Five more musical things Five more musical things? No distraction from the four loom weaver this week, still think keeping one loom going is more than enough of a challenge, four at the same time? That’s seriously hardcore, The weaver was distractimg and so was the pulling together the Why? show although who really knows why? That’s a photograph of those Inner Terrestrials up there and here yet again then, in no particular order are five pieces of music that have passed this was in the last few days, rive recommended musical things to explore…
1: Kelly Jayne Jones has a rather delicious new album via Cafe Oto’s often impressive TakuRoku label – “Whether solo, as part of Part Wild Horses Mane on Both Sides and White Death, or in her other collaborations, Manchester-based artist Kelly Jayne Jones work has always brought a distinct otherworldly flavour to proceedings – one that reaches for both individual and collective solace in the abstract. Side-stepping any potentially reductive spritualism or exoticsm, Kelly has built a multi-faceted practice over the years, engaging with quantum fictions, animist ideology and music as a site for transformation. With that, she has expanded her tools from flute, contact mics and tape works to include dance, gesture, sonic drawings, stone sculpture and film”. More here
2: Inner Terrestrials – Now that’s a name we haven’t encountered for a good few years, seems the South London band have a new album on the way, here’s a taste in the form of a rather good looking video and “the second single from Inner Terrestrials’ upcoming album, featuring Magali from La Fraction“. and here comes the link to their Bandcamp that will lead you to more
3: Jonathan Snipes & David Rothbaum – okay so we mised this one back in October when it came out, better late than never though. And we are talking Jonathan Sniped and how brilliant is this? How good are those chords, it sounds like Goblin meets Captain Ahab or something very near the street around the corner,,,
.
“Original score for the film ‘Murder Bury Win‘
Director Michael Lovan on the score:
“From the film’s inception, it was very important to me that Murder Bury Win’s score was melodic, unique, and thematically on point with the film’s story. I wanted a sound that was playful yet ominous, grandiose yet poor. I wanted us to do more with less, as this reflected the aspirations of the protagonists of Murder Bury Win.
“Composers Jonathan Snipes and David Rothbaum executed on this with class and relentless style. The genre-hopping soundscape that resulted, which weaves together woodwind trios with boss nova rhythms, horror stings with the sounds of dice rolling across a game table, reinforces the events on screen with fervor and an abundance of creative energy. It’s a master class in storytelling in and of itself, and I for one have not been able to get the melodies out of my head for the last year.”
Jonathan Snipes is a composer and sound designer for Film and Theater living in Los Angeles. He occasionally teaches sound design in the theater department at UCLA, and is a member of the rap group clipping.
David Rothbaum is a composer and musician (modular synthesizer, bass, guitar, piano & occasionally clarinets). He lives in los angeles and works primarily in film and television.
Previously on these fractured pages…
ORGAN THING: Excess Flesh, another Jonathan Snipes attack on your senses…
We can never have too much Captain Ahab, ten years on it still sounds as good as it did back there…
.
And there is no reason why all these things should all be mixed up on these fractured pages, this is how it has always been with Organ
4: Amirali – ‘Axiom’ is taken from Amirali’s second studio album “Trial & Error”, the video should get you curious and wanting to explore a bit more…
“Seeking to reimagine music from his eclectic repertoire in a neo-classical context, Iranian producer Amirali made a triumphant return with the release of his ‘Sokoot’ EP, alongside the soloists of Tonhalle Orchestra Zurich last month. Now, nearly a decade after the release of critically acclaimed debut full-length ‘In Time’, he is finally ready to unleash its stunning follow up. Set for release on 24th November via his own imprint Dark Matters, ‘Trial & Error’ is a labour of love perfected at Abbey Road, his unique explorations of electronic music resulting in something extremely powerful, cinematic and emotionally fulfilling.
“Making this album was a period of self-discovery in which I got to know myself on a deeper level. My goal was to simply learn and try something new. I always feel the urge to evolve and to explore different avenues in music and I think I have succeeded on this album.” Amirali
Amirali emerged from the Crosstown Rebels camp in 2012, demonstrating exquisite craftsmanship on his dynamic pop-infused bomb of a debut ‘In Time’. Captivating the dancefloor with a seductive concoction of weird and groovy, it presented the multi-faceted producer as the new voice in dance music, effortlessly blurring the line of techno, disco, funk and electronica.
The global response to the album allowed Amirali to tour extensively, undertaking a heavy schedule from Fabric and The Warehouse Project in the UK, to Vienna Opera House, the Guggenheim Museum in Bilbao, and Warung & D-Edge in Brazil to name but a few. Since then, fired by the need to innovate artistically, Amirali decided to take a break from touring and submerge himself within the process again.
“I tried to be honest with myself throughout this whole process, this is why I called the album ‘Trial & Error’. I didn’t have a dynamic setup in the studio and I was constantly changing things around, experimenting and using different techniques to compose these pieces.”
5: Krust remixed by Four Tet – well why not, “Following the release of Masters At Work/KenLou remixes of ‘Antigravity Love’, the A-list versions keep flowing. Crosstown Rebels announce the full remix roll-call of tracks from Krust’s critically acclaimed new album ‘Edge Of Everything’. Interpretations from Four Tet, Damian Lazarus, Batu, Calibre, LCY and Flynn are forthcoming across two remix EPs in the coming weeks”. Futher exploration here
.
And while we’re here or there or wherever we’re doingthe clappind with one hand from, we may as well park this here….
.
.
6: Rutger Hoedemaeker – Well why not have six? The album is;nt out until next March (on Fat Cat’s offshoot 130701 label) but here’s a tase of things to to come…
“Dutch composer Rutger Hoedemaekers makes his debut solo release with a stunning album that marks the culmination of a decade spent in the hyper-creative studio environment he co-founded in Berlin, including four years working closely alongside Jóhann Jóhannsson. Sonically rich, emotionally deep, and immaculately handled, ‘The Age Of Oddities’ showcases a brilliant new talent, its cinematic eloquence bearing witness to Rutger’s experiences composing for film alongside Oscar-winner Hildur Guðnadóttir and Jóhannsson, for whom the album is partly a eulogy.
Whilst paying homage to Jóhannsson, ‘The Age Of Oddities’ sees Hoedemaekers forging his own sound and vision. It’s a bold and forward-thinking record, with a rich, hybrid sound seeing vocals processed and blurred alongside brass parts and a wall of strings shadowed by Rutger’s understated, textural electronics. Beautifully scored, immaculately performed and recorded, the album utilises the power of Budapest Art Orchestra’s 23-piece string ensemble conducted and co-orchestrated by Viktor Orri Árnason, alongside vocals (Kira Kira, Theatre of Voices’ Else Torp and Laura Jansen), horn (Morris Kliphuis), trombone (Hilary Jeffery) and violin (Una Sveinbjarnardóttir and Viktor Orri Árnason), with Hoedemaekers contributing trumpet, piano, keyboard and electronics.
Born out of a shared creative environment during a time of personal as well as social change, ‘The Age Of Oddities’ is a powerful and emotive work that closes a deeply productive yet also dark and heavy period for its creator. It sees Hoedemaekers finally stepping out into the spotlight after many years working behind the scenes, revealing a hugely talented new composer who is surely one to watch in coming years”.
More of this kind of thing tomorrow or the next day or the day agter that, who really knows? Who really cares? We care a lot, or we did, or I did or someone did… Here’s some classic punk rock from the other side of the river and the last century and the daze of paper Organ chaos…
THE ORGAN 