Suche nach “AIR TEXTURE” — 16 Treffer

  • Various – Air Texture Volume IV/By Steve Hauschildt & BNJMN

    Sektion: Musik, Neue Releases

    Image: 1592936 Die vierte Auskopplung der "Air Texture"-Compilation wird von Steve Hauschildt und BNJMN kuratiert und gibt einen zeitgenössischen Überblick über Modern Classical, Noise, Ambient und Electronica. Ähnlich der "Pop Ambient"-Serie auf Kompakt schafft es "Air Texture" erneut trotz einer erkennbar eigenen Handschrift ein vielseitiges und modernes Elektronik Album vorzulegen.

    - CD1 selected by Steve Hauschildt / CD2 selected by BNJMN Erhältlich ab 31.10.2014 Getaggt mit:
  • Various – Air Texture Volume III

    Sektion: Musik, Neue Releases

    Image: 1582602 James Healy, der Inhaber des Labels Air Texture, hatte einst eine brillante Idee: Für eine Ambient-Compilation zwei bekannte Musiker aus dem Genre-Dunstkreis fragen, ob sie jeder für sich als musikalische Kuratoren agieren wollen. Ein Geistesblitz, der nun in seiner dritten Auflage erscheint. Zum Zug kommen Scott Monteith (Deadbeat) und Gregor Asch (DJ Oliver). 27 unveröffentlichte Stücke schlagen hier eine kontinentale Brücke zwischen Amerika und Europa... Auf "Air Texture Vol. III" offenbaren Ricardo Villalobos & Max Loderbauer, Thomas Fehlman, Pole, Loops of Your Heart (The Field), T. Raumschmiere als Shrubbn, Christian Fennesz und Phil Niblock - um nur ein paar schillernde Namen zu nennen – ihre große Hingabe zu diesem weitläufigen und extrem gehaltvollen Genre. Eine ganz besondere Erwähnung und grafische Ehrennadel hat sich das Artwork verdient. So muss ein Cover! Es rückt in den Fokus um welchen Bereich es geht, klammert aber das Drumherum nicht aus. Selten war ein Ambient-Cover so einleuchtend. Eine Compilation in mit dieser Brandweite und Bandbreite ist nun ohnehin selten, sieht man von der epochalen Pop Ambient-Reihe ab. Auswahl und Zusammenstellung: Absolut hörenswert! (8/10)" (J.Piller/The Gap)
    Erhältlich ab 20.09.2013 Getaggt mit:
  • Various – Air Texture Volume II

    Sektion: Musik, Neue Releases

    Image: 1574019 Zweite Folge in der spannenden "Air Texture"-Compilationserie, die sich ambient-orientierter experimenteller oder elektronischer Musik widmet. Die zweite Doppel-CD-Compilation in der Serie wurde erneut von zwei Schlüsselfiguren der Szene zusammengestellt, die Rede ist von loscil und Rafael Anton Irisarri. Unter den 22 Tracks finden sich Stücke von Simon Scott (Slowdive), Pan American (Labradford), Brian McBride (Stars Of The Lid), Sawako, bvdub und Lawrence English. Erhältlich ab 29.06.2012 Getaggt mit:
  • Various – Air Texture Volume 1

    Sektion: Musik, Neue Releases

    Image: 1568095 Ambient-Musik hat sich über die Jahre verändert. Stand in der Vergangenheit noch das psychedelische Moment im Vordergrund, das Chillen, so geht es heute eher um kompositorische und melodische Raffinesse. Es ist eine Spielart elektronischer Musik, die sich von den Zwängen rhythmischer Korsetts befreit hat. Für die hervorragende Compilation "Air Texture 1" haben mit bvdub (Brock Van Wey) und Andrew Thomas je eine CD kuratiert. Im Tracklisting finden sich so hochkarätige Namen wie Atlas Sound, Klimek, loscil, Biosphere, Markus Guentner oder Wolfgang Voigt. Erhältlich ab 28.10.2011 Getaggt mit:
  • Emptyset – Borders (LP+MP3)

