Le Novità Di Settembre/Ottobre. Click Per Infos.
BEACH HOUSE – Beach House CD Carpark
ECSTATIC SUNSHINE – Freckle Wars CD Carpark
FOURCOLOR – Letter Of Sound CD 12k
GAGARIN – Ard Nev CD Geo
LEO ABRAHAMS – Scene Memory CD Bip Hop
MARSHALL SMITH – Colours CD Euphonium
OVER THE ATLANTIC – Junica CD Carpark
SURFACE 10 – Surface Tensions CD DiN
UBERGANG – Fear Leader EP Low Res
V.A. – City2City DVD Lowave
V.A. – Music Dances Itself CD/Book SAN
+ + +
BEACH HOUSE – Beach House
CD Carpark Records CAK35
Streetdate: October 3
Take a vacation at the Beach House away from the hustle and bustle of the city.
Let the Baltimore duo of VICTORIA LEGRAND and ALEX SCALLY take you to a new
place, a unique place where slow hazy pop fills the room with organs, slide
guitars, reverb, echoes and simple yet unforgettable melodies.
Our Beach House contains memories from past trips, times, and places: ’70s
Southern California (lunch with Karen Carpenter), mid ’90s England (star-gazing
with Mazzy Star no doubt), a weekend at Warhol’s Factory in New York (shared a
cab with Nico) and a camping trip in the Appalachians back in 1940 (with a
country breakfast at Patsy’s).
We hope you’ve enjoyed your stay at our Beach House. Please come again or visit
Beach House at www.myspace.com/beachhousemusic
+ + +
FOURCOLOR – Letter Of Sounds
CD 12k 1038
Streetdate: September 19
Following the release of his work as part of the electro-acoustic quartet Minamo
on 12k (12k1031, 2005) and the proto-pop outing under his new moniker Filfla
(Plop, 2005), Fourcolor (Keiichi Sugimoto) is back with his second release on
12k, Letter of Sounds. His previous work, Air Curtain (12k1029) was a critical
success selling out the first pressing in little over one month.
On Air Curtain, Fourcolor explored new directions, building upon delicate,
implied rhythmic structures moving away from the strictly drone based material
on his debut cd Water Mirror (Apestaartje, 2004). With Letter of Sounds Sugimoto
pushes his sound even further by bringing the rhythms more to the foreground and
taking influences from his previous, more pop-based work, as Filfla. The album
uses many dominant rhythmic structures such as on the opener “02” which couples
catchy guitar harmonic hooks with sliced melodic beats or the beautiful
“Rowboat” in which Sugimoto collaborates with long-time friend Naoko
Sasaki/Piana (Happy) using a variety of instrumentation and vocals. Similarly, a
majority of the work on Letter of Sounds finds itself working around tight,
Of course Letter of Sounds is not without its delicate undercurrents and warm,
stretched-out, whispy tones that have become signature to Sugimoto’s sound (the
gorgeous finale “Frame”), but his desire for a more up-front and structured
approach continues the evolution from a style he has mastered into new, more
challenging territory, and expands his palette as an artist.
+ + +
GAGARIN – Ard Nev
Gagarin is the solo incarnation of DIDS aka GRAHAM DOWDALL – percussionist,
composer, sound designer etc. He makes moody, groovy melodectronica. Dids has
spent years at the cutting edge of the musical galaxy – involved in a myriad of
projects and approaches and collaborating with musical legends(John Cale,Nico
etc. He has played around the world from a shamanic festival in Siberia to
underground Tokyo clubs to castles in Scotland and France. He has created
extensively for Dance, Theatre and TV and is also an active community musician
passing on skills and creativity to young people and adults with special needs
especially via technology. Recently this work has led to a close invovement in
Londons Grime scene where he programmes and co-produces with several crews and
MCs. At the other end of his current work – he improvises, collaborates with and
is remixing the legendary Pere Ubu in gagarin style. He started the Gagarin
project several years ago and has released records on his own Geo label,
contributed to compilations and plays live regularly on the electronica scene
where his unique live approach is always welcome. During 05/06 he has played at
London Head phone Festival, Rehab, Fade In, Slack Sabbath, Multivitamins and had
releases with Click Drone, u-cover and Filament. Forthcoming live events include
Netlabel Festival, David Thomas vs. Gagarin in Madrid, and European tour
supporting Pere Ubu.
