"An arbitrary succession of more or less irritating sounds"

Friday, 15 April 2016


Managed to miss a couple of earlier tip-offs, so the first taste of new Chris Herbert isn't so much a tease as a disconcerting delight. Disconcerting because of its warp-speed arrival after the, er, pause between Mezzotint & Constants (part of LMYE's 2014 Festive 33-1/3) - two of the most beguiling releases in these ears' acquaintance. 

& a delight because:

Enveloping organ swells cut through with both introspective switch-backs & soaring, sky-rending moments - as Room40 brilliantly terms it, Herbert again "blends the momentary blooming of rich structures with greyscale microclimates"...

Oh, & it's a tape. On the always admirable Low Point... 

Stylistically-related bonus:

"A collage of material that didn't make the cut for the second album for various reasons: germinal ideas, failed experiments, technical insurrection. In the grand tradition of the freedom of b-sides, some of it is worthwhile, if unpolished. Many of these audio swatches exist as longer stand-alone tracks that may surface at some point."

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Thursday, 14 April 2016

Ecluses de Fonserannes

Shoe-horning in a raft of welcome new work from Stephan Mathieu: not only the striking riches of the Radiance dozen he recently Kickstarted for delivery over the next year, including a powerfully evocative soundtrack collaboration with France Jobin, but also the heavyweight showdown of his Zauberberg (Shelter Press) alongside Kassel Jaeger & Akira Rabelais - "an idea not driven by the narrativity of the book (Thomas Mann's The Magic Mountain), but by the traces and the aura invoked in it: an audible auratic journey through the memories of a place lost in the heights of the Swiss mountains". 

Radiance's 12-strong programme includes Alap for Steel Needle, Record & Theorbe (its first volume). The piece is dedicated to Arnold Dolmetsch, while two more are commissions for the 90th birthdays of Earle Brown (To Have Elements Exist in Space, volume 8) & Morton Feldman (For Morton Feldman, volume 9). 

Full list: 

So far, though, The Answer is the only 
glimmer of the Radiance to come. Volume 2 in the series, it sounds as reflective & unrushed, as naturally paced & gradually unfolding, as the canal journeys it embodies...

Background: Eymenier's history of the film

Zauberberg, meanwhile, stands out as one of the year's deepest listening pieces - a kind of soundtrack to an imaginary film or restaging of wisps around 
Mann's fiction... 

More blurb: "A century after the events depicted in the book, we went where the story took place, trying to capture the remaining sounds that could have been heard at the time, and the ghosts who might have still wandered around.

Zauberberg is based on these captures, on recordings of the music played by Hans Castorp (the novel’s main character), on acoustic/electronic instrumentation and digital processing. The result is an evocation of time and duration, an exploration of what remains and what is lost, a meditation of the dissolution and persistence of the aura surrounding everything."

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be. NB: photos from The Answer trailer. 

Monday, 4 January 2016

Thirty-three & two-thirds

Once more into the hair shirt, dear friends: staying with our sincere though inevitably clunky attempt to spread recognition as widely as possible without devaluing it too much, LMYE’s co-authors each independently pick 15 releases that particularly mattered to them during the year – but under two constraints: no more than one selection per artist & one per label. 

Duplication across our 2015 line-ups was limited. Only William Basinski & Richard Chartier's Divertissement (Important), Celer's How could you believe me when I said I loved you when you know I've been a liar all my life (on his own Two Acorns) & Triac's Days for Chartier's Line featured on both initial drafts. 

This year we again expand the resulting master list to a 'Festive 33-1/3'. This blatant wriggling inside the hair shirt is meant to also celebrate a quartet that each amount to rather more than a single release: the welter of intense 'ritual' sounds in D.Fyans' own name since his last appearance as Erstlaub; Dauw & Eilean's often thrilling pairing & repairing of artists across their Dialog Tapes (also here); Headphone Commute's admirable, anonymous 'Undisclosed' series; & the bucolic conclusion of Duane Pitre's "unplanned trilogy" in Bayou Electric

Mandatory health warning: as always, plenty of other artists & labels than those featured here made great music this year. We regret not being able to include more of it...