    Sektion: Musik, Neue Releases

    Image: 1607503 Emptyset is the innovative electronic duo of James Ginzburg and Paul Purgas.
    The duo composes within a complex set of self-imposed parameters or rule
    sets and the results of their expeditions on Borders are at once minimal and
    visceral. Focusing on shifting timbral changes over melody, Emptyset’s work is
    an exploration of the relationship between rhythm, texture and space.
    The pair shares a history in Bristol’s underground music scene as well as an
    impressive list of production credits. Ginzburg, now Berlin based, runs a
    network of record labels including electronic music label Subtext and Arc
    Light Editions, whose reissues include a work by Arthur Russell. He’s a prolific
    producer and remixer for both independent and major labels, with diverse
    projects such as Faint Wild Light, Ginz and more recently Bleed Turquoise.
    Purgas, now based in London, founded the We Elude Control label in 2009,
    a curated collection of rare experimental music. Purgas is an artist, writer and
    curator who has presented projects with Tate, Whitechapel and Serpentine
    Galleries, and he is also an active promoter of electronic music in eclectic
    spaces from a carpark to a Modernist pavilion.
    Each project’s framework and parameters dictate how the sound or performance
    evolves. In the past, Emptyset have explored the ways in which the sonic
    and spatial interact within different architectural contexts: often site-specific
    locations such as the decommissioned Trawsfynydd nuclear power station in
    North Wales, or the neo-gothic Woodchester Mansion. Borders takes a different
    approach, centering around the performative and the performer. Having each
    created their own tactile instruments, a six-stringed zither-like instrument and
    a drum, Emptyset focuses on how organic sounds interact with the analogue
    processes that have defined their work to date.
    Contrasting typical approaches to making electronic music, Emptyset set out
    to emphasize live performance rather than creating sequences within devices.
    While Purgas and Ginzburg utilize vintage analogue electronics, compressing
    and distorting the signals, the album itself is performed entirely live, where
    subtle movements make for substantial changes in sound.
    From the very first track, “Body,” one can hear how the physicality of the
    instruments have imbued the sound’s texture. The physical characteristics of
    the metal strings create a layer of dynamic juxtaposition to the grinding timbres
    emerging around them. The broody “Ascent,” features the album’s clearest
    call-and-response between the stringed instrument and the drum, barking and
    thudding back and forth at one another. Evident in tracks such as “Border”
    and “Speak,” Emptyset uses basic rhythmic structures drawn from an array of
    broad cultural practices, expressed neutrally and without overemphasis on the
    source. Taken as a whole Borders distills the duo’s inspirations to their essence
    and the resulting music is as raw as it is captivating.

    TRACK LISTING:
    1. Body
    2. Border
    3. Descent
    4. Across
    5. Speak
    6. Axis
    7. Sight
    8. Retrieve
    9. Ascent
    10. Ground
    11. Dissolve

    SALES POINTS
    “[Emptyset’s music is] something genuinely alien, and that
    alone is reason enough to listen.” - Resident Advisor
    “Intriguing – even bracing.” - The Guardian
    “Emptyset are one of the most innovative acts currently
    working in the techno domain.” - FACT
    Borders is Emptyset’s Thrill Jockey debut following limited
    and sold out releases for Raster-Norton, Subtext, Future
    Days, and Caravan Recordings
    Empytset have performed at many high profile festivals
    including Unsound, Mutek, CTM, Sonic Acts, Berghain,
    Luminato, Adelaide, and Bozar. There is already interest
    from MUTEK, Moogfest, Walker Art Center, and Getty Center
    for 2017 performances
    Ginzburg is a prolific producer and remixer with his projects
    Faint Wild Light, Ginz (collaborations with dubstep/grime
    musician Joker), and Bleed Turquoise
    LP pressed on virgin vinyl with artworked inner sleeve and
    free download coupon. A limited supply will be pressed on
    clear vinyl. CD version in 4 panel mini-LP style gatefold
    package.
    Empytset have a history of work for film trailers and are
    being pitched for new music synchs around this release
    Turkish conceptual artist Cevdet Erek is working on a remix
    and will be representing Turkey at the 2017 Venice Biennale
    with his series of studies A Room of Rhythms
    Emptyset have been commissioned for Architecture
    Foundation’s installation at Ambika P3 space near Baker
    Street in London, Tate Britain’s Performing Architecture
    programme, a collaboration with conceptual artist Cevdet
    Erek for Spike Island, an installation at the Victoria and Albert
    Museum in London, and a study of composition through
    ionospheric propagation developed with Deutschland Radio Erhältlich ab 27.01.2017 Getaggt mit:
  • Brokeback – Illinois River Valley Blues (LP+MP3)