In the latter part of 2005 – Gagarin was working on the tracks for his latest
album Ard Nev. Still firmly in the electronica camp and created using a mixture
of soft and hardware the new album shows a developing sound mixing influences
from environmental sound to urban grooves together with his unique rhythmic and
melodic approach. Indeed the new material places gagarin in a central position
in a nascent “avant-grime” scene with a sophisticated and subtle touch allied to
tough beats & complex yet fluid programming. An early draft of the album was
quickly taken on as part of a limited edition release series by u-cover. He has
just completed the full v2.0 of the album.
Gagarin supporting Pere Ubu:
4/10 Madrid, Experimenta Club
7/10 Ebensee, Kino
8/10 San Vito Di Leguzzano (Vicenza), Centro Stabile Cultura
9/10 Basel, Das Schiff
10/10 Munich, Kranhalle (Feierwerk)
11/10 Darmstadt, Centralstation
15/10 Dortmund, FZW
16/10 Bremen, Junges Theater
17/10 Berlin, Quasimodo
18/10 Dresden, Star Club
19/10 Hamburg, Fabrik
21/10 Brussels, Beursschouwburg
22/10 Utrecht, Tivoli De Helling
23/10 Brighton, Komedia
+ + +
Leo Abrahams (b. 1977) studied composition at the Royal Academy of Music before
embarking on a career as a guitarist, arranger and producer. He has enjoyed
longstanding associations with Brian Eno (appearing on several albums), Ed
Harcourt with whom he has toured and recorded for 6 years, and film composer
David Holmes (Oceans 12 and the award-winning Code 46). He has also collaborated
with artists as diverse as Rachid Taha, Paul Simon, Grace Jones, Nick Cave and
Imogen Heap among many others. 2005 saw the release of Leo’s debut album
Honeytrap on the independent UK label Just Music. A collection of evocative,
cinematic instrumentals blending folk, ambient and ethnic influences, the record
was critically acclaimed and interest continues to grow, aided by innovative
live shows and tracks being licensed to film and TV.
Scene Memory is a step in a completely different direction, consisting of a
series of contemporary textural studies for the electric guitar.Moody and
atmospheric; broodingly melancholic yet melodic; radical but accessible, the
album is the result of Leo’s experiments with new ways of approaching the
guitar. The tracks were constructed by playing the instrument through chains of
laptop effects in real time, rather than manipulating the sounds after the
performance. Partially improvised, it contains no edits. Therefore, an air of
tension is maintained even throughout the most static and bucolic pieces. The
extraordinary variety of sounds makes it hard to believe that they all come from
the same instrument.
Remixes have been provided by Hans Joachim Roedelius (formerly of Cluster), J
Peter Schwalm, David Holmes and Jon Hopkins. These are available to download
from the Bip_Hop website.
The record’s mood is influenced by the composer Morton Feldman, whose intent was
to isolate what he called the Abstract Experience – in Leo’s words “…this
emotion we get from art that can’t be categorised, a bit like melancholy in a
positive and beautiful sense. In that way I like music to be suggestive of
something, but to leave a lot to the imagination.”
+ + +
MARSHALL SMITH – Colours
CD Euphonium Records EUPH 002
Streetdate: September 14
Euphonium’s second release is the debut album from Marshall Smith on September
14 – the first new material from songwriters Alan Brown and Vince Hunt in 17
Marshall Smith’s uplifting pop melodies are an extension of their work as
co-songwriters in the seminal mid-80s combo A Witness, much lauded by John Peel,
for whom Brown and Hunt recorded a total of 13 sessions.
