"An arbitrary succession of more or less irritating sounds"

Monday, 23 December 2013

Annual hairshirt

Apple-cheeked scamps roasting on an open fire, chestnuts ripping open their stockings in the dawn's half-light & - to complete this touching yuletide scene - LMYE donning the annual hairshirt of our Festive 30...
As last year, we've constrained our compilation of this list of 30 releases that particularly touched us in 2013. To spread recognition as widely as possible (& to try in some small way to acknowledge the arbitrariness of singling out a fraction of the year's great music...), each co-author was restricted to no more than one pick per artist or per label.

At the risk of cold-shouldering exceptional albums that fall foul of one or both of these 'rules' (Chris Watson's In St Cuthbert's Time (Touch) & Richard Chartier & Yann Novak's Undefined for farmacia901 come immediately to mind...), this builds some breadth into our choices - while making room for our fairly complementary tastes to have alighted on different pieces in the same artist or label's catalogue.

This year both of us were mostly listening on the run & in the cracks between other commitments. Perhaps as a result, our overlap was minimal (unlike last year) - with only Tim Hecker's blinding Virgins appearing in both of our first CVs.

We'll acknowledge other notable releases in a follow-up post soon. We'll also be running a label of the year-type piece.

Benjamin Dauer :: The Pace of Which (Twice Removed) [al]

Benoît Honoré Pioulard :: Roanoke (self-released) [al]

Boards Of Canada :: Tomorrow’s Harvest (Warp) [al]

Bruce Gilbert & DAW :: Diluvial (Touch) [jl]

Christophe Bailleau & Julien Demoulin :: Outshining Memories (Time Released Sound) [al]

Cory Allen :: The Great Order (Quiet Design) [jl]

Dalhous :: An Ambassador for Laing (Blackest Ever Black) [al]

Eluder :: Through Horizon (Infraction) [al]

Francesco Giannico :: Luminance (Somehow) [al]

Hakobune :: Nebulous Sequences (VoxxoV) [al]

Jon Hopkins :: Immunity (Domino) [al]

Kenneth Kirschner & Tomas Phillips :: Five Transpositions (Sad) [jl]

Kiln :: meadow:watt (Ghostly International) [al]

Le Berger :: Variations on not too much really (self-released) [jl]

Main :: Ablation (eMego) [jl]

Maps and Diagrams :: Timbre (Dronarium) [al]

Mohammad :: Som Sakrifis (PAN) [jl]

Orphax :: Un Coeur, Deux Coeurs, Un Coeur, Sans Coeur (Broken20) [jl]

Pausal :: Sky Margin (Own) [al]

PITRELEH :: PITRELEH (Important) [jl]

Ruhe :: Easing (Cotton Goods) [al]

Savvas Ysatis & Taylor Deupree :: Origin (12k) [jl]

Secret Pyramid :: Movements of Night (Students of Decay) [al]

Simon James Phillips :: Chair (Room40) [jl]

Slow Walkers :: Slow Walkers (Peak Oil) [jl]

Stephan Mathieu :: The Falling Rocket (Schwebung) [jl]

The Necks :: Open (Northern Spy) [jl]

Tim Hecker :: Virgins (kranky) [jl]

Tomonari Nozaki :: Une Histoire de Bleu (Invisible Birds) [al]

William Basinski & Richard Chartier :: Aurora Liminalis (LINE) [jl]



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

Monday, 2 December 2013

Sound, gravity, water

Pro skater, experimental musician, & what next? A CV as varied as
Duane Pitre's gives grounds to anticipate equally radical future shifts...so I confidently expect the man's first nanotechnology breakthrough or Bolivian cookbook in due course.  

In the meantime, though, his music stands out as some of 2013's most dazzling & notable (as it has been for some years, of course...). Both his keening, East-West colliding Bridges & the extraordinarily restrained, profoundly other-worldly PITRELEH (a collaboration with, you guessed it, ELEH that I struggle not to call spiritual & that summons a rare & deep musical language) will be seen here & surely elsewhere as obvious highlights of this year's listening. 

Below also hear a bracing, thrilling new piece (performed at the Museum of Contemporary Art Detroit in June or thereabouts). Glib as it probably is to claim it seems informed by both of the recent releases, despite being significantly more abrasive than either, I'll say it anyway...

The suggestion somewhere that this is Pitre's likely next direction has to be worth a whoop or two, no? 

