Jacob Faurholt is one of Denmark’s most prolific songwriters. He releases music both solo and under the moniker Crystal Shipsss. His music ranges from lo-fi home recordings, 90es inspired indie rock to ambient drone metal.
A Lake of Distortion, Faurholt’s 6th solo album, is a collection of fragile folk songs and fuzzy lo-fi pop carefully sequenced to work as a whole. It consists of 10 twisted love songs filled with joy and anxiety. The album was mainly written, recorded & mixed in Faurholt’s bedroom (in between work and other daily obligations) and the intimacy and urgency from that setting is apparent throughout the album. After recording the basic tracks Faurholt invited musician friends to work on the songs, among others Soren Brothers (Man Meets Bear), William Kudahl (Infants), Claus Frøhlich (Younolovebunny), Samuel Gray (Sam Gray Singing) and Jens Christian Madsen (Tjaere+Fjer). The recorded tracks were exchanged between them by e-mail. The albums short, melodic and fragile songs draws references to Bee Thousand era Guided By Voices, early Sparklehorse, and Daniel Johnston who is namedropped on the albums last song “Listening To Devil Town”.
Huey Walker plays a fragmented, freeform Jingle-Jangle, based on a Sense of Slowness, Pacing and the Joy of Monotony.
Huey Walker plays carefully crafted Harmonies. He is a Traveller through dense Walls of wafting Tones and a Transmitter of well-tempered Noise. He is a sonic Dreamer, sculpturing Sequins of shimmering Sounds - bacchanal and revellling in elegiac Eclecticism.
His Music is based on various live-looped and modulated Soundsources. Often the Journey starts on a picked and spun Guitar or even multiple Guitars brought to Sound by mechanic Installations. With additional synthetic, bowed, plucked and resounded Instruments, Tapeloops and a plethoric or punctuated use of Effects, he dwells in the poetic and vibrant Areas of Music, generating blistering Billows of marbling Textures and blissful musical Movements with freewheelin' Overtones.
With Aspects of Minimalism, aleatoric Music and impromptu timbral Explorations, he developes a pulsating, static Reeling and winching Whirrings.
Combining the endearing Melancholia and DIY-Aesthetics of Lofi-Homerecording with the psychedelic Qualities of early Cosmic Music and the psycho-acoustic Gravities of spectral Processings and glistening Buzz, Huey Walker is always in search for the ideal, endless Hum.
Huey Walker grew up in Berlin and now resides in a smaller town at the Baltic Sea. He has recorded Music since the late 1990ies and releases Recordings on his Label "Rakkoon Recordings".
As part of the newly designed Catalogue of Rakkoon Recordings, Huey Walker releases his album „Dreamsleaves“ in a finally remastered and conceptionally complete version. The album now contains an additional track and new photographic artwork.
What was released in a small one-off edition as a 2-track-album in 2014, now finds its final, pure 3-track-beauty with additional photographic artwork.
The Songs on „Dreamsleaves“ – no one under 15 minutes – meander through fields of glitchy leftfield-electronica and blissfull, airy, ambient explorations.
A narrative impression fuses these three tracks into a journey of fluidity with gradual breachings and excavations of schemes and themes. The vague becomes distinct and vice versa.
Based on sine waves, fluttering scapes and modulated field recordings, it all starts with some airy drones and swooshing, breathing billows of reverbs – marbled with long-held synth-chords and some teeming, melodic flocks.
During the first track „Puddles Watching Leaves Swim“, this bright and breathy flow ebbs over into a slow sort-of-glitch-hop-thing made of purling tones until the droning side of sound takes it over to the drowning side again – counterparted by some twirling vocalsample-lurchings.
The second song „Reflected Dreams Of Blue Travels“ floats in timid, tonal vibrancies, travelling through sleepy-cloudy clusters in wide rooms of hall & echoes, spindrifting into mild-mannered hints of distortions, finally decaying in a quiet ease.
„Alterable Noons Of Loitering“ pushes the narrative structure of field recordings and layered drones into a wry indication of what might be a droll songwriter-song – with a harp and cheesy lyrics.
The recordings on „Dreamsleaves“ were made on multiple occasions and dates. Yet, there is a strong sense of cohesion here. All tunes have similar, conceptional prefixes: layering various soundsources into pearly, manifold, floating structures. Tracks 1 and 2 were recorded in the heat of july 2014 at Hurley Wake in Greifswald, near the baltic sea. Bits of the first track (the ones with organs & guitar) were recorded in january 2013 live at Madame Claude, Berlin. „Alterable Noons Of Loitering“ was made during one week as a conceptional recording within the art project „Schaufensterschau“ in Greifswald, utilizing on-spot-recordings of rain, recorded lofi-nightime-memos on acoustic-guitar and speckled, dreamy synthesizer-tones.
The tracks-titles are taken from poems by Frank O‘Hara. The cover- and inlay-photography shows images taken at Jardin Majorelle in Marrakesh. The CD-edition of „Dreamsleaves“ comes in handmade packaging on blue CDr with two Inlays in colour-printed sleeve with transparent-paper overlay. The included download contains additional photos in a 14-pages PDF-booklet.