    Sektion: Musik, Neue Releases

    Image: 1607954 A sense of place has been essential to the music of Brokeback since guitarist/bassist
    Douglas McCombs frst launched the project in 1995. Initially conceived as a solo
    outlet, the Chicago group has taken on new dimensions over the past two decades,
    morphing from the lean, pastoral ambience of the frst album, Field Recordings
    from the Cook County Water Table, to the more muscular, taut arrangements
    and dynamic swells of the last release, Brokeback and the Black Rock, for which
    McCombs assembled a new quartet lineup. Each album develops with exacting
    detail, revealing McCombs’s gift for dialing in the essence of a mood, feeling, or
    distant locale with a handful of reverb-laden guitar tones, elegant and sustained,
    strategically placed and sparingly deployed. The instrumental landscapes he creates
    on Illinois River Valley Blues are utterly transportive, evoking familiar open-frontier
    soundtracks and charting out new sonic territory.
    McCombs’s singular approach to guitar and bass, characteristic of his work with
    Tortoise, is expertly enhanced here by James Elkington (Tweedy, Steve Gunn) on
    second guitar (moving over from drums on the last record). The two salute one of
    McCombs’s favorite bands, Television, with latticed dual leads on the stately yet
    aggressive “On the Move and Vanishing,” while Elkington’s subtle layers of pedal
    steel and organ burnish more ruminative forays like “Andalusia, IL” and “Ursula.”
    Their intertwining ?ights are anchored by the sturdy yet versatile rhythm team of
    bassist Pete Croke (Exit Verse, Tight Phantomz) and drummer Areif Sless-Kitain
    (the Eternals), the newest member of Brokeback.
    Thematically this is McCombs’s most personal offering yet, re?ecting on his early
    years growing up along the Illinois River corridor between Peoria and Chicago.
    Though the inspiration is McCombs’s, the execution is wholly a group effort. With
    the same instrumentation and mostly the same lineup as the previous album, the
    band stretches its leader’s eternal fascination with the roots of American guitar
    music in bold new directions. A serpentine mystique runs through “Rise, Fernanda,
    Rise!,” and “Cairo Levee” conjures a desert atmosphere closer to the Sahara than
    the American southwest. Side one of the album closes with a moody, meditative
    take on “Spanish Venus,” a ballad written by cornetist and sometime Brokeback
    collaborator Rob Mazurek (Chicago Underground, Exploding Star Orchestra). “I
    could hear Brokeback doing the tune from the moment I heard him workshopping
    it with Pulsar Quartet at a little cocktail bar in Logan Square,” says McCombs.
    Several songs feature lush, multi-layered vocals by Amalea Tshilds (the Paulina
    Hollers), who made a deep impression on McCombs with a spellbinding a cappella
    performance a couple years ago. “I often imagine female vocals on Brokeback
    records, but I wanted it to be someone that I have personal history with, someone
    who can nail it, not to mention someone who I know digs the music,” he says.
    “That’s why Mary Hansen (Stereolab) sang on all those earlier records and why I
    wanted Lea for this.”
    Illinois River Valley Blues is a winding, wistful travelogue that not only captures
    darker textures but mines their depths. That’s been part of McCombs’s vision for
    Brokeback from the start: “To me a song is not worth writing if it doesn’t have a
    strong sense of melancholy,” he says

    TRACK LISTING:
    1. Ride Ahead and Light
    the Way For Me
    2. Cairo Levee
    3. The Canyons of Illinois
    4. Andalusia, IL
    5. Spanish Venus
    6. On the Move and Vanishing
    7. Rise, Fernanda, Rise!
    8. Ursula
    9. The Strollers’ Memorial
    10. Night Falls on Chillicothe