In other news: a worthwhile Village Voice interview (& an in full version) from a couple of months back, with a welcome reminder of that Cory Allen collaboration previously mentioned in dispatches...

pitreleh (eleh & duane pitre) - self titled (album preview)

IMPREC Podcast#5: Autumn Releases 2013 [features PITRELEH -Vibration: Sine Pools (excerpt) at 24:34 & Duane Pitre - Feel Free Live at Cafe OTO (excerpt) at 41:37]

Imprec Podcast#4: Summer Releases 2013 [features 3 Questions with Duane Pitre at 18:12, Duane PitreBridges: Earth/Ember/Serpent (excerpt) at 25:45 & PITRELEH Side A (excerpt) at 1:01:31, plus background excerpts from Duane Pitre - Feel Free Live at Cafe OTO]

duane pitre - bridges (album preview)

Bridges (album excerpt) by Duane Pitre

Bridges: Cup/Aether/Crane (excerpt)

Monolithic Youth (excerpt) by Duane Pitre

Music For Microtonal Guitar And Mallets by Duane Pitre

NB: Duane Pitre photo by Dorka Hegedus. Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Tuesday, 26 November 2013

Our tidal flats

It's not just the national cricket team working up a head of steam down under as the year closes. Lately Australia's Room40, LMYE's label of 2011 (joint with Experimedia, trainspotters!), has unleashed a gleaming raft of essential 'editions' that add lustre not only to an already benchmark catalogue but to 2013's output more generally...

This new batch underlines the label's characteristic anti-generic open-earedness. From Eugene Carchesio's manic glitching to Heinz Riegler's therapeutic lullabies, via major statements from Simon James Philips (the gloriously, grandly pealing Chair) & Rafael Anton Irisarri (the crepuscular, clankingly pensive Unintentional Sea), this disparate outpouring somehow reaffirms the uniqueness of Room40's voice. 

Moreover, the label still has the great Chris Herbert's Constants to come (some earlier blather). A delectable, delicate freebie EP, Wintex-Cimex 83, only stokes the appetite for the return of an all too rare releaser - now due in February...

& that's not even to mention head honcho Lawrence English's magnificent collaboration with Liz Harris (Grouper), Slow Walkers - though that's a somewhat less recent vintage (even more so in the video below)... 

Simon James Phillips - Poul

moth to taper by simon james phillips  

Simon James Phillips - Set Ikon Set Remit

Rafael Anton Irisarri - Lesser than the sum of its parts

Rafael Anton Irisarri - Daybreak Comes Soon

rafael anton irisarri - the unintentional sea (excerpts)

Chris Herbert - Soft Quasars

Eugene Carchesio - Day 3

Eugene Carchesio - Day 12

Heinz Riegler - SLEEP HEALTH (Side A Excerpt)

Wake - Slow Walkers

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

Monday, 4 November 2013

Seismicity zones

Continental Drift could hardly imply earth much more (so too the album’s 'Geologist Monthly' track titles). But earth – in all of its worthy, grounded, lumpen-ness – is the least of the elements here. Rather, to these ears this is an airborne, grandly* soaring sound, mostly, with moments of timeless marine submersion & calm (particularly in the luscious, longer-form Asthenosphenic Movement trilogy) as well as of fiery crackle & roar. 

Each is at play in the thrilling high point, Magnetic Striping. A controlled, faintly abrasive rush provides a richly contrasting sound bed for a slower unfurling of trio trickery – a shimmering, glinting son et lumiere a trois

Faures - Magnetic Striping

Peeled out from behind their baffling Faures moniker (perhaps it means more in German?), Sam, René & Fuzz sound more like a scrubbed, marketing-friendly boy band than an ambient-drone supergroup (the trio’s tri-continentality another form of ‘drifting’ collision, of course). & in a way that’s fitting since a snappily melodic ear uncharacteristic of the genre underlies much of CD – particularly the two song-length Uplift pieces (Isostatic & Orogenic, as if you needed telling…). 

Another way of putting it: CD is a largely unexpected slab of pretty (though hardly cute or winsome) - a notably romantic excursion out across deep waters, vast skies, even beyond the horizon & up into the spheres – a soundtrack to ascension, or immersion. 

Sam is a brewer. So, finally, some tasting notes: rich, lingering body with only a touch of offsetting bitterness, not cloying, little spice, some intense top notes, elongated finish. 
*Grand, certainly, & occasionally grand-standing but rarely grandiose…

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

Tuesday, 8 October 2013

Language of the unheard

From a super-spare palette, pared-back martial rage from Gabriel Saloman - a key part of Miasmah's outstanding run over the past year (besides his fiercely poised, affecting Adhere, a highlight of LMYE's Festive 30 last year, & the forthcoming Soldier's Fieldthe label has also knocked out essential listening from B/B/S, Svarte Greiner & Kaboom Karavan lately...). 

