Dröner Kebab
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greg haines / where we were (denovali, 2013)
@22b0p3x9:
“WHERE WE WERE”, the new album from GREG HAINES, may come as a surprise upon first listen. The cascading strings that played such an important role in his prior work have disappeared, and in there place are intricate layers of tape-worn synthesizers. Any recordings of piano have been transformed and affected until their sound is at times barely recognizable. Moments of quiet, slowmoving textures can still be found, but they are nestled between upbeat, rhythmically-driven tracks that at times could even be considered for deployment on open-minded dancefloors. Although taking a year to complete, the nature of this record is born in its spontaneity and impulsiveness. The acoustic instruments such as piano, vibraphone and other percussion that found there way on to the album were not the result of months of composing - rather they were entirely improvised and often left completely unedited and raw. At first the idea was these rough tracks, full of noises and hiss, would later be re-recorded, but as the process drew on, it became clear that these kind of loose, half-thought moments were what defined the album - often “out-oftime” or “out-of-tune”, but always adding another dimension to the hazy, analog world of sound. This hand-crafted approach led to almost everything being constructed in the old-fashioned way; not with mouse-clicks, but with two hands moving dials and everything running to an aged tape machine.
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Tanto la peli como la BSO me tienen totalmente absorbido…
Shane Carruth - Upstream Color Score
https://mega.co.nz/#!3c9lAYyT!HnS5bGzj2PDt0pUzoLW0kGHXust-wawY-u4lddqn_T0 -
Maravilloso el de Eluvium.
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chris abrahams / memory night (room40, 2013)
@2fky9yrz:
Chris Abrahams’ Memory Night is his third edition for Room40 - Play Scar and Thrown preceding this album. Widely recognised as the pianist for Australian liminal improvisation trio The Necks, Chris Abrahams’ solo work etches out an entirely different universe. It’s a place that is entirely his own, unashamedly unique and at times startling - yet always alluring.
On Memory Night, Abrahams’ expands his sonic palette, building on the uneasy frontiers of the highly regarded Play Scar. Never content to revisit past glories, Abrahams’ charts course into unfamiliar sound spaces, where electronics and instruments meet in a constant state of tension and release. Nothing is quite what it appears upon first listen and as a result Memory Night demands an attentive ear.
Recorded across 2011 and 2012, Memory Night is a haunted series of compositions that provoke and compel. Chris Abrahams has created what can only be described as a profound rendering of contemporary composition - a powerful, yet delicate evocation of sound, where instruments and electronics melt and are reformed.
http://emporium.room40.org/products/512312-chris-abrahams-memory-night
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@bruce_billis:3nmu145d:
greg haines / where we were (denovali, 2013)
¡Muy bueno! Me ha gustado más que los dos discos anteriores, tal vez me parece más intenso.
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Joder! No funcionan ni el de Eluvium ni el de Upstream Color! No soy capaz de encontrar algún link que funcione. Si alguna alma caritativa los vuelve a poner estaría muy agradecido.
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el de eluvium te lo puedes bajar de aqui. el de la bso de upstream color todavia tira.
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@bruce_billis:2xshsr7z:
el de eluvium te lo puedes bajar de aqui. el de la bso de upstream color todavia tira.
Muchas gracias! Descargando eluvium.
Aunque el de Upstream Color sigue sin funcionarme, pero ya lo buscaré con calma cuando salga del curro. -
@Sr.:
@bruce_billis:qb72wrbi:
greg haines / where we were (denovali, 2013)
¡Muy bueno! Me ha gustado más que los dos discos anteriores, tal vez me parece más intenso.
Pués a mi el Digressions me rechifla, si este es mejor voy a darle ya. Y me lo llevo de finde de retiro espiritual.
@thepenalty:qb72wrbi:
@bruce_billis:qb72wrbi:
el de eluvium te lo puedes bajar de aqui. el de la bso de upstream color todavia tira.
Muchas gracias! Descargando eluvium.