    SALES POINTS
    Brokeback is the longstanding project of Douglas McCombs.
    McCombs is a member of Tortoise, Eleventh Dream Day, The
    Sea and Cake, and Pullman, and has worked with Tom Ze,
    Azita Youseff, Will Oldham, Calexico and Yo La Tengo
    The current Brokeback quartet lineup features McCombs
    joined by James Elkington (Tweedy, Steve Gunn), Pete
    Croke (Exit Verse, Tight Phantomz), and Areif Sless-Kitain
    (The Eternals)
    Illinois River Valley Blues was produced by John McEntire
    (Stereolab, Yo La Tengo)
    Album photography by Sam Prekop (The Sea and Cake)
    Brokeback will tour extensively throughout the year
    The album features guest vocals from Amalea Tshilds (the
    Paulina Hollers) and a cover of a Rob Mazurek written ballad
    (Chicago Underground, Exploding Star Orchestra)
    “for anyone who appreciates an outstanding rhythm section
    pushing interesting song structures, topped with emotionrich storytelling that’s done through a guitar”
    - Premier Guitar
    “... at its center it’s all ragged glory, guys banging out riffs
    and solos, a clear-cut delve into the rock frmament. You can
    practically feel the band members blowing the dust off their
    old plaid shirts and cracking open a six pack” - Pitchfork Erhältlich ab 24.02.2017 Getaggt mit:
  • Bitchin Bajas And Bonnie ‘Prince’ Billy – Epic Jammers And Fortunate Little Ditties (Drag City)

    Sektion: Highlights

    Bitchin Bajas And Bonnie 'Prince' BillyJawohl! Das unwahrscheinliche von allen möglichen musikalischen Kollaborationen ist tatsächlich wahr geworden: Die Bitchin Bajas, das experimentierfreudige Electronica-Duo aus Chicago, haben mit Will Oldham aka Bonnie ‘Prince’ Billy ein Team gebildet und zusammen ein fantastisches Kompletter Artikel →

    Getaggt mit: , , ,
  • Bell Gardens – Slow Dawns For Lost Conclusions (180g LP+MP3)

    Sektion: Musik, Neue Releases

    Image: 1591753 Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as [a]pendics.shuffle, dubLoner and Eight Frozen Modules) and Brian McBride (one half of Stars of the Lid) and began releasing music in 2010, beginning with an EP, Hangups Need Company on Failed Better/Burger Records. Their debut album Full Sundown Assembly (Southern/Burger Records) appeared in 2012 and, now signed to Rocket Girl in the UK, the band are set to release their second, Slow Dawns for Lost Conclusions, in September 2014.
    Bell Gardens’ origins began arguably as more of an experiment than the duo’s current ‘experimental’ projects – McBride’s drone- and string-laden ambient symphonies, and Gibson’s ventures in dub and minimalist techno – as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens’ sound is less reliant on effects and studio trickery than the pairs’ independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
    Developing the plaintive widescreen Americana found on its predecessor, Slow Dawns for Lost Conclusions is a record that, for all its subtlety, exhibits unashamed candour and is elevated by a much wider palette of players. While Full Sundown Assembly was recorded by McBride and Gibson working in tandem at home studios, Slow Dawns for Lost Conclusions sees their personnel expand to include the live incarnation of the band: Julian Goldwhite (pedal steel), Chris Camacho (bass), Charlie Woodburn (drums), Mark Colgrove (keys), with additional keys by Marty Stewart and Buchla synth by Dain Luscombe (now a full-time member of Bell Gardens), who features on the bonus cover of Kris Kristofferson’s ‘Why Me, Lord’ along with wife Julie Carpenter on strings.
    Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend’s desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial ‘Silent Prayer’ (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular ‘She’s Stuck in an Endless Loop of Her Decline’ (mapped out under the stars in the desert).
    While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson’s artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
    The band is a result of the complimentary cross-pollination of Gibson and McBride’s musical tastes – borne from a late-night conversation between the two that grew wings – and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
    The album ends with the glorious ‘Take Us Away’ – one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid – neatly bringing their work to date full circle and exemplifying the band’s mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.