The Laytcomers are a collective of ambitious losers, trapped inside a small Bay Area garage with a 4-track. They produce a mixture of noise rock, post-punk and even some elements of twee and Kiwi underground, all showcased on their new track "Population Grave"
"The first time we tried to come up with songs was when me (Ilya) and two of our other friends, who were original members of The Laytcomers, came to Cyes' place in Davis, where he went to college," Ilya explains. "I was hoping we were going to write some music, but at that time no one was really motivated to do anything, until I actually sat down with a cheap microphone myself and played/sang (pretty terribly), forcing everyone to contribute. Most of the sounds from that time were almost unlistenable. For drums we used a Guitar Hero drum set, which we used to write some of our first songs (Coldfront, Coppertone). There weren't a clear idea who does what, I was switching between bass and acoustic guitar, both of which I could barely even play at the time."
"We came a long way in terms of musical development and taste. In recent years our project The Laytcomers started to gain its own identity especially after we got two new members from Craigslist (Sam on saxophone and John on drums). We still walk a line between catchy indie-rock, based on short catchy bass lines and guitar riffs, psychedelic sounds and ear-bleeding noise rock with amp feedback and all kinds of noises."
"Our title song Population Grave wasn't coming along for awhile. We recorded original drum/vocal/guitar version almost five years ago. Something wasn't working out in it until I actually rethought the bassline from the scratch. It turned into a catchy angular post-punk thingy with roots in the no wave and New Zealand noise-rock."
Formed by Chris Anderson, with Chris Minor, Richard Storer & Stuart Longden. Firesuite are an ongoing musical endeavour, born out of the desire to create something loud & hugely affecting. Combining polar opposite dynamics, from total white noise, to moments of striking beauty, Firesuite are as complex a unit as you are likely to find out.
"Firesuite was started as a tribute to my little brother, Daniel. That's him on the front cover of You're An Ocean Deep, My Brother. That album was written as a way to reach him somehow. Much of the material on it was written in the immediate aftermath of his death. Outlive Your Body is still very much infused with his memory, but was written more as a way to make him proud.
Daniel introduced me to so many bands, bands I love to this day and were integral to my musical adolescence. He brought home Jeff Buckley, Deftones and Breeders albums all within a few weeks and that was that. Mission complete. I was obsessed.
I have always approached everything we have done as a band with a sense of fatalism, like it will be the very last thing we do. On this occasion, that turned out to be a self fulfilling prophecy. It became clear recording the album, high up in the hills of Sheffield, that this would be the last thing we would ever complete as a band. Given that, it became that much more important that I put everything I have into it. We made the album during a number of sessions at Old Pig Farm spread across a number of years. The project began without any clear direction, we thought we may record a couple of EP's perhaps. As time went on though, it became clear an album was forming. Slowly.
So this is the record. It was pieced together with John Sephton, who became a friend and ally throughout the process. He guided it to completion, along with a few helping hands along the way. We recruited Dave Sanderson to assist in mixing several songs, in no small part due to his incredible work on the 65 DAYS OF STATIC discography. Caroline Cawley came in to add vocals to Little Sacrifices, and Matthew Pronger added layers of brass to swell the end of Harbour. Lucy Revis and Chris Endcliffe lifted Edge Of The Earth and Lights into the upper atmosphere.
The songs are about lots of things. They are about wanting to escape (Harbour), about mine and Daniel's experiences growing up (Eulogy), about close friends (SJVL). They are also about the band coming to an end. Lights was intended to be the soundtrack to this.
I am so proud of this record. We have worked so hard to build it into the thing it is. I am very happy to share it with you, and would love if you would share it with others. I am heartbroken about the end, but if something has been worth doing, then this should be how it feels when it ends. "
“The river that everything drags is known as violent, but nobody calls violent the margins that arrest her.”
This quote from Bertolt Brecht is the best way to portray FLEUVE, the devastating new album of belgian outfit THOT. After a decade of challenging its music across several albums, EPs, videos, alternative versions, remixes and european tours, the gang lead by Grégoire Fray is going to bring a breath of fresh air in the industrial-rock and post-rock genres. Produced by Magnus Lindberg (Cult of Luna) and engineered in live circumstances, FLEUVE features 9 songs built around a powerful drums/bass/guitar trio, on which passionate vocals, heavy synths, clarinet laments and bulgarian choirs melt together perfectly. Thereby, FLEUVE is a luminous ode to the european continent and its cultural history, to nature’s immuable inspiration, to women and transcendance.
ICAUNA - 02:36 info ODRA - 03:36 VLTAVA - 04:01 RHONE - 05:53 RHEIN - 07:32 DUNA - 07:44 VOLGA - 03:37 info SAMARA - 04:44 BOSPHORE - 13:10 info NOW'S THE ONLY TIME I KNOW (Fever Ray Cover - Bonus track) - 04:03
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.