#theawl #gabrielkahane #listening #jaimegreen
Yahoo buys tumblr for $1.1 billion. Nice sale price. Curious to see what’s going to change around here…
This afternoon’s spring cleaning jam: Motion Sickness of Time Travel’s ‘Oust’ cassette. #tapes #drones #synths
Listen/purchase: respect by Tetuzi Akiyama + Jeff GburekPlayed 1 times.
*Excerpts from the album. Now available from Experimedia.net.* Miles’ returns with a half-hour EP of new material more squarely aimed at the floor with four darkened, robust variants. “Blatant Statement” slowly emerges from a rough alignment of metallic percussion and abrasive stabs you’d most likely associate with Vatican Shadow, before super-warm bass stabs shifts the perspective. “Technocracy” delivers an oozing house deconstruction, while “Infinite Jest” revolves around an industrial cacophony somewhere between technofied Pete Swanson and a sweaty Kassem Mosse. “Plutocracy” is a bleached-out warehouse chug surrounded by a submerged choral arrangement.
Interpretations On F.C. Judd
Release Date: 20th May 2013
12 track 2 x LP (Edition of 500 pressed on white vinyl) / Download
PRE ORDER : http://publicinformation.bandcamp.com/album/interpretations-on-f-c-judd
In January 2012 we released a 35-track compendium of F.C. Judd’s music and sound, it was called Electronics Without Tears. Fast forward to Spring 2013 and we are back with Fred for a very special LP to reignite his legacy.
For our tenth release we asked some of our favourite artists working today to submit a reinterpretation of the greatly undervalued early electronics pioneer, Frederick Charles Judd. We gave them Fred’s entire archive of sounds, tone experiments, field recordings and lectures and left it up them to produce an audio artefact befitting of Judd himself.
The players invited: Chris Carter, Perc, Pye Corner Audio, Holly Herndon, Mordant Music, Peter Rehberg, Bandshell, Ekoplekz, The Boats, Leyland Kirby, Karen Gwyer and Ian Helliwell.
Interpretations On F.C. Judd opens with Fred himself, welcoming us into his world before Ian Helliwell takes us into a fractured loop of radio static and gargled musique concrete.
From here we lurch through pure tape trips (Leyland Kirby, Chris Carter) dubwise refractions (Karen Gwyer, The Boats, PCA), haunted never-zones (Ekoplekz, Mordant Music, Perc), sublime vocal deconstructions (Holly Herndon) and frightening slashes of electronic deviance (Peter Rehberg, Bandshell).
Throughout Inspirations, Fred is never far away, reminding us how important visionaries like him stalk even the most future-bound of electronic music.
Ian Helliwell - Solid States
Perc - Woodford
Chris Carter - Flip-Flop
Holly Herndon - Control Sample
Mordant Music - Hoarded House (reMMix Fredit)
The Boats - Space Judder
Pye Corner Audio - Splice Block
Leyland Kirby - Slim Jim Wimshurst Mechanicals
Karen Gwyer - Judd Drums
Peter Rehberg - FJUDDmix 032013
Bandshell - Concrete Teeth
Ekoplekz - Fredwrek
Any Exit is Californian convertible top down desert music. Guitars turning glossy over sweeping synth pads and new wave Casio beat new wave. There’s a nostalgia here that points to a new age Cocteau Twins meeting with Boards of Canada. Plenty of color, love and lightness, Any Exit is imbued with personality and narrative and without a single lyric, a gorgeous pairing with the story of your youth.
The opener Any Exit (Anywhere) is a nostalgic swooner whirling in your head as you pass small town USA, headed nowhere in particular. 710 Again & Garden Grove are two latin new disco gems. Certainly music to love life to. Edmund Xavier describes his work as utilitarian, or mood music, something to have a conversation over.
Giving a composition masterclass at Montclair State with my longtime collaborator and friend Darren Gage and two newer but valued collaborators Sara Noble and Carl Patrick Bolleia.
Then hustling down to commencement where I got to stand right near Sharon Sweet and several other estimable vocalist colleagues who sang with gusto yet didn’t seem to wince too much at my Irish tenor.
Prior to commencement, I nearly ran into Paul Plishka (remember the aforementioned hustling?). Happily, I didn’t lose my regalia and got to greet an opera star I’ve long admired from afar.
Hearing Thomas LaVoy’s beautiful anthem at convocation. He was in my first semester composition class - wonderful to admire the growth in his work and see his fast-developing catalogue receiving such well-prepared performances.
And then an evening spent at home with Kay Mitchell and the felines planning for the endeavors that summer has in store.