The critically acclaimed debut album from A Witness “I am John’s Pancreas” was
recently re-released on CD by Euphonium. “File between ‘Hex Enduction Hour’ and
‘Ice Cream for Crow’ said Simon Goddard in Uncut this May. Colours is more
mellow and longer in the stride with more space for ideas to develop.
The ten songs on Colours are Hunt and Brown’s first joint compositions since the
final A Witness single ‘I Love You, Mr Disposable Razors’ in 1989. Brown went on
to front solo band The Great Leap Forward, while Hunt formed the Pure Sound
‘found sound’ project.
Teaming up with hugely talented ex-Pram percussionist Daren Garratt they have
assembled a collection of ten songs and ballads with unforgettable hooks,
soaring vocals and glorious guitar riffs.
ALAN BROWN: singer, guitarist and multi-instrumentalist with BIG FLAME, A
WITNESS and THE GREAT LEAP FORWARD, recording nine sessions for John Peel.
DAREN GARRATT: drums for Birmingham’s PRAM; now with Rob Lloyd’s NIGHTINGALES as
well as Marshall Smith.
VINCE HUNT: bass player and songwriter with A WITNESS, purveyors of ‘slantedly
tuneful post-punk pop’ (Mojo, May 2006)
+ + +
OVER THE ATLANTIC – Junica
CD/LP Carpark Records CAK34
Streetdate: September 19
Over The Atlantic are the latest slightly older than teenage pop sensations from
(actually) Over the Pacific – New Zealand that is. The electric guitar/laptop
duo consists of BEVAN SMITH, who honed his guitar and production chops as
Carpark artist SIGNER (as well as other projects on his Involve record label)
and NIK BRINKMAN, who’s been perfecting his telecaster windmill in numerous
indie bands since he was a wee lad.
Their debut release “Junica” is the Breakfast Club soundtrack for the
post-Breakfast Club generation. Or a digitally-enhanced version of classic New
Zealand pop (a la Flying Nun era) with a 90’s English twist. Either way, Over
The Atlantic have poignantly integrated heart-wrenching melodies, danceable
beats, and electronic harmonies into songs about breaking up, coming together,
looking at the stars, and hanging out on Myspace.
Check out www.myspace.com/overtheatlanticband for songs and band fun.
Additional info from the original New Zealand release
Like many a classic New Zealand record, Over the Atlantic’s Junica recalls many
days spent in and out of flats, of drums recorded alongside rooms by a road, of
endless tracks recorded and discarded, of coffees scraped together and shared.
Confessional letters are written and read, songs get sculpted on old sofas, dust
hazy sunlight days prompt dreamy reminiscences.
The Over the Atlantic of Junica is Bevan Smith and Nik Brinkman, who came
together through shared involvement in a A LOW HUM compilation; Smith mastering
the record and Brinkman submitting a track under the Over the Atlantic name. Two
and a half years of work, of flat pop-ins, of recording and re-recording
resulted in Junica; a sugary pop-indie treat.
Junica smoothes its indie sound on pop structures. Romantic and wry by turns,
layered vocals are set against tart and clipped drum beats which snap like
frost laden branches against the window of a warm room. With sneakily fun
basslines and immaculately timed pop-breaks, Smith and Brinkman show off their
influences worn lightly but boldly.
Bevan Smith makes music and sound, built and manages the Involve label and is a
noted conjurer of extinct birds. As composer/creator he has worked on music for
art projects, theatre shows, museums, dance works, Japanese TV adverts and
films, notably the Bafta award winning “Touching the Void”. Nik Brinkman went to
film school, broke out of high school with the band Ejector who supported
Pacifier, D4, and Cassette and can’t put down a telecaster for long. Single and
a scorpio is a dangerous combination for the slideshow of indie girls that adorn
his myspace page.
