic.com
https://soundcloud.com/dclaymusic
https://dannyclay.bandcamp.com


IIKKIからの作品は現在3枚リリースされていて、完全なプロジェクトは、本とヴィニールの2つの物理的なインプリントで動作する。
Stillsの音楽は最小限の電子アンビエントで構成されたもので、シューベルト作品の最初のいくつかの小節のクレイの操作と、それをアルバムの価値ある音楽に引き伸ばそうとする試みで作られた。個人的な記憶の実験であり、無限のものを無限に見つけることができ、演奏時の音に蒸留の層を追加するために音を操作している。それはテープヒスノイズの音で混雑しており、音を聴くという物理的な行為に歴史的感覚を与え時代を超越している。Katrien De Blauwerのアートワークは作品と交差し、本の彼女のフォトコラージュは、白い枠で囲まれていて、テープヒスのすべてのざらざらしたエッジのように、その非対称的な写真は、その人の顔を隠し、ほとんど身体の一部に集中している・・

IIKKI
Danny Clay – Stills (album preview)

Danny Clay ‎– Stills
IIKKI ‎– IIKKI001
Vinyl, LP, Album, Limited Edition
France
19 Sep 2016
Electronic
Ambient, Experimental, Modern Classical, Minimal
A1 5.12.2016 1:47
A2 10.15.2015 (I) 6:03
A3 6.12.2015 (I) 2:28
A4 3.16.2016 4:28
A5 6.12.2015 (II) 0:40
A6 10.15.2015 (II) 5:02
B1 10.30.2015 (I) 3:46
B2 5.24.2016 4:55
B3 6.12.2015 (III) 2:23
B4 3.15.2016 3:28
B5 6.12.2015 (IV) 0:38
B6 10.30.2015 (II) 5:19
Composed, Recorded – Danny Clay
Piano, Voice, Harmonium, Viola – Danny Clay
Viola – Paula Karolak
Mastered – Taylor Deupree
Producer – Mathias Van Eecloo
Artwork – Katrien De Blauwer
Design – Sprflxgrfzm
recorded in : 2015-2016, San Francisco, CA
Stills is the result of a dialog between the artist Katrien De Blauwer and the music artist Danny Clay initiated by IIKKI, between February 2016 and June 2016.
The complete project works in two physical imprints : the book and the vinyl.
it should be appreciated in different manners : the book watched alone, the vinyl listened to alone, the book and the vinyl watched and listened to together.
IIKKI 2016