This little mix here is (a small sample of) the building blocks of what L E N S will hopefully sound like. Needless to say, I’ve had this mix of artists on heavy, heavy rotation in the last couple of weeks!

Samples from: ‘Null Sand Mandala’ by YourInfamousHarp, ‘Cocoon’ by Björk, ‘Who Watches The Watchmen?’ by The Prize Fighter Inferno, and ‘Pulk/Pull Revolving Doors’ by Radiohead.

So hopefully what you can gleam from that little montage is much glitchy beat-ness in quite a hardcore style but with some pop sensibility and quite other-worldly vocals and ethereal sounding sonics.

Other artists I’m taking inspiration from;

• Boards of Canada
• Brian Eno
• Cornelius
• Imogen Heap
• mum
• Jerome & Sylvie
• Portishead
• Sul.a
• Thom Yorke

Anyone interested in Electronica, Glitch or Electronic based music I urge you to check any of these artists out. Very unique sounds to them all.

Dayvan Cowboy - Boards Of Canada

This weeks list is compiled of musical duos that are siblings. I realise it would have been easier to do a post about siblings in music in general but i like the ideas of duos better, the whole “it’s just the two of us” kind of logic.

When brothers/sisters get together and make the choice of recording music together, whether it’s as a duo or as part of a band, there’s no telling what noise might end up being produced. It goes either one of two ways, the absolutely dreadful (The Jonas Brothers) or unbelievably good (Boards of Canada).

There are quite a few factors that come in to play when siblings unite musically. First off, do you get along? Do you get along enough to tour without constantly fighting, to make an album without arguing when the next guitar solo should come in and who should be on the front cover. Secondly, tastes. If one of you likes RnB and the other likes Death Metal then forget it. Thats not to say that for siblings to work well musically they have to like the exact same music but like most people starting up bands it helps to at least have some similar tastes. Thirdly, age difference. With the exception of the Jackson 5, if the age difference between band members is pretty big (say 10 or 15 years maybe) then it’s probably not gonna work. So with that we move onto the list..

Family Values
——————-
MP3’s

1. Boards Of Canada – The Colour Of The Fire
2. Orbital – Chime
3. The Knife – Pass This On
4. Lymbyc Systym – Ghost Clock
5. The Fiery Furnaces – Even In The Rain
6. Tiny Masters Of Today – Stickin’ It To The Man
7. Sparks – Turn Your Back On Mother Earth
8. Tiefschwarz – Yeah
9. Tegan And Sara – Back In Your Head
10. The Veronicas – Untouched

And briefly moving away from the subject of sibling duos i’ll give a nod to two of my favourite bands that just happen to include siblings.

VIDEO: Jesus And Mary Chain – Sidewalking

VIDEO: Radiohead – Reckoner

Also worth a mention in the “Siblings That Work Well Musically” category are The Stooges, Kings Of Leon,  The Breeders, The Carpenters, The Kinks, Psychedelic Furs,  The Misfits, The Black Crowes and sometimes but not all of the time…..Oasis. I have a somewhat love/hate relationship with that band. There are times when i could listen to a full album or two right through and other times when i can’t bear to listen to more than 30 seconds of one of their songs.

Meanwhile there are too many that should be lumped in the “Utter Shit Musical Siblings” category. Way too many to mention but i’ll give dishonourable mentions to The Cheeky Girls, B*Witched, The Darkness, the afore mentioned Jonas Brothers, Spandau Ballet, Bros, The Osmonds, the streak of musical piss that is Hanson and last but not least the latest siblings to jump on the Shit Siblings band wagon….JedFUCKINGWard. Go away please you two annoying quiffed up little bag of bones.

I’ve actually succeeded in bemusing myself as to how i’ve managed to include the names Jedward and Boards of Canada into the same post.

Oh and The Corrs are worth a mention (and a picture) simply because of Andrea Corr. I had a major crush on her in my early teenage years.

