"An arbitrary succession of more or less irritating sounds"
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Tuesday, 30 June 2009

Bubbling cultivation


Already featured here via Craque (interview earlier this year) & Effacer (as recently as last weekend), Audiobulb's rich array of 'exploratory electronic music' is showcased in an often fine new giveaway. From bubbling, twinkly prettiness to portentous drone via glitchy scrapes, post-classical microsound & busy, scrunched 'intelligence'...

Audiobulb Sampler Extracts [LMYE hack] - includes Jimmy Behan > Through the Trees (from The Echo Garden) & Biosphere > Tranoy Lighthouse (from 1 Favourite Places - NB: also includes Taylor Deupree & Leafcutter John)

Audiobulb Sampler Extracts [LMYE second hack] - includes Mark Harris > Last Days (from Birmingham Sound Matter [forthcoming]) & Hans van Eck > Rivers (from BassBox)

Or get the full thing (single RAR file, mix by Audiobulb founder David Newman) here.


Bonus tracks: Jimmy Behan > Echo Garden Extracts [LMYE hack] (from The Echo Garden)

nq > 24qm (from http://www.nhlsqaik.com/) > Sandei (from Balconies & Backyards, I Can't Break You Break) > 050403 (from Recording Syntax, Progressive Form) > Inscription Excerpts [LMYE hack] > Ever [preview] (both from Inscription, Audiobulb)

Hans van Eck > BassBox Excerpts [LMYE hack] (from BassBox, Audiobulb)

Craque > Navfrakure (re-up; from Supple)

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Monday, 29 June 2009

Expanded reification



Should have known better: yesterday's post dredged up a batch of neglected tastiness from LMYE over the past year, but still failed in its goal of bringing exposure to one of the previously untagged tracks.

Bugge Wesseltoft's hefty live collaboration with Sidsel Endresen & Nils Petter Molvaer on the staggeringly lovely River had the wrong sampling frequency last time out (gnashes teeth, wails). Still, it's now been crimped back accordingly - & is definitely worth your time, however galling the carnival of re-ups from here...

Bonus tracks (all from artists featured yesterday): Bugge Wesseltoft > Somewhere in Between (from New Conception of Jazz, Jazzland)

Bugge et al (Aissa Tåby/Audun Erlien/Thomas Strønen/Elouar Michy) - Never Met Before (Live at Belleville Oslo)

Audion > I Am the Car (from I Am the Car, Spectral Sound)


Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Sunday, 28 June 2009

Upwards reification



Add a new one to the charge sheet of LMYE's many iniquities & inadequacies: never mind self-importance, over-writing, infrequent posting, ill-defined coverage & a hair-shirted stance on unauthorised music, our tagging sucks.

A batch of tracks posted here in the last year have lacked the right ID3 tags to get picked up properly by blog aggregators. There may well be others even more ineptly managed, but this lot are verified.

So in a spirit of enlightened masochism (!), here they are again (with the usual painfully sincere apologies to subscribers for re-upping) - but better this time, hopefully...

Saturday, 27 June 2009

Intermittency of energy



Clattering, wash-overlaid electronica that lopes scratchily to a juddering resolution (kind of):



Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Friday, 26 June 2009

Supplementary benefits



Follow-ups/expansions of a couple of recent posts (this one & this) in ambient-ish post-jazz/post-rock territory...

You'll wish Kammerflimmer's effortless coda "There's a weight..." would go on forever. Infuriatingly, though with impressive self-confidence, it's over in moments. Their version of Robert Wyatt's Venti Latir is satisfyingly insistent, intensifying into a clonking, squawking climax - & then climbing down again a bit sheepishly.

A trio of extracts from some obscurer Rameses III instrumentals, welded into an LMYE 'hack', kicks off with the frazzled, sun-coming-up riffage of Ashes. It pauses for a moment's breath with the gentle, reflective Tidal Draw, before culminating in the twangy warmth & washes of September Morning Rain.



Rameses III > Extracts [LMYE hack] (from Ashes on Matanuska, Music Fellowship; The Tidal Draw on Gold Leaf Branches [VA], Digitalis Industries; September Morning Rain on Kanoja, Myos Hanoja [VA], 267 lattajjaa)


Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Thursday, 25 June 2009

Absorbed pantheon



He's the lynchpin of a doom metal band that I'd take quite considerable pains to avoid. His singing is weedy, at best. &, at the risk of mining a rock-bottom superficiality low, he looks unnervingly like Cat Weasel.

& yet.

