"An arbitrary succession of more or less irritating sounds"

Saturday, 26 February 2011

New Skin for the Old Apparatus



Noone knows who Old Apparatus is/are, but that, along with the weirdo imagery, seems to have helped. These days, in ‘underground’ (how quaint) ‘dance’ (loosely) music circles, it seems it’s not who you know, it’s who is unknown (see Burial, Traversable Wormhole, to name but two more recent). If you want to go through the whole cloud of unknowing again, there’s a whole lotta guessing going on at Dubstepforum, with various candidates being bandied about. Anyway, not wanting to dwell with an overly jaundiced eye, purpose here is to highlight an unknown artist(s) release by Dubstep roots imprint, Deep Medi Musik, owned by Digital Mystikz man, Mala. Without so much as a London Rootsmen Go Doomstep Shock headline, their 20-minute promo mix and vinyl-only appeared early this year, sounding far from Medi's in-house style - except for recent deeper space emissions from V.I.V.E.K and Benny Ill (dig that name!). Huge open spaces with scant club visions, Roots aesthetic eschewed, the vinyl (now also available in flac) has an A and B of viscid and hard ambient-industrial and bass-scapes, parts deciding space is the place, and staying beatless, but more sections bringing in caustic percussive percs, applying low-end theory beyond standard half-step skip and bass wobble orthodoxy. Those seeking reference coordinates might look beyond the step to darkside eclecticists Demdike Stare - if they stepped things up, or Raime - if they roused themselves from vaguely maleficent torpor (pssst! Bits even sound like IDM-tastic Chris Clark).

There’s a deal of doom and noise nuggets here to get you musing. Their future’s so bruit, you gotta wear more than shades – it’s all pillar drills!


Yep, it’s mytholo-geed up by some pretty Out-there artwork/imagery by a guy called Gerbil tea. Now, those less open to the seduction of the Uncanny may simply sit unmoved, asking “why have they got pillar drills as heads?” Still it'd be hard to be unmoved by the sound of Old Apparatus:

OA-001 by Old apparatus




A boomkat scribe takes time out from the blather about the latest glowfi-spaghetti-psych-hop sensation from Anglesey recorded on a Woolworths dictaphone or whatever/wherever to script something salient: “…exploring a darkside realm of post-dubstep noise-sculpting/sound design posited somewhere in the midst of Chasing Voices, Burial and old-style Vex'd. Nobody bar the label knows who's behind it, but that only amplifies its enigmatic aura. The A-side builds from a squall of distortion into cataclysmic bassline worship sounding like Stephen O'Malley jamming with Mala while insectoid percussion etches skeletal surface patterns and the rhythm unfolds like something from the Anstam archives. The B-side is weirder still, a multi-sided geometric construction unstably morphing from ecstatic dubstep noise to Raime-like halfstep industrial dystopia, with an added welt of blackened distortion.” That ought to do it.

Downloadable promo mix and various viewables at the Old Apparatus site. Esoteric an’ ting!



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Wednesday, 23 February 2011

Old topographies


Erstlaub remixed? My undiplomatic twin would probably rather have Fyans' piercing, magical menace unleashed on & infused in to others than the reverse. But no one asked him. Whereas Broken20 (our new label of 2010) has asked several fellow travellers from the Highpoint Lowlife/B20 stable, enlisting them to cross-pollinate his windblown specialness.

One of the most apt of the refixers is Moving Furniture's Sietse. His Orphax is a kind of kissing cousin to Erstlaub. No surprise, then, that his swirling, layered The Last Few Seconds Before Hibernation is one of the highlights of The First Few Seconds After Sleep, which seems like it's going to end up preceding the logically prior The Last Few Seconds Before Sleep (downloadable excerpt) - unless these ears somehow missed that one somewhere along the way (apologies if so)...

Another is Alastair Cook. See video (lovely rush-blur) for his Asleep (ditto) take on Sleep above.

The remainder comprise B20 potentate Ruaridh TVO (finessing his experimental & techno urges into a single outlet), plus Mandelbrot (20-minute buzz guitar epic), 10-20 (Walk & Reed Bed remixes further stand-outs) & the improbable Bob Techno.


Orphax in further B20 action - deploying "a certain melancholy" - with the latest in the label's jaw-droppingly excellent series of 'podcasts'...


Below, three compelling new Ersts - one valedictory, one later live, one with self-made video, each dense with riches...




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Monday, 21 February 2011

Ryan the Haar Stylist


Feeling the low frequency rumble and ‘viscous haar’ (sic) of Sublamp’s In Our Hiding Voice, a pleasingly ear-disorienting set of shadowy floatings through rooms of gloom that sits glowering winsomely at the ambient-noise-drone intersection. LA-living sonician Ryan Connor’s bio offers (in)formative insight: “raised by scientist parents living outside of various national parks in New Mexico, Utah, and Colorado, Ryan developed an early fascination with nature and science that influenced his later work as an artist” - though not sure how helpful it is to be told “he uses textural sound and images to explore an intuitive and emotional response to sensory data.” Presumably because he's “primarily interested in pre-language experience.” Oooh-kay – that’s fine, you can have the pre- [we do the post- here (dunno anything independent of language, anyway, chief... ’s all mediated, innit)].

girl, calling to an empty house by sublamp

we sleep in a room-shaped hole by sublamp

Anyway, Sublamp’s previous (on Dragon’s Eye, Ahora Eterno, Serac, SEM, Friendly Virus, handily tagged here) had certainly registered the name, but this one, on UK’s own cuddly Hibernate, proves to be far more illuminating, notwithstanding all the ‘viscous haar’ (thanks, boomkat, for the handy new bit of word kit). As well as the boomers, there are a slew of other 'views (Fluid Radio, Static Sound, Future Sequence, and Savaran - collected here) testifying to the 'lamp's sub-stance.