Aunque el de Upstream Color sigue sin funcionarme, pero ya lo buscaré con calma cuando salga del curro.Tiene razón thepenalty y el enlace no es que de error pero se queda en 0% todo el rato.
edito para decir que si que da error: "No disponible temporalmente"
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Forsi, el de Greg Haines sorprende al principio por que es muy diferente al Digresions, con mucha más electrónica y perdiendo un poco el protagonismo del piano. Es algo más "experimental" pero a medida que lo vas escuchando va ganando enteros paso a paso. Por cierto que me he acabado pillando la caja de 5 vinilos que los de Denovali le han sacado, reeditando en vinilo sus trabajos anteriore que sólo habían salido en cd. Tiene una pintaza enorme
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Joder yo voy a por eso, estoy contigo Toxinho, lo escuché una vez y torcí la ceja, tengo que darle más oportunidades pero es que ahora Eluvium ocupa todas las velas que gasto por las noches (se acaban de colar Boards Of Canada), deu meu.
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Os dejo una cosita a la que le llevo dando unas cuantas escuchas las últimas semanas mientras espero que se edite nuevo material de él por separado o con Adam Wiltzie
Dustin O'Halloran - The Beauty Inside OST
http://www3.zippyshare.com/v/80512118/file.html
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Habeis escuchado el de Kareem?
http://www.youtube.com/watch?v=j1axVruK ... ture=share -
Shampoo Boy "Licht" (Blackest Ever Black, 2013)
@2pxxw0g2:
Blackest Ever Black's deep furrow of new releases in 2013 hits a huge rock in the soil courtesy of Viennese trio Shampoo Boy's fearsome 'Licht'. Combining the uncompromising talents of Peterlicker's Christian Schachinger and Peter Rehberg (Pita, boss of Editions Mego) with Christina Nemec (Chra/SV Damenkraft), 'Licht' manifests an excoriating blend of nerve-shredding noise and choking doom atmosphere evoking the intensity of Rehberg's aktions in KTL with Stephen O'Malley, or the gut-wrenching dynamics of Keiji Haino's trios with O'Rourke and Ambarchi or Pan Sonic when they drop the vocals and go quids-in for the most visceral, atonal guitar noise and electronics. Yet, there's also a sense of discipline, or dare we say Viennese manners which come into play across all four tracks, holding it back from freeform freakout or balls-out catharsis: behind the terrifying screech and cloud-of-flailing-knives distortion lie eloquent chord changes and gloaming harmonics. In 'Gift' the incessant hi-end peal is balanced with a bassline that could almost be from an early ambient AFX, and the chiming shimmer of 'Still' recalls a most reserved Fennesz or even Loren Norell's gamelan transformations. It's probably fair to say that this is one of Blackest Ever Black's most impressive releases to date, and if you know what that means…
http://uploaded.net/file/fpissopa -
Manel, el de Kareem no lo tendras en mp3, no?
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Vamos a hacerlo bien
Kareem "Porto Ronco" (The Death of Rave, 2013)
http://uploaded.net/file/1u7ogh5u -
Eps, gracias! Al Ipod, y verás que bien me lo paso.
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date palms / the dusted sessions (thrill jockey, 2013)
@am63k8y3:
Date Palms revolves around the core duo of Gregg Kowalsky (keyboards, electronics) and Marielle Jakobsons (violin, flute, electronics). They employ traditional rock instrumentation to create music informed by Indian classical music, country, minimalism, and spiritual jazz, arriving at a style that is wholly their own. On their third album, The Dusted Sessions, the duo expanded the line-up to include Ben Bracken on electric bass, Michael Elrod on tanpura, and Noah Philips on electric guitar (a first for the band). Kowalsky and Jakobsons are both accomplished solo musicians in their own right: Kowalsky has released ambient albums on Kranky as well as a collaborative release with Josef Van Wissem on Amish, and Jakobsons has released music on the Digitalis and Students of Decay labels. Date Palms uses the sound an imagery of the dustbowl and the American West to express something truly cosmic and unique within the already highly individualistic Bay Area underground.
http://thrilljockey.com/thrill/Date-Palms/The-Dusted-Sessions
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Keith Fullerton Whitman & Floris Vanhoof - Split [Shelter]
@2ksr5cpj:New split 12′ between two modular experimentalists stretching the world map for this split release. While Keith Fullerton Whitman comes with one of his more accessible / danceable piece to date, Floris Vanhoof had full reign to record a dark and hazy drone piece for the flipside. Using purely analog synths, both build very unique although complementary compositions. (…)
http://uploaded.net/file/6pzcnhos
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