Organ thing? Things? Ducks and drakes, a bag load of music? Bits of this and bites of that and ding ding ding… “Acclaimed British composer Max Richter has written a ground-breaking piece of work, which is thought to be the longest single piece of music ever recorded” His new album Sleep is an eight-hour Lullaby. An exploration of music, consciousness and human connectivity – and is actually intended to send the listener to sleep. More here
“One of Britain’s leading contemporary composers has written what is thought to be the longest single piece of music ever to be recorded. SLEEP is eight hours long – and is genuinely intended to send the listener to sleep.
The landmark work is scored for piano, strings, electronics and vocals – but no words. “It’s my personal lullaby for a frenetic world,” he says. “A manifesto for a slower pace of existence.”
SLEEP will receive its world premiere this September in Berlin, in a concert performance lasting from 12 midnight to 8am at which the audience will be given beds instead of seats and programmes. The eight-hour version will be available as a digital album, and for those who prefer it, a one-hour adaptation of the work – from SLEEP – will be released on CD, vinyl, download, and streaming formats, all through Deutsche Grammophon, on 4 September.
“You could say that the short one is meant to be listened to and the long one is meant to be heard while sleeping,” says Richter, who describes the one-hour version as “a series of windows opening into the big piece”.
Richter has most recently enjoyed acclaim at the Royal Opera House in London for his “lavishly atmospheric score” (The Guardian) for Wayne McGregor’s ballet Woolf Works. Influenced equally by post-rock, classical music and the electronic avant-garde, he has composed and released five solo albums and “recomposed” Vivaldi’s Four Seasons for a best-selling album in 2012.
Richter does not expect anyone to sit down and listen to SLEEP in its entirety, although some surely will. “It’s really an experiment to try and understand how we experience music in different states of consciousness.” He says he came up with the idea because of a long-standing fascination: “Sleeping is one of the most important things we all do,” he says. “We spend a third of our lives asleep and it’s always been one of my favourite things, ever since I was a child.”
He consulted eminent American neuroscientist David Eagleman while composing, to learn more about how the human brain functions while sleeping. “For me, SLEEP is an attempt to see how that space when your conscious mind is on holiday can be a place for music to live.”
Coinciding as it does with the renewed interest in durational works within the fine art community, Richter says: “This isn’t something new in music, it goes back to Cage, Terry Riley, and LaMonte Young, and it’s coming around again partly as a reaction to our speeded-up lives – we are all in need of a pause button.”
Richter adds, “I’m perpetually curious about performance conventions in classical music, our rigid rules that dictate how and what music we can appreciate. Somehow in Europe over the last century, as complexity and inaccessibility in music became equated with intelligence and the avant-garde, we lost something along the way. Modernism gave us so many stunning works but we also lost our lullabies. We lost a shared communion in sound. Audiences have dwindled. All my pieces over the last few years have been exploring this, as does SLEEP. It’s a very deliberate political statement for me.”
Grimm Grimm‘s debut album ‘Hazy Eyes Maybe’ is due out June 29th 2015 through ATP Recordings, here#s something shot up the road at the Dentist, Chatworth Road actually, Hackney (or is it Clapton), a film directed by Daisy Dickinson
Meanwhile, Lark’s new deconstruction of Leonard Cohen’s Closing Time, a piece of work released ahead of this Month’s new album from painter Karl Bielik and his East London band. The track is available as a pay what you want download. The new album from Lark, ‘Funny Man’ is out on Friday 10th July 2015 on Standard Lamp Records and will be available on CD, as a Download or on Vinyl.
The new ORB album, Moonbuilding 2703 is out on Monday, here’s a stream
here’s the blurb direct from the record label, you’ve got the earfood up there, you don’t need anything else from us do you?
“Alex Paterson and Thomas Fehlmann AKA veritable pioneers of electronic music The Orb return to Kompakt with the new full-length ‘MOONBUILDING 2703 AD’. the album is a major piece of psychedelic synth bliss, obscure loops and deep ambient textures, driven by swinging breakbeats and powerful basslines.
Or, as Alex says in his own words, “it’s a solid piece of music that mutates into an eight legged lunar Land Rover and takes off into a cosmic horizon of a million sounds, patterns and textures. It spins the listener on his/her head, rewiring their brains to maximum capacity, then brings them home, sweet home.”
“‘MOONBUILDING 2703 AD’ is inspired by this place called earth and the idea that in the future mankind discovers its root element in the ancient rocks on solar moons, which are based on musical harmonies, that despite being imprinted a billion lights years ago, are set to the same tempo as the Orb”, he adds.
On the creative atmosphere in the studio, Thomas Fehlmann states, “this album and the process of its production makes me feel real good. An important part of the excitement is that our working system has reached a level where we are closer than ever to an automatic recognition of each other’s ideas, and ways to transform those into sound without explanation, so we could draw directly from our creative engines.”
Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from these sonic masterminds follows their 2005 album on Kompakt, the cheekily named ‘Okie Dokie It’s The Orb On Kompakt’, plus several contributions to its ‘Speicher’ and ‘Pop Ambient’ series. But, more importantly, it finds the legendary duo at the peak of their creativity, ringing in another essential phase in a ground-breaking career.
The new offering features a small track list, but turns each one of its four cuts into a mini epic in its own right. Opener ‘GOD’S MIRRORBALL’ hits the ground floating, employing a handful of cosy statics to great effect before finally discharging into an intricate mosaic of atmospheric melodic sketches and gripping rhythms. With a hypnotic runtime of more than fourteen minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists’ vision and their impressive skills in luring in listeners.
Likewise, second track ‘MOON SCAPES 2703 BC’ presents itself as a uniquely versatile affair, sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately nine minutes, ‘LUNAR CAVES’ is the shortest jam of the bunch – and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing,
freewheeling synth textures instead. Album closer and title cut ‘MOONBUILDING 2703 AD’ introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks – even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections, that constantly switch places. It’s a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscling as needed. Welcome to The Orb’s aural labyrinth, where nothing is what it seems and the unexpected waits just around the corner”
here’s a photos of some old Organs that are being sold for silly prices on Ebay….
.More tomorrow…. maybe