S.I.T Wolf  X

Dextro is Scottish born Ewan Mackenzie. Neatly balanced ambient, with shoegaze, folk and post-rock influences, upon first listening it’s easy to begin comparisons with fellow Scottish IDM legends Boards of Canada. But, as The Milk Factory quoted back in 2006 when describing ‘Consequence Music’, that wouldn’t be fair:

“Although the press release makes a passing comparison with fellow Scots Boards Of Canada, this actually doesn’t do Mackenzie much favours. Sure, the beats are lethargic, the soundscapes are languorous and the melodies finely crafted, but Dextro’s compositions have something of a perverse streak running through. Behind the soft brushes of analogue synths crawl darker and more disturbing tones and textures. An accomplished drummer and percussionist, who also officiates as part of experimental metal act Snowblood, Mackenzie injects elements of live drums throughout this record, giving his compositions more texture and body.”

Dextro has just released a 45 minute live recording from his November set at Lab30 Festival Germany. Download it. A dark yet dreamy composition, with live percussion and drum beats. Perfect for late night listening.

Dig deeper. Download more live sets and tracks from Dextro’s website.

Dextro – Distance

Dextro – Atman

Dextro – Hearts & Minds

Header image taken from Dextro’s album artwork for his latest album ‘Winded’

Sean AKA Nordic Soul is the Decibel Festival Curator and Director, he is my good friend and one of the greatest contributors to Seattle’s thriving underground music community. This is a very insightful summary of electronic music in 2009 with his Top 15 list at the bottom as well:

From Sean:

Every year it’s part of my job at PlayNetwork to come up with a list of top albums and overall assessment of music trends for the year. Below is my brief review of what I felt was a pretty landmark year for electronic music in the US and in general. Barring any incredible releases over the next month, these are my picks for the year. Keep in mind this list is strictly made up of albums; not EPs, 12’s or remixes (i.e 95% of the electronic music I purchased this year).

2009 in Review : Binary Pop, Warp’s Legacy, Dub Mutations and the Return of Sexy Dance Music

2009 has been an incredibly innovative year in relation to music production. Artists like Animal Collective, Fever Ray, Royksopp and Moderat have proven once and for all that digital beats and electronic sound design can appeal to a pop audience that otherwise wouldn’t find themselves listening to “electronic music”.

This year also marks the 20 year anniversary of the greatest electronic music label (arguably greatest label) of all time, Warp Records, which has had an exceptional year across the board with strong indie releases from Grizzly Bear and Maximo Park as well as strong releases from their more obscure electronic artists like Tim Exile and Clark. Warp’s 20th anniversary box set is not only one of the best reviewed collections of they year, it’s also a brilliant testament to the label’s vast catalog of ground breaking artists (i.e. Aphex Twin, Boards of Canada, Jamie Lidell, Nightmares on Wax, Prefuse 73, Autechre, Broadcast, Plaid, Battles, Squarepusher, etc).

In addition, 2009 witnessed the rise of Dubstep as a respected genre in the US through acclaimed UK labels like Hyperdub (Burial, Kode9, Joker, Zomby, Flying Lotus) and Tectonic (2562, Martyn, DJ Pinch, Benga) both of whom continue to blur the boundaries between Grime, Dub, West Coast Hip Hop and Detroit Techno. With the avid support of tastemakers like BBC Radio 1’s Mary Anne Hobbs and Low End Theory’s Daddy Kev (Alpha Pup Records) UK Dubstep and West Coast Glitch Hop / Hip Hop have both become quintessential styles on the electronic music frontline in the US. From Burning Man to this year’s Movement festival in Detroit, Dubstep and Glitch Hop have fully emerged in 2009 as a staple sound in North America.

Another emerging trend has been the Deep House and Tech House revival, which has been experiencing a resurgence the past few years as club-goers have tired of the heady, sterility of Minimal Techno and the frenetic, over the top sound of Electro House. Artists like Gui Boratto, Voodeux, Pezzner, Milton Jackson, Stimming, Mode D, Catz n Dogz, DJ T and Dixon have all helped in keeping underground dance music both sexy and musical.

Overall 2009 has been a phenomenal year for technologically driven music, proving that creativity is truly catching up with the tools used for musical expression in the digital age.