But leave it to the lovable lads at Leeds, Norman Records, to win hearts, if not minds, with typical dry and droll delivery. Assigning IOHV a Norman Records recommendation, Brian* comments: “The second track on this is like been immersed into a pothole outside a factory where they're drilling things. A muffled fuzzy rumble, disquieting & deep but not sinister, almost soothing!” before going on to clinch the critical deal: “There's times during this album I'm thinking along the lines of the recent Thomas Koner re-issues. All ominous, chasm like dark ambiance and foreboding atmospheres. At others though, it's a contact mike taped onto the wheel of a hobo's shopping trolley dragged over waste ground whilst being chased by a slightly miffed hum of discontent. All good stuff!”

(*This is the same Brian, BTW, whose idle review remarks were indirectly responsible for a non-OK computer situation involving projectile coffee emission over my work desk; this triggered by an involuntary guffaw at his dark mutterings in response to a new tract of Untitled liminal noise from enviro-dronescape supremo, Francisco Lopez: “It's the sound of a scarecrow wolf whistling through chapped lips to a bee in a field a mile away from a busy motorway. As you are probably aware, scarecrows can't whistle (or do anything for that matter) so you get this sound like television interference that goes on forever. If you like to completely befuddle people than this is probably great music for the party that no one turned up to in the world of the dead.”)

Anyway, back to Sublamp, who's got it going on quite differently here from previous, departing interestingly from Hibernate house-style without abandoning the building. He refers to having sought something “centered around the kind of listening one might engage in whilst hiding from something or someone, perhaps hiding in empty buildings, underground tunnels or dark rooms in abandoned houses…” Sounds about right, as most of it gets you straining to scrape up errant pitches and stray chords and assemble them into sequences through a scraggy veil of scuzzed up drones, radiator hum and the crackle of someone's soul.

Cut A Door Where The Walls Meet from ryan connor on Vimeo.

So, yes, in sum, Sublamp’s is a psycho-active pothole well worth peering into, a veritable temporo-spatial tunnel… that’s er… well worth digging. OK, back to pre-language…




Some live footage:

sublamp - betalevel 6/19/10 pt4 from ryan connor on Vimeo.


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Saturday, 19 February 2011

Saihoji Temple



Footnote to yesterday's look at O: a brief revisit - inspired by their coming joint jaunt round Japan with flau - to Sylvain Chauveau's solo work. Still struck by swelling filmic strings, measured piano delicacy, a little glitch & crackle (more, please), & amazing, lambent space around every note...









Stream Chauveau's Type releases in full: the highly recommended S, Nuage & Singular Forms...




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Friday, 18 February 2011

Story of O



No brainer to follow Steven Hess with On cohort Sylvain Chauveau. & while Chauveau's would still be a major body of work even without his collaborations & engagements - not least with Hess - you wouldn't want to do without them.

Besides the luminous On, Chauveau's involvement in Arca & the defunct Micro:mega, & his partnership with Felicia Atkinson, you'd be missing out on the playfully thoughtful/thoughtfully playful conceptualists O (sometimes Ensemble O, often plinkily percussive, & yes, of course, they've done versions of Cage's 4' 33). Newest from this source - which it's quite appealing to think of as a distilling step beyond On, though chronologically O seems to precede On & is as often as not macro where On is more or less always micro... - is for the black monk on Belgian netlabel etlefeucomme.

Recommended by Stephan Mathieu, a weighty endorsement round our way, these are three diverting rule-driven cut-ups. Their alternate lurking bleakness & alarm clock repetition is oddly rewarding - especially version 2.

Oh, & "for a realistic listening, please play those recordings at low volume"...

Blurb: « the black monk » is how some people used to name american painter ad reinhardt. from 1960, reinhardt had toughened his work to the point of only making black canvases in a square shape until the end of his life. those « ultimate paintings » were invariably divided in nine squares and three different but almost identical blacks. this composition by 0 is based on principles inspired by ad reinhardt's concept: nine juxtaposed fragments of 45 seconds, monolithic and dark, with three different musical colours. the three « colours » have to be created by the performers with the instruments they have chosen.

A gripping earlier piece is Passacaille, a buzzing, twangy encounter with the classical Passacaglia. Probably...

Background: 0 has started in 2004. the members currently live in bayonne (france) and brussels (belgium). the band can include new members for each project and also increase or reduce when needed: percussion ensemble, chamber music, fanzine, field recordings...we perform our own compositions as well as pieces by other musicians: from taku sugimoto to steve reich, from fritz hauser to the jackson 5.



O > version 2 / version 3 (from for the black monk, etlefeucomme) > Passacaille (Ensemble O, Idiosyncratics)

More O sounds here (trio live) & here (Morton Feldman rearrangement)...



Lots more O video here...

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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