Oren Ambarchi & Jim O’Rourke Behold (eMego) [jl]
William Basinski & Richard Chartier - Divertissement (Important) [al/jl]
Christopher Bissonnette – Pitch Paper & Foil (kranky) [jl]
Celer - How could you believe me when I said I loved you when you know I've been a liar all my life (Two Acorns) [al/jl]
Alex Cobb – Chantepleure (Students of Decay) [jl]
Donnacha Costello - Stay Perfectly Still (self-released) [al]
Robert Donne, Stephen Vitiello & The OO-Ray – Nuvole (Geographic North) [jl]

Eating Flowers - God Was A White-Tailed Deer (Reckno) [al]
D.Fyans – Various (self-released) [jl]
Tobias Hellkvist – Pause (Dragon’s Eye) [jl]
High aura’d & Mike Shiflet – Awake (Type) [jl]
The Inward Circles – Belated Movements for an Unsanctioned Exhumation August 1st 1984 (Corbel Stone Press) [jl]
Philip Jeck – Cardinal (Touch) [jl]
Johan Johansson with Hildur Gudnadottir & Robert Aiki Aubrey Lowe – The End of Summer [Sonic Pieces] [jl]

Ken Karter - Monad XXI (Stroboscopic Artefacts) [al]
Le Berger – Music for Guitar & Patience (Home Normal) [jl]
Moon Zero - Moon Zero (Denovali) [al]
Offthesky & Pleq - A Thousand Fields (Infraction) [al]
Yui Onodera - Sinkai (Arctic Tone) [al]
Pact Infernal - The Descent [Chapter 1] (Lucy Remixes) (Samurai Horo) [al]


Periskop - Immerse (Kabalion) [al]
Benoit Pioulard - Stanza I & II (Baro) [al]
Duane Pitre – Bayou Electric (Important) [jl]
Akira Rabelais – the little glass (self-released) [jl]
Ryuichi Sakamoto/Illuha/Taylor Deupree – Perpetual (12k) [jl]
Gabriel Saloman – Movement Building Vol. 2 (Shelter Press) [jl]
Simon Scott – Insomni (Ash International) [jl]

Shuttle358 - Can You Prove I Was Born (12k) [al]
Sons of Melancholia - Silencer (diametric.) [al]
Sustainer – Radiolas (Room40) [jl]
Triac - Days (Line) [al/jl]
Various Artists – Dialog Tapes (Dauw/Eilean) [jl]
Various Artists – Undisclosed (Headphone Commute) [jl]
Chris Weeks - The Cloud (self-released) [al]

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Sunday, 20 December 2015

Lend Me Three Radios

A neglected trove of listening riches: 50 compelling tracks spread across three playlists chucked together over the past quarter. Each should have been shared here in our Lend Me Your Radio series already, but oops...

The many highlights include the first resurfacing of Richard Skelton's Harlassen in nine years (a blistering addition to his Archival series that amplifies & expands our conception of 'new' Skelton, also embodied by his 'Delerious' Inward Circles soundtrack), plus a reminder of his classic sound through a 10th anniversary collection; a ravishing Jacob Kirkegaard piece for Holotype; &, first up, a rich meshing of Robert Donne, Stephen Vitiello & The OO-Ray's sounds on Geographic North. 

As always, please accept these lists as inevitably partial pictures of the period. No doubt other entirely worthwhile stuff should also have featured - but this is what grabbed these ears as they trawled through SoundCloud over the quarter.   

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Tuesday, 15 December 2015

Sea-green ink

These ears have made few more welcome new acquaintances this year than Alex Alarcon's Sustainer. No real surprise, though, considering the pedigree of his ravishing Radiolas - released on Lawrence English's Room40, mastered by Stephan Mathieu

Frosted with shortwave fuzz & punctuated by morse-like bleeps, these eight pieces constitute a hymn of & to communicating across the darkness - a set of aural messages in a bottle, pushed into the void out of hope & longing. 

& now there's Taps too - a lovely, glowing exercise in a kind of muffled domestic Gamelan via Tessellate

Blurbs: "There is a history of music stemming from time spent recovering from injury. On such example is Brian Eno’s story of creating ambient music, following a prolonged period being couch bound with a broken leg.

Sustainer’s Radiolas, shares a similar tale of horizontal inspirations. Whilst recovering from a serious health condition, Alex Alarcón aka Sustainer, began working with a very limited palette of equipment at arms reach. This mix of small recorders, pedals and other electronics become a processing chain through which he started to feed shortwave radio recordings. 

Having worked with radio recordings previously it didn’t take long for these recordings to take on a very personal and cathartic aesthetic. “Years ago i used to record things with another shortwave receiver at my parents house,” Alex explains, “because it was near the sea and you could catch easily stations from north of Africa. Sometimes I was even able to reach marine stations from boats crossing the Mediterranean Sea. It was an incredibly inspirational feeling tapping into these streams of sound."

[Taps] "During the recording process, Alex searched for every resonant object in his home and found that metal, ceramic and crystal items were of particular use. These were struck with rubber-textile mallets and fed into a loop pedal via contact mics. Once these sounds and tones were collected, they were then carefully polished into fluid timbres, using various techniques. 

He strived to create a record made entirely from the sounds of his environment, using his home as an instrument. He wanted to create textures that reflected the peace of home which could only be achieved there, since outdoor field recordings can be so noisy at times."

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.
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