"An arbitrary succession of more or less irritating sounds"

Wednesday, 15 July 2015

Puddles of light

Compelling, expansive sounds from recent collaborators (Naked Island) Felicia Atkinson & Brian Pyle - FA in another trans-Atlantic, male/female pairing (La Nuit), this time with Peter Broderick

Where La Nuit's Road Snakes is a writhing, echoing vamp adhesively shaped around that intimate but distant voice's swerves between English & French, Ensemble Economique's From The Train Window, Red Flowers On The Mountain is all lulling wide-screen stillness - a tranquil, glowing tone poem. 

Broderick on La Nuit: "after she left I treated those words as lines of an opera under which to make a ghostly string arrangement"...

Back-dated bonus tracks:

NB: artwork at top by Felicia Atkinson. 

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

Tuesday, 16 June 2015

'a liar all my life'

While Will Long's staggering fecundity as Celer has finally slowed lately (mid-June already & only two new albums this year?!), the beauty & emotional weight of his work is unflagging. Indeed, the three most recent Celer releases - Sky Limits, Jima & the snappily-titled How could you believe me when I said I loved you when you know I've been a liar all my lifefeature some of his most ravishing, affecting sounds. 

Pieces like the quavering, gossamer Tangent Lines (from SL) are as delicate, as precious as the noting, investing & storing moments of significance that Long describes ("Someday, I won't be in these same places again, and for now, this is what they sound like. Even these minor moments are important when you look back on the memory, and then look out from this overlook, seeing the city lights blinking in the distance..."). 

Memory is a notable theme across these releases. The literally sun-baked How is especially rich with reminiscence ("Revisiting these pieces after living in Japan for several years, they instantly reminded me of the trip, and what I left behind in the United States. The tapes fluttered and stuck, drenched in hiss and grime. The record skipped, wavered, and dropped in and out. Yet with these imperfections, it completely reflected my memory of the places, and what they represented. There are sides to everything, whether it causes you to change or not...").  

Out of "the most basic format-inherent effects", Long conjures something profound, embodied in the exquisitely simple, lulling Bleeds & swell bends

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

Tuesday, 2 June 2015

Dark asphalt

A little LMYE paean to Gareth Hardwick, whose Low Point (our label of the year back in 2010*...) has now racked up a decade as a beacon of challenging, compelling music - both his & others'.

Below, a vaguely reverse-chronological immersion in Hardwick's deeply reflective, always affecting work - not quite all the way back to that Bologna Pony LP001 or his subsequent solo I Dream of Red, but almost: from the soothing dreaminess of 2005's home-recorded Three Degrees of Separation to the rich, inter-locked textures of this year's Two Songs

* Profile includes an illuminating interview with Hardwick that explores Low Point's "logical progression", as well as vinyl love & label challenges...

Blurb: "Employing the same minimal palette of guitar and field recordings but now drawing upon urban, rather than coastal themes; Two Songs is iron, brick and dark asphalt in response to the grey-blue swell and salt wind of Of the Sea and Shore
Side A is built around a buzzing drone, an arc light on concrete, which by degrees dissolves to an autumnal hiss; that low, constant mixture of rain, distant traffic and human life which sits just below the threshold of consciousness for anyone living in a city framed by spare, untreated guitar. The same drone, now dulled and ragged, reappears on Side B as a coda to a gently oscillating wash of interwoven harmonics. 
Small shifts in texture, timbre and dynamics are concisely entwined to create an atmospheric and evocative EP." 

(from sound&fury comp Tomorrow & Tomorrow & Tomorrow, Vol. 1)
Photos by Abbey Rees-Hales.
Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Friday, 1 May 2015

Bells At Boudha

Two exemplary, contrasting releases in support of Nepal: Hibernate's Dayalu / for Nepal & Aaron Dilloway's Sounds of Nepal Volumes 1 - 3. Beneficiaries are the British Red Cross & the America Nepal Medical Foundation, respectively. 