Gabriel Saloman - Boots On The Ground

Gabriel Saloman - Mine Field (clip)

gabriel saloman - adhere (album preview)

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

Tuesday, 10 September 2013

Idle tractors

It's disconcerting to discover from Poland's Monotype that Lydia Lunch is still with us (though it's surely impossible that she's not made at least one record called Medusa's Bed already?). But it's more confounding still to have missed Gau, the beguiling debut from CMKK - a 'supergroup' 
from the LMYE pantheon, comprising serially promiscuous Dutch collaborators Jan & Romke Kleefstra, & Machinefabriek, plus Celer

"Without any plans we just went for it and ended up with hours of material that was later edited to the 48 minutes that is 'Gau'" - Machinefabriek. 

Blurb: "In March of 2012, nearing the end of a tour together through the Netherlands and Belgium, Celer, Machinefabriek, and Jan and Romke Kleefstra gathered in a country studio, spending an afternoon improvising to record Gau. Recorded by the old hardcore rocker Jan Switters at the Landscape studios in Gauw, situated in the countryside in the midst of Friesland, the place was surrounded by green fields with idle tractors, few trees, buzzards and only massive farmhouses dotting the horizon. From the almost four hours of original studio recordings, later mixed down in Rotterdam by Machinefabriek, this 48 minutes, titled 'Gau', represents the highlights of an afternoon with coffee and orangecake in the isolated Frisian countryside. 'Gau' is a Frisian word that means in a hurry or fast, but is also the Frisian notation of the village name where the studio is located."

CMKK - Gau (excerpt) [MP3 here]

The quartet hinges on Machinefabriek, of course. Besides his rewarding but unobvious recent pairing - each's epic fecundity notwithstanding - with Celer, Rutger already participated in the great Piiptsjilling with the Kleefstras (& Mariska Baars). 

Jan & Romke in turn continue to mine rich seams of salty Friesian impro with a host of other partners & contexts...

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

Friday, 6 September 2013

Apparent extinction

A pair of scintillating 'reinterpretations' by artists behind two of this year's more demanding & rewarding releases. Though one is rather more aligned with the original's glitchy momentum than the other, there's a billowing, layered intensity to both Rashad Becker & Cindytalk's takes on Pure's delicious the.end.of.vinyl - a 1999 Mego classic recently made available as a freebie download by Cronica (or cough up an appreciative Euro for it on Bandcamp ...). 

Each of these run-outs (ahem) comes from a Cronica-curated companion compilation of responses to Pure's locked-groove explorations - No End of Vinyl, naturally...

Blurb: "Fourteen years after the original release of “the.end.of.vinyl”, Pure’s first digital-only release, ten artists gather in its evocation, reinterpreting Pure’s compositions and infusing them with their own reflections on digital musics and the future of its media. 

“the.end.of.vinyl” was one of the early releases on Mego, the Vienna-based label that in the end of the millennium showed us what the music of the future could be. In 1999 its title resonated with post-analog angst, recalling the transformation (maybe even the demise) of the music market and of the cultures that it had helped to breed. It announced and perhaps confirmed an end that is still latent. 

“No End of Vinyl” started to be conceived as a set of discs that would fix onto vinyl the (mostly) digital compositions. Somewhere along the process, a dissonance between the nature of the pieces and that of the format started to become clear and a decision was made to revert to the “old” format of the Compact Disc. In a moment when analog formats seem to be going through a stage of resurgence or a final surge of vitality, we arrived to an album about the endings of a medium, released in what once was thought to be its successor and that has been coming to its own apparent extinction much sooner than vinyl has."

Various Artists - No End of Vinyl (excerpts)

Pure - the.end.of.vinyl (excerpts)

Rashad Becker - Dances III

rashad becker - traditional music of notional species vol. 1 (album preview)

Cindytalk - My Drift Is A Ghost

Cindytalk - As If We Had Once Been

cindytalk - a life is everywhere (preview)

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

Friday, 9 August 2013

Farfisa & charcoal

Ahead of a long & very keenly awaited album, Constants, due some time this year on Room40, two slightly tangential but totally rewarding routes into 2012/3's Chris Herbert - still, or perhaps ever more, a marvel of detailed sound construction & manipulation, with a rare ability to make abstraction moving...