Junica is a record destined to be savoured over time, discovered and
rediscovered, saved for mild summer afternoons and early winter evenings. Kick
your shoes off on the old couch and settle in, there’s a groove worn in it for
+ + +
SURFACE 10 – Surface Tensions
CD DiN 24
DEAN DE BENEDICTIS, aka Surface 10, is a Southern California based composer /
producer / conceptual artist and electronic music renegade. He melds his
interests in a variety of musical styles and concepts ranging from experimental
electronica to ambient, IDM to progressive jazz, and beyond, in order to produce
a very distinctive sound. This exciting and innovative artist will be no
stranger to the DiN audience, having previously released “In Vitro Tide” (DiN 8)
on the label in 2000.
Dean first made his debut with the self titled, vintage-styled ambient disc
“Surface 10” on the Hypnotic / Cleopatra label in 1996. A further release on
this label, “Exempli Gratia”, followed in 1997, as a collaborative techno-trance
project with George Sara of THC, going under the name Cathexis. Between these
two initial discs and his inaugural DiN release, Dean appeared on various
compilations for labels such as Hypnos, Lektronic Soundscapes, Cleopatra,
Moonshine and Bottom Heavy. Following the release of “In Vitro Tide” on DiN in
2000, Dean De Benedictis then released the tribal ambient disc “A Lone Reply”
under his own name in 2001. He then formed the Fateless Flows Collective and
appeared on their compilations for 2004 and 2005. In 2004 the Surface 10 disc
“Borrowed Time 2000” was released on Space for Music Records, and most recently
in 2005 the label Spotted Peccary Records put out “Salvaging the Past”, a mesh
of deep-space ambient, techno and tribal pieces spanning the years 1992 – 2005.
DiN label boss Ian Boddy has always been an advocate of this adventurous
musician’s oeuvre. “B2 Gigacosm” kicks off the new Surface 10 album with one of
the most awesome and breath-taking amalgams of electronic music styles,
containing a huge ambient background overlaid with intricate rhythmic beats and
a beautiful, soaring, treated violin solo. Indeed Dean brings a great range of
influences to the melting pot in the 11 tracks that make up “Surface Tensions.”
Perhaps more laid back than his previous DiN release, Dean still manages to
throw in so many finely crafted sonic moments that the listener is always
engaged in the unfolding musical panoply. However, this music isn’t all just
techno-trickery, as Dean manages to infuse the music with an emotional content
that defies it’s cutting edge methodology by projecting a series of personal
moments and experiences onto the sonic canvas.
The release of “Surface Tensions” proves yet again that DiN refuses to be
pigeon-holed into one corner of the electronic music world, but rather will
strive to bring to the listener a series of limited edition, collectible, and
above all, adventurous musical releases.
+ + +
On this turnover of electronic hardcore music, Übergang are transcending the
past and giving new directions. Übergang are working without conditioned, cheap
references to create a new style of digital electronic music – fresh,
contemporary and without compromises.
Their debut EP “Fear Leader” on Detroit’s electronic hardcore techno label
lowres will be out in September 2006. Four smashing tracks of the freshest
breakbeat manipulation and annihilation, delivered with an innovation we’ve come
to expect these days from the hotbed that is Berlin. Featuring members GG + JC,
this is all-out audio warfare with exquisite production and superior
engineering. Assume greatness, and ready your listening sensibility for
JC is also known as CHRISTOPH DE BABALON. His music has been released on labels
such as Alec Empire’s Digital Hardcore Recordings (DHR), Fischkopf, FatCat,
Zhark and Tigerbeat6. He did a John Peel session in 1999 and toured through
various countries including the UK and USA. He supported British rock-group
Radiohead at gigs in Spain, France and Italy. Artists like The Locust, Team
Dresch, Trickbeat, kid606 and Tocotronic have worked with him as a remixer.
Cross Fade Entertainment (CFET), his label for lovers of extreme electronic
music, has released artists like n1tro, Zbigniew Karkowski, DJ Scud, Merzbow,
I-f, Somatic Responses and Unit Moebius.
