STL ‎– Untitled


Review
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.
https://www.deejay.de/Stl_Untitled_BLUNDAR3_Vinyl__268763


STL — BLUNDAR3 — B1
jakob jennerholm hammar
2017/07/24
Upcoming STL release on Blundar.
Visuals built by Jakob Jennerholm Hammar

STL:
Stephan Laubner
http://www.something-records.com
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.

Blundar
http://blundar.net
https://www.discogs.com/ja/label/977830-blundar



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

広告

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

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