The first is an unmastered & possibly extended version of the release's exquisite, subtly cymbal-splashing coda, Nunki, which Herbert doubted back when first posted would "survive in such a lengthy form" - though the track listing below at least shows that the piece's potential purging ("if at all") has passed. 

The second, Disjecta, is a "collage of material that didn't make the cut for various reasons" - though the 13 listed tracks do include the presumably connected/featured disjxet. Of Herbert's description of this rejected material - "some of it is bananas, some of it is great but just didn't fit" - these ears detect little fruit but rather a richly nutritious harvest... 

The suggestion that in Constants "there's a lot more going on under the hood emotionally and technically" will make the many who appreciate his earlier work hunger all the more for this "aesthetically consistent development - I'm not veering too far off the track for this one, I'm sticking to my influences and fairly narrow pool of obsessions."

"Constants sounds prosaic and neutral but it has (for me) pleasing connotations on several levels. Someone once said "I think people should essentially make the same album again and again, just get better at it", with a couple of caveats I would agree with that. 

It's also (and this sounds so absurd it almost physically pains me to draw attention to it) quite a personal record in many respects, there's been a lot of life changes since the last album and to some extent this has coloured my world view in trying to dedicate time and resources to things that matter most.  It's preposterous to invoke all of this of course but in some way on some level it is about the steady presence of people and ideas that I care about."

running time (approx) 69:13
william / vactrol
spirit copy
sea holly
former shoreline
as blue as your eyes lover
news from the sun

Nunki (unmastered final) by chris herbert

While we're lunching sur l'Herbe (sorry), have some chewy SoundCloud experiments, rewarding live workouts & a stream of the mesmerising classic Mezzotint too...

live architecture test: submerged, fractured by chris herbert

two point source by chris herbert

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

Monday, 17 June 2013

Phax & figures

They would say that, of course. But there's nothing hyperbolic about the Broken20 hype machine calling Orphax's Un Coeur, Deux Coeurs, Un Coeur, Sans Coeur "extraordinarily beautiful". It is, plainly - a delicate, spectral dance of minimal but insistent tones & trilling, jarring sounds that makes me want to garland its maker & see him lauded along the streets & canals of Amsterdam...

The full "meditative & enveloping" package, as B20 rightly frame it, also includes two films by the great Erstlaub - named Orphax's closest musical connection in an interview with Sietse (Orphax) below. Across a notably thoughtful set of answers he reflects on drone, tradition, his own listening, the Dutch 'scene', running a label, collaborations,  remixes & future plans, as well as highlighting his new crowdfunding initiative

Also below, more of this Dutch dervish's rich output - including his recent Live at MFR HQ, the thrilling first in a new 'portrait series' from his own Moving Furniture label, the darkly exquisite J'ai une ame solitaire, & a fine, empathetic remix of Kenneth Kirschner...

Do you see yourself as working in any kind of tradition? 
Calling it a tradition is kind of grand for me. I of course make something that fits with certain other music and there is quite an active international scene out there in the drone world. But I wouldn't directly call it something like a tradition. For me it something that comes quite naturally as it is the kind of sound I am interested in hearing. It is like walking somewhere in a forest or a field where you can still hear the sounds of the city buzz. The distant highway, or distant construction work, or maybe the farmer with his plow in the field. Those kind of buzzing sounds have been interesting me for ever. Even as a small kid I found it somehow interesting to hear those...and wonder why there actually isn't a place (in The Netherlands) without human sounds. Only later on, firstly in the middle of Spain and later on in Iceland, I noticed there is such a thing as a place without human sound. But even there you hear buzzing sounds, though different ones. 