Here are my Top 15 albums of the year:

1. Animal Collective “Merriweather Post Pavilion” Domino Records

2. Various “Warp 20” (Box Set) Warp Records

3. Moderat (aka Apparat & Modeselektor) “Moderat” Bpitch Control Records

4. Fever Ray “Fever Ray” Rabid Records

5. Phil Kieran “Shh” Cocoon Recordings

6. Nosaj Thing “Drift” Alpha Pup Records

7. Jon Hopkins “Insides” Domino Records

8. Various “5 : Five Years of Hyperdub” Hyperdub Records

9. Lusine “A Certain Distance” Ghostly International

10. Grizzly Bear “Veckatimest” Warp Records

11. Gui Boratto “Take My Breath Away” Kompakt Records

12. 2562 “Unbalance” Tectonic Records

13. Modeselektor “Body Language Vol. 8” Get Physical Music

14. Tim Hecker “An Imaginary Country” Kranky Records

15. Voodeux “The Paranormal” Mothership Records

Thank Yusef for friends that send me amazing links

A gravadora Warp surgiu em 1989, criada por Steve Beckett e Rob Mitchell, lançando projetos de música eletrônica como LFO e Nightmares on Wax. Em pouco tempo, consolidou-se como a base da cena eletrônica experimental do Reino Unido, lançando artistas como Aphex Twin, Autechre, Boards of Canada, Plaid e Chris Clark, entre outros. O título das compilações regulares da gravadora, Artificial Intelligence, serviu de inspiração para a criação do rótulo IDM, Intelligent Dance Music, que ficou marcado como “gênero” de muitos dos artistas da gravadora. Com o tempo, a Warp Records foi versatilizando o perfil de seus artistas, assinando com projetos de hip-hop e pop/rock, como Prefuse 73, Antipop Consortium, Maximo Park, Grizzly Bear, Broadcast, Battles, entre outros. Warp20 é uma série de discos celebrando os vinte anos da gravadora. Como parte da comemoração, foram lançados Warp20 (Chosen), uma coletânea dupla dos maiores sucessos da gravadora, selecionada 50% por fãs, 50% por Steve Beckett; Warp20 (Recreated), cd duplo com recriações de músicas de artistas da Warp feitas por outros artistas da gravadora; e Warp20 (Unheard), com músicas inéditas de projetos da Warp. Foi também lançado o Boxset Warp20, compilando todos esses lançamentos mais Warp20 (Elemental) e Warp20 (Infinite), o primeiro um mix pelo DJ Osymyso de faixas da Warp, e o segundo um disco com loops de músicas da gravadora.

* # *

E a Warp faz vinte anos… Olhando para trás, fica difícil notar por onde não se estende a influência do selo: ambient, música eletrônica feita para a pista, música eletrônica feita para audição caseira, hip-hop (a partir do Prefuse 73, que incorporou a estética clicks&cuts e posteriormente assinou com a gravadora), chegando até o rock mais interessante da década, tanto dentro como fora da Warp (Thom Yorke é o primeiro a admitir a influência de Autechre e Aphex Twin para a guinada que tornou o Radiohead uma banda mais ousada e interessante com Kid A e Amnesiac). Comparando mesmo com as gravadoras independentes mais significativas de todos os tempos, Rough Trade, Factory, SST, Sub Pop, 4AD, nenhuma estendeu seu domínio por tanto tempo, com tanta coerência nas escolhas e tanta qualidade de lançamentos. Warp20 é uma série comemorativa, mas seu lançamento é também uma forma de fazer o público atentar para a história da gravadora e notar que papel determinante foi desempenhado por ela naquilo que a gente entende por música hoje. E como isso varia de vinte anos atrás.