    Track listing
    1. Darker Side Of Sunshine
    2. Silent Prayer
    3. Sail
    4. Joan's Ambulance
    5. She's Stuck In The Endless Loop Of Her Decline
    6. She Does
    7. Trust Lost Trust
    8. Avere
    9. Take Us Away


    www.rocketgirl.co.uk / www.bellgardensmusic.com

    Erhältlich ab 31.10.2014 Getaggt mit:
  • Bell Gardens – Slow Dawns For Lost Conclusions

    Sektion: Musik, Neue Releases

    Image: 1591752 Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as [a]pendics.shuffle, dubLoner and Eight Frozen Modules) and Brian McBride (one half of Stars of the Lid) and began releasing music in 2010, beginning with an EP, Hangups Need Company on Failed Better/Burger Records. Their debut album Full Sundown Assembly (Southern/Burger Records) appeared in 2012 and, now signed to Rocket Girl in the UK, the band are set to release their second, Slow Dawns for Lost Conclusions, in September 2014.
    Bell Gardens’ origins began arguably as more of an experiment than the duo’s current ‘experimental’ projects – McBride’s drone- and string-laden ambient symphonies, and Gibson’s ventures in dub and minimalist techno – as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens’ sound is less reliant on effects and studio trickery than the pairs’ independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
    Developing the plaintive widescreen Americana found on its predecessor, Slow Dawns for Lost Conclusions is a record that, for all its subtlety, exhibits unashamed candour and is elevated by a much wider palette of players. While Full Sundown Assembly was recorded by McBride and Gibson working in tandem at home studios, Slow Dawns for Lost Conclusions sees their personnel expand to include the live incarnation of the band: Julian Goldwhite (pedal steel), Chris Camacho (bass), Charlie Woodburn (drums), Mark Colgrove (keys), with additional keys by Marty Stewart and Buchla synth by Dain Luscombe (now a full-time member of Bell Gardens), who features on the bonus cover of Kris Kristofferson’s ‘Why Me, Lord’ along with wife Julie Carpenter on strings.
    Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend’s desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial ‘Silent Prayer’ (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular ‘She’s Stuck in an Endless Loop of Her Decline’ (mapped out under the stars in the desert).
    While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson’s artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
    The band is a result of the complimentary cross-pollination of Gibson and McBride’s musical tastes – borne from a late-night conversation between the two that grew wings – and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
    The album ends with the glorious ‘Take Us Away’ – one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid – neatly bringing their work to date full circle and exemplifying the band’s mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.


    Track listing
    1. Darker Side Of Sunshine

    2. Silent Prayer

    3. Sail

    4. Joan's Ambulance

    5. She's Stuck In The Endless Loop Of Her Decline
    6. She Does

    7. Trust Lost Trust

    8. Avere

    9. Take Us Away


    www.rocketgirl.co.uk / www.bellgardensmusic.com

    Erhältlich ab 31.10.2014 Getaggt mit:
  • GusGus – Mexico (180g + CD)