GG graduated in jazzguitar at the Kunstuniversität in Graz/Austria in 1999,
where he was student of Harry Pepl and Karl Ratzer. Since 1990 he has
participated in several bands, multimedia performance projects and releases
including Austrian Audience V/A (kim 2002) and 95h Farmers Manual (mego 2003).
+ + +
V.A. – CITY2CITY
Lowave announces the release of the CITY2CITY DVD: a compilation of ten films
and videos from artists from around the world. Made up of previously unreleased
films, this programme offers a new perspective of urban aesthetics and artistic
interpretations by video artists and experimental filmmakers.
Since the dawn of cinema, cities have inspired artists through their creative
energy, mechanical forces, and architectural geometry. The birth of the
metropolis coincides with the invention of new forms of art – photography and
cinema – that seem to be the ideal medium for their representation. Today cities
continue to fascinate filmmakers and video artists, who draw inspiration from
their shapes and energy for their shooting and editing of images in movement.
The CITY2CITY DVD offers ten different visions by ten different artists and
invites us to take a cinematographic trip from one city to another. Using a
diversity of techniques, the works can be described through their original
artistic approaches. Whether it be Worst Case Scenario by JOHN SMITH, a montage
of mainly black and white photos, Exchangeable Cities by KENTARO TAKI which aims
to re-invent the split-screen by reconstituting a homogenous space through
fragments of different places, or MARINA CHERNIKOVA who with her film Crossings
uses and abuses the super positioning of layers through horizontal scans. Je
n’ai pas du tout l’intention de sombrer by the talented French video artist
AUGUSTIN GIMEL can be summed up in a simple phrase: behind buildings, there is
sky. The montage consists of a rapid succession of scenes of building facades
that invade the screen until they finally allow a bit of blue sky to appear.
Another fine example of expression through editing is Sarajevo Vertical by TOBY
CORNISH, an impressive portrait of Sarajevo that reveals itself vertically after
so many years of war. The urban rhythm and musical score of the Hors Chants by
DUDOUET & KAPLAN (trio including two video artists and one musician) results in
an energetic graphical symphony that uses video shots of the unfinished cité de
la musique in Strasbourg and overlays it with computer-generated motion
+ + +
Music Dances itself is a deeply personal selection from Japanese performance
artist and dancer, JUNKO WADA. The publication was produced and guided by a
process of curation, performance and collaboration, which saw Junko coming to
the UK and giving an intimate performance at the Jerwood Space, London, and has
resulted in a delicate and beautiful exploration of the sound art and music that
have impacted upon her life and work. The live performance given by Junko has
been reinterpreted and connected back to the music by British artist Sarah
Waring, who has produced specially commissioned artwork for the publication.
Music Dances Itself draws lines between points in Junko’s life. These ‘points’,
also explored in her own practice, plot relationships, action and beauty and are
connected together by curation, performance and visual representation which
result in a CD that contains some of the great names of contemporary music,
including Akio Suzuki, Christina Kubisch, Hans Peter Kuhn and Rolf Julius as
well as rising figures such as Arno P.Jiri Kraehahn and David Moss.
Junko Wada was born in Tokyo, 1955 and after finishing her studies in painting
at Musashino University of Art and two solo exhibitions at Kamakura gallery in
Tokyo (1982,83) she intensified her interest in performance art and started to
develop a very personal dance; replacing screen and brush with body and stage.
She has since collaborated with some of the worlds leading composers. Since 1999
she has lived and worked in Berlin and in 2004 she published the book “Chidori”
which documented the performance series she conceived as a collaboration with 20
Contributions from: WERNER DURAND / AKIO SUZUKI / GORDAN MONAHAN / DAVID MOSS /
ARNO P.JIRI KRAEHAHN / ARNOLD DREYBLATT / ROLF JULIUS / CHRISTINA KUBISCH / HANS
+ + +