A Warp já em meados dos anos 90 se identificou rapidamente com o cutting edge da música eletrônica (sem esquecer a Mille Plateaux, criada em 1993, não tão influente, mas igualmente ousada e importante). Mas talvez inicialmente esse não fosse o plano. A Warp nasceu inspirada em lançar projetos eletrônicos associados com a estética acid dos sons dos sintetizadores Roland TB-303 e TR-808, como LFO e Nightmares on Wax, os dois grandes primeiros hits da Warp. Como um pai cioso de ressaltar a importância de seus filhos que hoje já não estão mais nos holofotes, Steve Beckett aproveitou a chance da Warp20 para reavivar esses primeiros anos de gravadora, e com Warp20 (Unheard) a estratégia fique talvez mais clara. Ainda que as faixas não sejam datadas, há por boa parte delas um feeling dos cinco primeiros anos da gravadora: as duas músicas do Nightmares on Wax, versões dub de faixas do disco de 1991 A Word of Science; uma faixa do Autechre facilmente identificável como anterior a Incunabula, ou seja, anterior a 1993; uma faixa do Seefeel e outra dos Elecktroids que provavelmente datam da meiúca dos 90 e duas faixas do Plaid que, embora provavelmente datem do final dos anos 90, contém aquela “pureza” típica do começo da estética da Warp. Essa preferência acaba dando a Warp20 um charme quase hauntological, ou seja, de espectros sonoros que remetem à infância, que no caso é a da gravadora, mas que incidentalmente também pode ser a do ouvinte caso este tenha ouvido – como com este escriba foi o caso – coisas como “LFO” e “Aftermath” aos 14 anos, cortesia de José Roberto Mahr e seu Novas Tendências.

Warp20 (Unheard), para bem ou para mal, não apresenta nenhuma faixa que acrescente algo de muito significativo à carreira de algum dos artistas presentes. O disco começa com uma boa faixa do Boards of Canada, regada de esguichos gasosos de sintetizador, tão cheios que até chegam a parecer um Fuck Buttons menos nervoso e trabalhando com timbres de dez anos atrás. Em seguida vem uma deliciosa e estranha faixa do Autechre, quase irreconhecível porque muito calorosa e sem as ousadias rítmicas que já desde o primeiro álbum caracterizam o grupo. “Oval Moon (IBC Mx)” vem somar-se ao single “Cavity Job”, de 1991, como a pré-história do grupo, o momento em que Sean Booth e Rob Brown ainda lutavam para amadurecer seu estilo. Para fãs, portanto, é peça obrigatória. Em seguida vem “Rattlesnake”, de (Chris) Clark, uma quase-vinheta que, pelo quebra-cabeça rítmico e pela melodia adorável de sintetizador, evoca um possível encontro de BoC e Autechre. As duas faixas do Plaid são medianas e as duas do Nightmares on Wax são curiosidades que relembram, com linhas de grave sutis acrescidas às versões originais, como eram pulsantes os riffs do projeto no começo, bastante influenciados pelo hardcore techno então dominante. “As Link”, do Seefeel, é uma faixa ambient atmosférica que lembra Gas e o Aphex Twin de Selected Ambient Works 2. “Tronix”, do Flying Lotus, mostra que o produtor ainda não dominou a confecção de faixas etéreas do mesmo jeito que domina seus beats. Uma grata surpresa é “Sixty Forty”, do Broadcast, uma releitura de Nico retirada de uma Peel Session que mostra o grupo em onda climática e guitarreira, muito mais interessante que o disco inteiro que eles lançaram junto com o Focus Group.

Em suma: Warp20 (Unheard) é mais para colecionadores do que para neófitos. A esses, recomendamos Warp20 (Chosen), um sumário que atesta a excelência do trabalho vanguardístico da Warp ao longo desses vinte anos. Mas, para todos aqueles que vêm acompanhando a trajetória da gravadora por parte desse período, ouvir Warp20 (Unheard) é um exercício para lá de estimulante. (Ruy Gardnier)