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

Wednesday, 31 December 2014

Thirty-three & a third

You may know the drill by now: in a sincere though inevitably clunkily artificial 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 faintly hair-shirted constraints: no more than one selection per artist & one per label. 

Duplication across our 2014 line-ups was very limited. Only Lawrence English’s Wilderness of Mirrors (a highlight of another stand-out year for his Room40 imprint, our 2012 Label of the Year), Fennesz’s Bécs (eMego), Stephan Mathieu’s Sacred Ground (Schwebung) and Janek Schaefer’s Lay-By Lullaby (12k) featured on both initial drafts. 

This year we expand the resulting master list to a Festive 33-1/3. In particular, we throw in two epic collections that were too significant to exclude, even if they weren’t strictly speaking new music: Chris DooksThe Motherlode & The Otherlode (Broken20) & Kenneth Kirschner’s Imperfect Forms (Tokafi)

In addition, a wry part-vote for Le Berger’s Interwoven Sonic Tapestry – formally released at a minute to midnight (EST, presumably) today “to ensure avoidance of any 2014 and / or 2015 'top' lists” – rounds out our initial 2014 roll-call. 

Mandatory health warning: plenty of other artists & other labels than those featured here made great music this year. As previously, we’ll acknowledge the broader universe of releases that resonated with us in a follow-up post…

Anjou Anjou (Kranky) [jl]
Thomas AnkersmitFigueroa Terrace (Touch) [jl]
Andrea Belfi Natura Morta (Miasmah) [jl]
Nicolas Bernierfrequences (a / fragments) (LINE) [jl]
Alex CobbMarigold & Cable (Shelter Press) [jl]
Robert CurgenvenSIRÈNE (Recorded Fields) [jl]
Dalhous - Will To Be Well (Blackest Ever Black) [al]
Deaf CenterRecount (Sonic Pieces) [jl]
Loren Dent - Anthropology Vols. 2 & 3 (Infraction) [al]
Chris DooksThe Motherlode & The Otherlode (Broken20) [jl]

Kyle Bobby Dunn - Kyle Bobby Dunn & the Infinite Sadness (Students of Decay) [al]
Lawrence English - Wilderness of Mirrors (Room40) [al/jl]
Lawrence English & Stephen VitielloFable (Dragon’s Eye) [jl]
Fennesz - Bécs (eMego) [al/jl]
Chris HerbertConstants (Room40) [jl]
The Inward Circles - Nimrod is Lost in Orion & Osyris in the Doggestarre (Corbel Stone Press) [jl]
P JørgensenGold Beach (Low Point) [jl]
Kangding Ray - Solens Arc (Raster-Noton) [al]
Sima Kim - Debris (Soft Corridor)
Kenneth KirschnerImperfect Forms (Tokafi) [jl]

Le BergerInterwoven Sonic Tapestry (in the key of) (self-released) [jl]
Stephan MathieuSacred Ground (Schwebung) [jl/al]
Neel - Phobos (Spectrum Spools) [al]
Duane Pitre & Cory AllenThe Seeker & The Healer (Students of Decay) [jl]
Abdulla Rashim - Unanimity (Northern Electronics) [al]
M. Sage - A Singular Continent (Patient Sounds) [al]
Pascal Savy - Adrift (Eilean Records) [al]
Janek SchaeferLay-By Lullaby (12k) [jl/al]
Shifted - Arrangements in Monochrome (Part 1 & 2) (Avian) [al]
Nicholas Szczepanik - Not Knowing (Desire Path) [al]

TCF - 415C47197F78E811FEEB7862288306EC4137FD4EC3DED8B (Liberation Technologies) [al]
Tegh - Night Scenes (Inner Ocean) [al]
Mike WeisDon’t Know, Just Walk (Type) [jl]
Cody Yantis / Nathan McLaughlin / Josh Mason / Joe HoupertLine Drawings (Desire Path/FET Press) [jl]

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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