& yet Aidan Baker has claimed more & more of my attention this year. Increasingly, he ranks alongside, or even ahead of, his collaborator Tim Hecker in my pantheon (both Canadian & global versions). His near-endless output seems to meet its match in my near-limitless appetite to hear it.


Baker's superbly soft, dense, shimmering sound, the deeply reflective, melancholic atmosphere he shapes it in, his vast, majestic sense of space & time, his evident intensity, commitment & unswervingness, his lack of classifiability (drone? ambient? post-rock?) - all of this feeds into my certainty about his uniqueness & importance.

In a rational world, it'd be Baker not U2 getting stick for his tax arrangements & over-weeningness. In this one, however, he & we have to settle for sonic riches instead...



> Figure 1 (from Figures, Transient Frequency)



Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Wednesday, 24 June 2009

"I didn't want the music to remind of the normal"



Before Cluster, there was Kluster. Before Kluster, & ever since, Conrad Schnitzler. All three of these over-lapping Teutonic pioneers have exceptional albums on Important that document their ground-breaking wrestles with electronic cold & warm, noise & sweetness - all the way back to 1971 & up to 2007 (when Cluster made what must have been a triumphant & was certainly an unrelenting return to Berlin after an absence of nearly 40 years...).

Completists will share LMYE's sad train-spotting excitement that Important will expand this canon further this year. A tweet from @imprec yesterday announces a first full CD release of Cluster's 1980 Vienna performance with Joshi Farnbauer.

Neither sad nor completist, though, to delight in the throbbing, restless imaginativeness that connects Kluster & Cluster across a generation. Compare the first parts of the Cluster & Schnitzler 'hacks': the same spaciousness, the same primal bass grounding & electronica lacing...

Kluster > Live Extracts [LMYE hack] (from Admira & Vulcano, both Important)
"I founded the music group Kluster after my exit 1969 from the group GERÄUSCHE (Zodiak with A.Roedelius and Boris Schak).Between 1969 to 1972 I worked with different friends,with TD among others.With them I tried to perform the music of my imagination .
Finally Klaus Freudigmann and Wolfgang Seidel remained at the work continuously over the years. In addition there were several actions with A.Roedelius and D.Möbius where the LPs KLUSTER Klopfzeichen,Osterei and Eruption were made. Instruments, amplifyer and effects I gave D.Moebius because he had had no own equipment.
I didn't want the music to remind of the normal. My criterias were not folk music, not rock music, not pop songs and not dance music. The idea for "Cluster" later "Kluster" (I wanted to avoid americanisms) is not only a name for a group but a form of music.
I had amplifier,instruments ,contact mikes and effects, that could used by the others,too.Klaus had tape machines and microphones.In addition he constructed instruments and electronical sound generators,which made the most undescribable sounds. Wolfgang had everything connected with drum and base and in addition amplifier and effects.
Klaus had rooms where we could work out our music performances.The tapes "Electric Meditation" with TD were made in one of that spaces.Most of the performances happened with friends who took part in the actions;
therefore Conrad,Klaus,Wolfgang and friends.
A special date for the creation of the single tapes couldn`t be find out,therefore the date of the creation- years 1969-1973. After that there were only sporadical actions with KLUSTER,no money for place to play, only cold winter.

-- Conrad Schnitzer"



"Trigger Trilogy consists of three discs each selected from hundreds of hours of Schnitzler's private recordings. Each represents a one of the few unique approaches that Schnitzler takes to recording, each uniquely identified and defined by Schnitzler. Within each of these recordings one can hear how Schnitzler influenced a generation of artists not only in Germany but the world around and how he's brought those sounds into the modern day. It's also apparent in these recordings that Schnitzler is thoughtful and enlightened, a total pioneer floating freely in a world of sound.

Trigger One consists of what Schnitzler calls his Solo Voices or Solo Electronics. This particular recording happens to be rhythmically based electronic work. Recognizing that in traditional music the melodic line is subordinate to the ensemble leaving it no true impression of it's own Schnitzler has liberated the solo voice in his own music and given it it's own vocation as noise, tone and sound. By superimposing several voices or forming a sound environment by mixing Schnitzler has created new dimensions, worlds of sound where the individual voice is no longer subservient to synchronization or the conductor's baton. The results are sound combinations which adhere to no logic.
”The strength of the individual voice lies in its freedom from vis-a-vis any sound.” Conrad Schnitzler

Trigger Two is what Schnitzler refers to as Free Concert Mix Solos:

“From solo to mix, from melodic line to ensemble. Accumulation of voices,
note clusters which are not opposed to one other but are equal and
parallel in a free play of energy. The mix of solo voices produces
concentrations of notes and noises, tangles, compressions, sound
constellations, sound catastrophes, acoustic phenomena's.
The individuality of each voice is absorbed into the chaos of the
overall sound, is held there and blurred. Musical developments emerge
from the atmosphere of the individual voices of the ensemble and its
variations. Sound sequences spill forth, revealing tight and loose webs
of notes, changes in tempo, varying expressions of volume and dynamics
and shifts in the direction of the sound pattern. A sound chaos which
appears to change automatically becomes perceptible. the indeterminate
starting order for the solo voices create an open unfinished work,
containing a wealth of episodes with sound sequences, environmental
associations, stylistic devices from other worlds and interplay's of
nature and technology.” Conrad Schnitzler

Trigger Three, the final disc in the Trigger Trilogy, is a Con-Cert. This is a tradition that Schnitzler has been working in for quite some time. Originally using cassettes and now using compact discs Schnitzler creates live mixes of multiple recordings. The sounds are intentionally designed, shaped, constructed and composed in specific relation to one another.

“The articulation of sound in an era where new technology allows for the
creation of an unlimited number of new sounds calls for new recording
techniques. These are offered by tape, CD or computer hard disks.
In the past I used conventional cassettes to create my concerts, but now
the sounds are recorded on CD and can be used in the concerts thanks to
their enhanced quality.

The individual tracks have fixed starting points which can be adjusted
by a number of seconds and thus produce different results. The volume of
the individual tracks can be adapted to the acoustics of the location
and the listening experience will vary for each location as a
consequence.” Conrad Schnitzler


Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Tuesday, 23 June 2009

Last of the great pharaohs



Following the bonus to yesterday's post & ahead of the forthcoming 'I Could Not Love You More' on Type, more (much more!) of Rameses III's bucolic shimmers, glacial unfoldings & twangy ambience - including the wonderful When the Bombs Drop, Hold Me Close:

> The Silent Union Goes to War (from Jozepha, Celebrate Psi Phenomenon/Barl Fire [Type re-release with Parsimonia postponed]; also on Charms Cut From Our Trees, Music Your Mind Will Love You)

> Love Goes On (also from Jozepha)



> No Water, No Moon (from The Silent Ballet: Volume 11, Lost Children/Con-vpilation, Conv; apparently also on 'I Could Not Love You More', Type)





Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Sunday, 21 June 2009

"about as not me as it gets"



Oops. My recent suggestion* to a revered singer looking for worthwhile new collaborations was a fart in a spacesuit-style misjudgement: "'warped post-jazz' is about as not me as it gets," she noted.

Fair enough. But still, for some of us Kilimanjaro Darkjazz/Bohren und Der Club of Gore/Kammerflimmer Kollektief are operating in fantastically fertile territory. Kilimanjaro's vast & awesomely open-eared cover of doomsters St Vitus' Patra & their own Shadows show why.

* via Soundcloud & Twitter rather than over cocktails. But nice to be asked, all the same...

The Kilimanjaro Darkjazz Ensemble > Patra (self-released) > Shadows (from Mutations, Ad Noiseam)


NB: Kilimanjaro now hawking another cover (Moondog's Bird's Lament) & a new live improv album from spin-off The Mount Fuji Doomjazz Corporation...

Bonus: Rameses III (a kind of brooding, glacially unfolding kissing cousin to Kilimanjaro/Bohren/Kammerflimmer) > Matanuska (from Matanuska, Music Fellowship)

Note to self: need to track down the Gregg Kowalsky remix of Rameses. & bring on the new Type release, 'I Could Not Love You More'.



Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Friday, 19 June 2009

"How irresponsible"



You might say that Lusine's Two Dots is 'about' poise & tension. Inevitably, something as joyfully "irresponsible", as the 'song' has it at one point, as the frothy, gorgeous Two Dots is as much about itself as anything else.

Literally: it's a kind of post-modern poptronica celebration of itself - the propulsive relay between its two dots, managing & mining the sweet tension this pair of points sets up. In this, hard not to recognise & relish Ghostly's description of its "gently pinging electronics and swarms of micro-samples"...

Of course, that vivid green cover could be a brilliantly foresightful endorsement of the Iranian opposition. More likely, an unconscious endorsement of opposition in general - the dance of attraction & repulsion.


Lusine > Two Dots (from A Certain Distance, forthcoming on Ghostly; also on this EP - including his own chunkier 'Reverse Engineering' mix, which does without the original's lovely shuffle for benefits I've yet to twig, though the impulse to join the dots in a new way is understandable enough)

Extras: a completist's selection of sanctioned Lusine treats - not all of which have kept up with my developing taste over the past 18 months, but the ravishing Jetstream & Ask You (both re-ups) are both present & correct...