* # *

Estou ciente de que convém a Camarilha concentrar seus posts na análise do álbum em questão, operação que particularmente não me agrada tanto… Prefiro a detecção dos panoramas do que a parcialidade da análise miúda. Esta obviamente possui sua relevância e seus mestres, mas normalmente eu utilizaria esse álbum para louvar os feitos da Warp, sua importância e pioneirismo. Ocorre que seu conteúdo me trouxe uma impressão muito estranha. Vislumbrei uma dialética curiosa neste movimento ininterrupto de detectar a emersão da novidade que algumas vezes entrega o cetro não a um artista, não a um grupo, mas a um contexto. Isto levando em consideração que o brilho do novo deva ser necessariamente duradouro, para não dizer, errr… eterno. Esta coleção de “unheard tracks” revela que talvez se tenha glorificado excessivamente a ascenção da música eletrônica, inclusive aquela que aos ouvidos da época parecia algo novo e arrojado. Mas o que se ouve aqui, o material “unheard”, indica certas pulsações do passado, certos modos de se conceber a música eletrônica que eram considerados por uma medida bem mais nobre do que a justa e adequada. Claro que algumas contribuições permaneceram relevantes, dentro e fora da Warp. O problema é que o trabalho de vanguarda de Aphex Twin, Goldie, Autechre, Wolfgang Voigt muitas vezes coabita o campo nem tão relevante do Nightmares on Wax, do Plaid, do Clark etc. Situados muitas vezes no mesmo contexto, níveis tão diferentes de expressão musical são como que agrupados para criar tanto uma explicação como também uma estabilidade conceitual e comercial. Trata-se pois de defender o contexto da chamada “música eletrônica”, um problema para críticos, eu diria. Pois a defesa desse balaio de gatos demonstra uma visão que privilegia não a expressão e a pesquisa, mas o suporte (eletrônico) e o contexto “hype” (rave, drogas…). Tudo bem, sem questionamentos nesse nível: não há como analisar a música dos últimos 20 anos sem citar a Warp, essa gravadora independente e prolífica que já nos presenteou com trabalhos ousados e determinantes. A comemoração procede, portanto. Mas a experiência de escutar esse “unheard” serve mais como profilaxia contra o endeusamento de meros sintomas, como por exemplo a música de Dusk & Blackdown e Boards of Canada. Os grandes artistas da Warp se tornaram sinônimo de avant-garde pela qualidade de seus respectivos trabalhos, não por fazer parte de um selo ou de um contexto. E aí, “it’s a dirty job, but someone’s got do it”: talvez fosse melhor que este material “unheard” permanecesse no limbo, pois sua publicação vem com um certo sabor de auto-indulgência e narcisismo. (Bernardo Oliveira)

Tonights list is dedicated to songs that come in all shapes and sizes, literally. The criteria for the list required having a shape (or reference to shapes) in the song title or the artists name. Some songs are quite long, the New Order track clocks in at just under 7 minutes and there are a few short ones, namely the track by The Octagon and the song “Tommib” by Squarepusher which is barely over a minute long. The avid film fans among you may recognise that particular Squarepusher track from the film Lost In Translation. The particular scene that it’s from is a perfect example of music and cinema coming together to create a beautiful moment.

MP3’s
I Change Shapes Just To Hide In This Place…
————————————————————

1. Testicicles – Circle Square Triangle
2. Idlewild – When I Argue I See Shapes
3. Squarepusher – Tommib
4. New Order – Bizarre Love Triangle
5. Boards Of Canada – Turquoise Hexagon Sun
6. The Models – Bend Me, Shape Me
7. The Octagon – Suicide Kings
8. Nirvana – Heart Shaped Box
9. Russian Circles – Hexed All
10. Circlesquare – Hey, You Guys

Bonus tracks…

Two songs from absolute classic albums. both with Shape in the titles.

from The Shape of Punk To Come..

MP3: Refused – New Noise

and from The Colour and The Shape…

MP3: Foo Fighters – Hey, Johnny Park!

VIDEO: Supergrass – Diamond Hoo Ha Man

And thats it for another week.

“Colours answer feeling in man, shapes answer thought and motion answers will”

S.I.T Wolf X

I try to pay attention to the music world, and for the most part, I’m at least somewhat aware of what’s going on out there.  Sure, sometimes I’ll hear about a band but not bother to actually listen to ‘em for a few years.  It’s significantly less often that a successful act flies completely under the radar.

So when I started seeing a bunch of references to Boards of Canada [m] [w]  a few months ago, I figured that they were some buzzworthy new act.  Then I took a closer look and found that they’ve been putting out music for over a decade.  Oops.  (To further the disorientation, they’re not Canadian either… they’re Scottish)

Getting past the whens and the wheres, I found that Boards of Canada was a nifty little electronic act that fits in nicely with my collection.  “Aquarius” is a favorite track from those I’ve heard so far.  It’s not what you might consider a “conventional” track in terms of the vocals, which will either convince you that the song is an ad for a telecom company or make you thirsty for some juice, but it has a great beat, some of the electronic bleeps and bloops that I love so much and the funkiest 30 count you’ll ever hear. Yeah, that’s right!