    Sektion: Musik, Neue Releases

    Image: 1589184 Als eindeutiger Fan-Favorit hatte GUSGUS' letzter Langspieler ARABIAN HORSE sämtliche Erwartungen übertroffen und gilt bis heute als einer unserer größten Bestseller der letzten Jahre.
    Wie die digitale Vorab-Single CROSSFADE (KOMPAKT DIGITAL 39) und das dazugehörige Set an prächtigen Remixen (KOMPAKT DIGITAL 40)
    bereits zeigten, sind GUSGUS unbeirrbar darauf aus die überragende Qualität ihres Songwritings fortzuführen. Dementsprechend weist das neue
    Album den gleichen Glanz auf wie die vorangegangenen Werke, kann sich jedoch auch am Schwung und der Güteklasse aktueller Ausschweifungen messen lassen. Bandmitglied Birgir Thorarinsson bereitete sich auf die anstehende Aufgabe bereits mit der Produktion von John Grants brilliantem 2013er Release "Pale Green Ghosts" vor, einem Meilenstein elektronischen Songwritings und das ideale Übungsgelände für MEXICO. Von der Eröffnungshymne OBNOXIOUSLY SEXUAL bis zum existentiellen Shuffle der abschließenden Ballade THIS IS WHAT YOU GET WHEN YOU MESS WITH LOVE setzt dieses Album auf dem Weg zu klanglicher Wonne alle Hebel in Bewegung und taucht mit jedem Track tiefer in die eigene zeitlose Melodieseligkeit ab.
    Es ist nicht einfach bei einem Album wie MEXICO einzelne Höhepunkte herauszupicken, da jedes Stück wunderbar für sich alleine stehen kann -
    ohne die eigene Rolle im großen Ganzen zu unterlaufen. In gewisser Weise ist das eine gute Metapher für GUSGUS selbst, einem Projekt, das immer wieder aufs neue erfolgreich die mitunter divergierenden Kräfte einer Gruppe von hochtalentierten Individuen unter einem Dach zu vereinen vermag. Was vielleicht auch die geheime Zutat sein könnte im Rezept für die faszinierende Magie der Band. Man nehme zum Beispiel SUSTAIN, AIRWAVES oder GOD APPLICATION: unter Rückgriff auf so diverse Einflüsse wie 80s Synth-Pop, UK Garage oder 90s Trance baut jeder dieser Tracks eine eigene Identität auf... bleibt jedoch stets aufs Intimste verzahnt mit der übergreifenden Ästhetik des Albums und dessen omnipräsentem Hang zur brillianten Pop- Hookline.
    Der frequenzwandelnde House-Stomper ANOTHER LIFE und die tief ansetzende String-Nummer THIS IS NOT THE FIRST TIME kommen den
    üppigen Texturen des Vorgängers vermutlich noch am Nächsten, engagieren sich für die gleiche Art von flurfreundlicher Beweglichkeit vor dem Hintergrund monumentaler Synthie-Flächen. Interessanterweise ist der Titeltrack MEXICO das einzige Instrumental der neuen Platte und bringt so ein eher lineares Flair ins Gespräch. Doch das macht es umso erstaunlicher, GUSGUS' starken Sinn für Melodie und Verspieltheit dabei zu beobachten wie er selbst stahlharte Club-Konventionen zurecht biegt. Mit der nuancierten Narration eines kohärenten Künstleralbums und der begierigen Begeisterung einer großartigen Tracksammlung hat GusGus' neuestes Werk ungeheures Potential für so manch persönliches Best-Of-Mixtape. Alles Killer und keine Füller! Erhältlich ab 20.06.2014 Getaggt mit:
  • GusGus – Mexico