How has your music changed since you began?
In 95 or 96 I started playing with audio-trackers on my parents' PC. It was all pretty non-serious stuff creating techno and gabba-like beats with loads of noisy melodies. Only when I moved to Amsterdam to live on my own did stuff get more serious. This was at the end of 98. At some point I decided that I wanted to work more with electronic music and stop playing the drums, so in 99 I sold my drumkit and bought a synth (Roland JP-8000). This is when things really turned for me. I started to make more structured music, mainly ambient techno and IDM kind of things. This resulted into my 2001 release "Dedicated" which never really got released (until now) but was used as demo for a compilation on Narrominded. They released an LP with CD-R that contained two tracks of mine, Glass (an ambient techno track that was once mentioned in a review as "outtake of Selected Ambient Works by Aphex Twin, which also made it to the John Peel show), and Then (an ambient track which already hinted to my drone future). Not long of the release of this compilation in 2002 I got fed up with beats. So as ex-drummer I turned in no-drums. In the beginning this resulted in industrial-like soundscapes, closely related to the whole Dark Ambient scene, but the further I got the more minimalist it became and so it slowly developed into (ambient) drone music. In 2002-2004 this resulted in several mp3 releases which sometimes connected really well and, looking back at it now, was really something of that time. It is the kind of stuff you now still hear, but then by more famous musicians who at that time were smart enough to send out demos to labels (I was more into just getting everything out through mp3 releases those days).
After a while, already in 2003, I also started to experiment with other sound sources than just the computer. This brought a major change to the sound, where at first it was very minimal and smooth, things got rougher, more noisy and lo-fi. And up to this day I kind of work in this way, sometimes making the sound more psychedelic with loads of vocals or guitars, while other times it is more minimal (again) when I only use no live inputs and just work with my main programme, audiomulch.
Also at some point I started to incorporate field recordings (first time was in 2004 or 2005 I think, on the album Sand In Boxes). 
These days, besides the minimalist drones and lo-fi psychedelic drones, I try to work on more experimental works in the direction of sound art, where I for example only use feedback loops or other strange ways. 

Why drone?
Why not? Hahaha. Seriously, it is what I like myself. It is for me the most basic building block of music. I love how, if you listen very carefully, in a drone many things happen with overtones, microtonal changes and more. 
Somehow it is the kind of sound I just like to hear most. Almost all my favorite music these days somehow has something with drones. This can be traditional music from India or Hungary as much as it can be stuff like Six Organs of Admittance or Tony Conrad and Charlemagne Palestine. 
For everyone who doesn't really get the whole drone thing I recommend listening to some Tibetan overtone singing or just got sit in your lazy chair and listen to Catherine Christer Hennix or some work by Eliane Radigue (Feedback Works and Trilogie de la Mort are amazing works for example). It is such an intense experience, which really enriches your way of listening to music, and actually also in general when walking on the street (only not so good in conversations, because I am always distracted by other sounds). 

Do you use anything besides a laptop to make your music? 
Actually I do quite a lot. I work with my voice as input, semi-acoustic guitar (I really need to fix that thing), my synth (the Roland), field recordings, lobby bells, a bowed thumb piano, a bowed plastic cup, melodica, a Casio SA-10 (which I got for 5 euros - what a win), a self-build OSC machine called WOM (which you can get from Tom Buggs...google it) and many other things...it can be anything that I find that makes sound...how about a cardboard box which I play with my bow...that's some disturbing but amazing sound (it always scares the shit out of my cats when I do that one). 

Is there anything Dutch in your music (or your approach to it)? Are nationality & location important to you/your music?
Nationality and location are not really important to my music. So can't really say there is anything Dutch in my music. Besides that my friend musicians in the Netherlands do totally different things from me, so I can't say I feel connected with "the scene" in such a way. It is more the mutual support and respect between the musicians, though the scene in The Netherlands is quite splintered at this moment. 
Music-wise I still feel most connected with my mate Erstlaub, though. Even when we both went different ways the last few years. But he is Scottish, so that doesn't count...does it? 
In The Netherlands probably most connected in a way is the music of Steffan de Turck (aka Staplerfahrer) who I did play a few shows with and we often check each others work. He is an amazing, totally underrated musician. I am happy to know of his work and that I can release something by him on my label Moving Furniture Records soon. 
Dutch musicians I also respect a lot are Jos Smolders, Machinist and Wouter van Veldhoven. They really bring something new in their work and think very well about what they actually are doing. Sometimes it is very conceptual, while other times it is more free, but always with a keen eye on detail and quality. And with that they always know to renew themselves in certain ways. I love that...and I also love how they actually really know their equipment in and out. 

Do you make any non-Orphax music?
Yes, there is some non-Orphax music out there. I used to be in a band called Zonderland. We made somekind of improvised post-rock/metal/noise/psychedelic weird shit. 
Also there are certain side projects I use for making noise (De Buffel) and something for more minimal techno things (I am not gonna tell you...yet) but I am not active with those projects at all. 