It may not quite be your cup of tea, but it’s a groove that’s worth trying out, especially if you’re just looking to wind down and relax a bit.  Go get “Aquarius” from Salad Days Music and see what we’ve all been missing.  Enjoy!

I’ve been listening to Four Tet for about 4 years now, really different.  Chill out stuff, similar to Thievery Corporation, Boards of Canada, Gold Panda.

http://www.myspace.com/fourtetkieranhebden

http://en.wikipedia.org/wiki/Kieran_Hebden

Det legendariske pladeselskab Warp fylder 20 år i år. Selskabet har i mange år været synonymt med banebrydende alternativ elektronisk musik fra kunstnere som Aphex Twin, Boards of Canada, Autechre, Squarepusher og Plaid. I de senere år er spektret blevet bredt ud til også at rumme mere rockede kunstnere som Grizzly Bear, Maxïmo Park og Battles. 

Jubilæet bliver fejret med diverse opsamlingsplader, bl.a. dobbeltalbummet ”Warp20 (Chosen)” med mere eller mindre kendte numre fra selskabets imponerende bagkatalog. Albummets første skive indeholder numre udvalg af fans, den anden Warp-medstifteren Steve Beckett’s personlige favoritter. 

Lyt f.eks. til Plaids stemningsfulde nummer ”Eyen”:

Den flotte udgivelse er en virkelig god introduktion til selskabets kunstnere, samtidig med, at den byder på kræs for kendere. 

Lån ”Warp20 (Chosen)” på HvidovreBibliotekerne.

Lån albums fra Warp-kunstnere her.

/thorlund

Had some good news the other day, Lona Records will be releasing my new EP. The release date hasn’t been finalised but I’m guessing it will be early 2010.

The track listing will be:
1. Bare Bones
2. In Minor Motion
3. Sakura
4. We Make You (Green)

Each track is available as full length preview at Last FM and Track 4 can be downloaded for free. I’m working on a video for the lead track which involves stop motion/time-lapse photography, so it’s taking forever to finish.

My favourite of the four is Sakura, inspired by Cherry Blossoms, Japanese Horror Movies, Brian Eno and Metronomes. It’s a free floating melody set over a repeating drum loop.

Folkzzz,

long time no hear no see.  Hope you are well . I am still working a lot with the new Ableton 8 diving a bit deeper into its features day by day. Today I started to work on some very old ideas which have rot on my desk several months, some even several years already. It’s not my intention to build ready-to-go tracks but more track-like soundscapes which one (maybe you and I) could work on and perform later. This one is called “From Now On I Am A Rock”.  Have fun and take care!

The Apple and The Tooth is set to drop from Warp Records on November 10th

PREVIEW: DOWNLOAD Bibio’s “Lovers’ Carvings (Leatherette Remix)” MP3
WE GIVE IT: 16/20 Watts

The UK’s Stephen Wilkinson, aka Bibio, has graced the math-rock world with yet another 2009 release, following Ambivalence Avenue and Vignetting the Compost, which both dropped earlier this year. The record, The Apple and the Tooth, features four original tracks from Wilkinson, alongside seven remixes from the likes of Clark, Wax Stag, Keaver & Brause, and Bibio, among others. Once again, he’s put himself at the forefront of the genre, a feat that seems as effortless for him as some of the tracks found on The Apple and the Tooth.

Wilkinson is at his peak on the four original cuts that open the record, an aspect that may keep listeners from venturing into the stellar array of remixes that follow them. The title track features melodic guitars beside tastefully distorted percussion that Bibio has become so synonymous with. This pattern follows into the subsequent three cuts, which transfer into one another beautifully, with each possessing one unique characteristic to set it apart from its predecessor.

The remixes that appear on The Apple and the Tooth can all be found in their original forms on Ambivalence Avenue, which has singlehandedly gained Bibio most of his notoriety. Their inclusion beside the record’s originals is extremely refreshing and allows them to stand toe-to-toe with Wilkinson’s work spectacularly. Each is a noticeable departure from the original, but never in the wrong direction.