    Sektion: Musik, Neue Releases

    Image: 1589183 Als eindeutiger Fan-Favorit hatte GUSGUS' letzter Langspieler ARABIAN HORSE sämtliche Erwartungen übertroffen und gilt bis heute als einer unserer größten Bestseller der letzten Jahre.
    Wie die digitale Vorab-Single CROSSFADE (KOMPAKT DIGITAL 39) und das dazugehörige Set an prächtigen Remixen (KOMPAKT DIGITAL 40)
    bereits zeigten, sind GUSGUS unbeirrbar darauf aus die überragende Qualität ihres Songwritings fortzuführen. Dementsprechend weist das neue
    Album den gleichen Glanz auf wie die vorangegangenen Werke, kann sich jedoch auch am Schwung und der Güteklasse aktueller Ausschweifungen messen lassen. Bandmitglied Birgir Thorarinsson bereitete sich auf die anstehende Aufgabe bereits mit der Produktion von John Grants brilliantem 2013er Release "Pale Green Ghosts" vor, einem Meilenstein elektronischen Songwritings und das ideale Übungsgelände für MEXICO. Von der Eröffnungshymne OBNOXIOUSLY SEXUAL bis zum existentiellen Shuffle der abschließenden Ballade THIS IS WHAT YOU GET WHEN YOU MESS WITH LOVE setzt dieses Album auf dem Weg zu klanglicher Wonne alle Hebel in Bewegung und taucht mit jedem Track tiefer in die eigene zeitlose Melodieseligkeit ab.
    Es ist nicht einfach bei einem Album wie MEXICO einzelne Höhepunkte herauszupicken, da jedes Stück wunderbar für sich alleine stehen kann -
    ohne die eigene Rolle im großen Ganzen zu unterlaufen. In gewisser Weise ist das eine gute Metapher für GUSGUS selbst, einem Projekt, das immer wieder aufs neue erfolgreich die mitunter divergierenden Kräfte einer Gruppe von hochtalentierten Individuen unter einem Dach zu vereinen vermag. Was vielleicht auch die geheime Zutat sein könnte im Rezept für die faszinierende Magie der Band. Man nehme zum Beispiel SUSTAIN, AIRWAVES oder GOD APPLICATION: unter Rückgriff auf so diverse Einflüsse wie 80s Synth-Pop, UK Garage oder 90s Trance baut jeder dieser Tracks eine eigene Identität auf... bleibt jedoch stets aufs Intimste verzahnt mit der übergreifenden Ästhetik des Albums und dessen omnipräsentem Hang zur brillianten Pop- Hookline.
    Der frequenzwandelnde House-Stomper ANOTHER LIFE und die tief ansetzende String-Nummer THIS IS NOT THE FIRST TIME kommen den
    üppigen Texturen des Vorgängers vermutlich noch am Nächsten, engagieren sich für die gleiche Art von flurfreundlicher Beweglichkeit vor dem Hintergrund monumentaler Synthie-Flächen. Interessanterweise ist der Titeltrack MEXICO das einzige Instrumental der neuen Platte und bringt so ein eher lineares Flair ins Gespräch. Doch das macht es umso erstaunlicher, GUSGUS' starken Sinn für Melodie und Verspieltheit dabei zu beobachten wie er selbst stahlharte Club-Konventionen zurecht biegt. Mit der nuancierten Narration eines kohärenten Künstleralbums und der begierigen Begeisterung einer großartigen Tracksammlung hat GusGus' neuestes Werk ungeheures Potential für so manch persönliches Best-Of-Mixtape. Alles Killer und keine Füller! Erhältlich ab 20.06.2014 Getaggt mit:
  • Timber Timbre – Hot Dreams

    Sektion: Musik, Neue Releases

    Image: 1587586 Timber Timbre ist das geistige Produkt von Taylor Kirk aus Montreal. Nach dem erfolgreichen Album "Creep On Creepin' On" (2011) hat Kirk mit seinem langjährigen Kollegen Simon Trottier beschlossen die Farbpalette der Klänge und Stimmungen von Timber Timbre zu erweitern: "Hot Dreams" ist nicht nur in Folky-Texturen der 50er-Jahre verankert, die Tonalität ist geschmeidiger, launischer, sinnlicher, voll von cineatischen Neonlichtern und Dunst. Somit ist das neue Timber Timbre Werk ein fast filmisch konzipiertes Album, mit vielen musikalischen Ideen und Anspielungen, die den trockenen Western mit schleppenden Horror und der Pomp der Hollywood Phantasma zwanglos verbinden. Der Titelsong "Hot Dreams", der wie ein Cocktail aus Melancholie und Gereitzheit wirkt, bietet feine Streicharragements von Mika Posen, Vintage Drums von Olivier Fairfield und Mathieu Charbonneau am Keyboard an. Man bestaunt einen ungewöhlichen Saxophon-Gastauftritt von Colin Stetson in einem Echo mit Backing Vocals von Romy Lightman (Tasseomancy, Austra). Den groovende Song "Curtains" haben Kirk und Trottier mit Simone Schmidt (Fiver, The Highest Order, One Hundert Dollars) zusammen komponiert, er unterstreicht den einzigartigen Sound von Timber Timbre mit sanfter Gewalt und genauer Taktung. Das Album "Hot Dreams" erweist sich sofort als das üppigste und fokusierteste Werk von Timber Timbre, genug vertraut aber gleichzeitig auch fremd und exotisch. Erhältlich ab 04.04.2014 Getaggt mit:

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