> Inside/Out (from Inside/Out 12", Ghostly)
> Ask You (from Serial Hodgepodge, Ghostly)
> Rubberbands (from Emerald 12", Ghostly)

Lusine, who played in the vastly cooler of LMYE's two home towns last night, live in Seattle here.

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Sunday, 14 June 2009

Resampled ballet


Once again, & with even sincerer apologies than last time to anyone in LMYE's vast handful of followers who's starting to wonder if we're capable any longer of simply posting something once & being done with it, a re-re-up (now at the correct sample rate, hopefully) of two previously un-Hyped tracks from a recent selection of fiercely textured, subtle intensities off that epic Silent Ballet compilation on Lost Children.



Silent Ballet player:


Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Friday, 12 June 2009

Rich soup



The endlessly rich, soupy vamps & drones of Mountains & its co-conspirators, Koen Holtkamp (also Aero) & Brendon Anderegg, are overdue an in-depth look here. For now, though, luxuriate in the blissful accumulations of the recent-ish Choral (from Choral, Thrill Jockey)...

Hear Holtkamp's stunning Field Rituals here.


Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Wednesday, 10 June 2009

Textured ballet


In the wake of yesterday's post, more fiercely textured, subtle intensities from that epic Silent Ballet compilation on Lost Children:






Silent Ballet player:


Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Tuesday, 9 June 2009

Sparring partner



Intensity, grandeur, mystery - thisquietarmy's credentials as a sparring partner for the magnificent Aidan Baker run a fair bit deeper than Canadian neighbourliness. Hear his immense Dronewars (free single, Foreshadow) [NB: lo-res; better quality here] & Battlefield Arkestrah (from Unconquered, Foreshadow) for evidence.

Or his vast Orchestral Dots Under Static - from the Silent Ballet compilation (Vol 12 - or is it 10-12?, Lost Children).



Or Agent & Blood from the huge first Baker collaboration, Orange (TQA).

Or Imagistic Continuity from the pair's exquisite recent-ish rematch, A Picture of a Picture (Killer Pimp) [re-up of a beloved track].

TQA on tour in Europe currently, btw - though visiting neither the UK nor Spain, sadly...

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Monday, 8 June 2009

April 24, 1976



The charming piece of Twitter froth around Steve Reich's 2x5 in Manchester next month reminds me to dig out this earlier world premiere: Reich & others playing the first two sections of Music for 18 Musicians at New York Town Hall in 1976.


Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Sunday, 7 June 2009

Severe pleasure



Maybe it doesn't share the intense beauty of something like Psalm 121 from the earlier Arroyo CD-R or the gauzy calm of Coral Gables from Through the Cardial Window. But Gregg Kowalsky's forthcoming Tape Chants (kranky) will be a severe, bracing pleasure if this excerpt (Vi-Vii) is any guide...


More Tape Chants at his MySpace.
Thanks, as often, to undomondo & disquiet for pointers.

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Saturday, 6 June 2009

Cries & shimmer



A "stranded" piece of lushly layered strings, cries & shimmer from Scanner's gentler side, shoved out via Twitter "to spoil anyone quick enough" > Nyman Mix.

Bonus re-up: Sleepless City [Stephen Vitiello remix] (from NightJam, self-released)




Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Friday, 5 June 2009

Woozy re-reflection



Re-up of previously un-Hyped post...

A woozy, reflective footnote to a recent post on Seaworthy & Pimmon: hacked out of a recent interview on ABC Radio's Triple J show (original here), Seaworthy revisits the meandering & remembering of the very fine 1897 album in a live performance that "isn't necessarily a track from the record, but draws on elements of that" - with "a couple of little bits & pieces of samples & stuff": 1897 Elements.



As 12k rightly says, some great music is coming out of Australia. Besides Seaworthy the label's slice of the action, encapsulated by the LMYE-hailed 3-way Live in Melbourne, stretches to the awesome Lawrence English, the pretty & potentially more substantial Solo Andata & the must-check-out Amplifier Machine.

But with even a very partial sampling, that still leaves Pimmon, the late lamented Triosk & all of its offshoots & tributaries (Adrian Klumpes, 3ofmillions, Pivot, Laurence Pike, Roam the Hello Clouds, etc), & of course the mighty Necks (review of last week's Bristol game of two halves on its way) & their spin-offs, especially Pedal. Not forgetting occasional LMYE visitor Prince Charming...

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.
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