Most notable is Leatherette’s remix of “Lovers’ Carvings”, which existed as a typical folksy electronic track with an infectiously upbeat groove in its original form. The remix, however, takes on a completely different feel, one more in the direction of a lustful ballad over a trip-hop inspired groove the style of a collaboration between Boards of Canada (from whom Wilkinson gets quite a bit of inspiration, see “All the Flowers” on AA) and DJ Vinroc. The cut is nothing short of gorgeous and is indicative of the effortless grooves that follow.

In the end, the record is easily one of the most interesting of 2009. In one of the genre’s most poignant releases, Bibio sets himself apart from the seas of imitators while making nods in the direction of those artists whom he himself reveres. Wilkinson has yet again used his genius to create a truly extraordinary record.

– John Luposello

and the winner is…………………………..Vimeo
It’s a much cooler site, the content is miles
better and they let you use custom hearders.

Click on the badge for my Vimeo channel

This track makes my brain melt with joy.

Seriously think a purchase of the Warp 20 (Unheard) cd is in order.

Check the youtube link below for a stream of the track.

Boards Of Canada – Seven Forty Seven

Geogaddi von Boards of Canada. (2002)

The first of my no budget videos, the plan was to have a video for all 4 tracks on the EP but I only got around to making 2 videos, Milenka and Fall which I later remade along with a video for Oico so 3 out of 4 isn’t bad.

This video was made by digitally manipulating footage from Hitchcock’s1945 movie Spellbound in particular the dream sequence which featured contributions from master surrealist Salvador Dali Rather than just rip the footage from the dvd I shot the footage by placing the camera in front of the TV because I wanted a flickering effect.

I had to remake this video for two reasons, firstly because I lost the original file and secondly because the uploaded version has a glitch (not the good type) between 1.27 and 1.31 I could of tried to pass it off as intentional but I wouldn’t be fooling anyone.

The remade version can be seen here

Auskeur is an experimental electronic musician from Manchester who pushes the boundaries of the art form, not restricting himself to one genre he draws influences from many areas including classical music.

Unlike many of the electronica artists who are clogging up Myspace with their half baked drones or prosaic imitations of talents greater than their own, Auskeur actually has imagination and the ability to compose and produce dramatic, emotional music that uses technology, not as some lazy shortcut or as a substitute for a lack of ability but as a tool to explore sound and musical narratives.

Auskeur is an artist that deserves to be heard.

This one has been a real labour of love, I’ve been working on it for several months and made several different versions, in the end I decided to to take the best parts from each video and edit them together.

michelangelo antonioni-caetano veloso-2001

must be the moon-!!!-myth takes-2007

the music lovers-destroyer-your blues-2004

mirador-efterklang-parades-2007

mothertongue pt1 -archive-nico muhly-2008

the one you love-rufus wainwright-want two-2004

over and over-hot chip-the warning-2006

painter in your pocket-destroyer’s rubies-2006

peacock tail-boards of canada-the campfire headphase-2005

palo santo-shearwater-palo santo-2006

the rip-portishead-third-2008

Sometime last year a copy of an unreleased track called “C65″ (now renamed “I am Siam”) found it’s way to offices of Losing Today magazine and they wrote a very cool review of it. I never did release it but you can listen to it here

Nisei 23 is a slightly more removed ad hitherto challenging proposition – information as is the case with these things is a little thin on the ground though we have it on reliable authority that an EP entitled ‘Milenka’ is currently doing the rounds via the previously unknown to us Lona imprint of Hong Kong whose roster includes releases by the excellently named the painful leg injuries and torturing nurse. ‘C65’ features here and an elegant beauty it is, once the lunar-scapes clear something richly majestic comes to the fore in the shape of a classically turned piano suite lushly decoded and threaded by the merest touch of tear swelling string arrangements whilst simultaneously being clipped by subtle eruptions of frosted shards of crackling white noise underpinned by crunchy waltzing beats amid all this the vague sounds of a mechanical hum whirr away – its immense stuff even if it does give the impression of being recorded in cavernous ice tunnel fast defrosting due to exposure to global warming.