Do you make music with anyone else or always solo? Anyone you'd like to collaborate with? Or remix?
I did play live with Jos Smolders once and am also working on a project with him where he made photos for inspiration and I make a track based on those. I like this idea and hope to soon really finish some sounds with these. Further, quite some years ago I did a improvisation tour with three other Dutch musicians which was good fun. We played four times. And I played live twice with Ruaridh Law from TVO (the Broken20 head honcho). This was fun and totally free. I would love to do so more often. 
Further I am quite up for other collaborations, but have no direct preferences on who...more on "who/what" not, as I do not like to work with harsh noise musicians. While sometimes I do like noise for me it isn't really inspirational to work with a harsh noise source. I get bored too quickly. 
Further I would like to do more remixes. I did a few for Erstlaub and The Marcia Blaine School for Girls among others and there will be one out for Kenneth Kirschner soon, one I am really proud of [stream below]. Although it is a rare thing, I actually like to do it. I love to work with sounds created by others and make my own thing of it. So if anyone is looking for a remix: hit me up ;-)

Best thing anyone's said/written about your music? Worst?
Pff, I don't really know this one. I thought it was funny that someone once said about a live performance through an internet stream that he had the best sex ever with his girlfriend during my set. And I was really honoured that John Peel played one of my songs on his show. But what was best, I don't know. 
Nor worst. Getting remarks from people who are not into drone music or experimental music in any form that my music is boring doesn't really matter to me. It would be the same if someone asked my opinion about their newest trance or R'n'B track. What do I know about that stuff...I can hear if it is made well or not, but can't tell you if it is something outstanding or special in the scene. 

Who else do you listen to (for pleasure, for inspiration, for a change)?
I got some favorites like Six Organs of Admittance, Sonic Youth (and all side-projects), Richard Youngs, Grouper, Eliane Radigue, Fennesz and more like those. But for me lately the music by Kassel Jaeger is quite special to me. He is this young composer that is connected to GRM, but what he does is so different and quite outstanding from the rest in the whole drone scene. His three albums on Senufo Editions are all gold to me (and his other work is also quite something special). For sure people should check him out. 
I am also quite a lot in to the traditional music from Northern-Africa (Morocco, Algeria) and the Arabic countries and Persian music. And if you really want to make me happy put on some overtone singing from Tibet or India and you'll start hearing me go all the way "whrooooooommmmmmmmmmmmmm" and other throat singing sounds. 
And besides all the experimental and (for Western ears) strange mumbo-jumbo I also quite dig the songs by Angel Olsen, Songs:Ohia and Fleet Foxes or other favourite sing-a-long things such as Best Coast and Jens Lekman. It is all so free of pretension. I love it.  

Does running a label affect your music in any way?
Not really, at least not in how I make things. While when I started the label I didn't want to use it to release my own music at some point this changed. This had to do with loads of problems for other labels with money and such. There will be this CD out this year that passed several labels that since all went bankrupt (or almost and switched direction of music to a more popular sound) that I decided to do it myself. Specially because it seems be quite normal these days. So many label peeps do it. My idea was "if they can, I can". 

What's next for you/Orphax/MFR?
For Orphax and Moving Furniture Records big days are ahead. After the release of my new album "Un coeur, deux coeurs, un coeur, sans coeur" on Broken20 I want to release my album "De Tragedie van een liedjesschrijver zonder woorden" on Moving Furniture Records. I have setup a crowdfunding project for this so people can support me in making this possible. 
People can support me on this by going to http://igg.me/at/orphax-cd and pre-order a CD. 
It is a good and fair way to get some funds to actually get this CD pressed and get the label really running again. Because after that MFR will be putting out a reissue of the first Accrual album, followed by works by Asher. After this period things are getting vague but for sure new ideas will pop up. 
Further with MFR I kicked off a new series for 3" CD-R releases in handmade artwork called The Portrait Series. For this I now have at least 5 musicians who will make an edition and already talking with a 6th. For sure I can say this will be TVO, Matto Frank, Staplerfahrer, Machinist and Martijn Comes. As you can see quite a Dutch bunch of peeps (except TVO), but this will change. 
With MFR we are also planning more concerts for the coming season (after the summer) hopefully also outside my living room. For starters I am working with Ben Nash right now on a show and am having some meetings with an Amsterdam-based organization about a space. Soon I hope to have more news on this one...exciting times ahead, as you can see. 
Other news on the Orphax front is that I am working on new material for at least 3 releases, am talking with a Dutch label about another release (though this is still really vague, and as good might never happen) and just some days ago an old idea I had with Steffan de Turck came up again to make a split LP together. So maybe that will happen also this or the next year...

2013-02-25 by Orphax

Kenneth Kirschner - 111103 (Orphax remix 180605)

J'ai une âme solitaire (excerpt for wandering souls) by Orphax

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.
Go to Beatport.comGet These TracksAdd This Player