Golconde is a work of contemplation. Eleven tracks infused with the burning lyricism of blues and the cold charms of electronics, extracted after years studying the organic facets of synthesis.
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It's been 3 years since the last Basic Soul Unit EP on Lab.our and the label co-head is back to top form! Loose, melodic and funky, the Toronto producer stretches his legs across 4 tracks in this kaleidoscopic gem of an EP.
On A1 is 'Behavoural Issue', a frenetic, crunchy and off-kilter number that will have you contorted in distortion with all arms and legs on the dancefloor.
'Rising Over The East' marches in next, a deep jacking head trip to the Orient opium den with its endless arpeggiators. On the B-side, the heavy broken club banger 'Propulses' harkens back to the glory rave days without mimicry. A Basic Soul Unit interpretation with his undeniable footprint in the mix.
'My Heart Skips' turns the dial down several notches into deeper house terrain. The soulful ride begins as an easy cruise before deftly lurching into an odd rhythmic fractal workout that the producer has become known for.
Sealing an untouchable reputation in the world of broken soulful lo-fi techno, Basic Soul Unit casts an even wider net to captivate audiences with this must-have EP.
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Philippe Hallais returns to Modern Love with a new album, the first under his own name following his label debut as Low Jack with Lighthouse Stories in early 2016.
It's by some distance his most important work to date, setting aside the squashed dancefloor productions of his Low Jack Alias for an album of emotive, indefinable ambient pieces.
After working through different subcultural musical languages as Low Jack, this time Philippe takes inspiration from the TV biopics of high-performance athletes for an album of exceptional
emotive impact; somewhere between pastiche, tragedy and electronic futurism.
Fascinated by the sports documentaries mass-produced by the US TV channel ESPN, Hallais transcribed and amplified its dramatic recipes. These form the material of tearful soap operas
which develop the same narrative ad nauseam; the rise to the top, the betrayal, decline, salvation, comeback and, ultimately, nostalgia and regret. The TV formatting reduces the life of these high level athletes to a generic tale, transforming them into impersonators of their own lives through extreme use of editing, slow motion and musical themes.
Divided into four sides (and eleven tracks) acting as parts in a greek tragedy, the album delves into the dislocations of the mythology of sports and its achievement in mass entertainment; whereby the hero becomes a dispensable and mimetic body. Hallais delves into this unusual portrayal of triviality and disaster, naivety and cynicism that make the real life and ordeals of the hero indistinguishable from their scripted form on TV.
This obsession with storytelling and the creation of bigger than life characters forms the narrative of 'An American Hero', a parable for our times.
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Visible Cloaks' Reassemblage is a collection of delicately rendered passages of silence and sound that invokes - and invites - consciousness. The foundation of the duo's second album is gently poured upon the ground their musical predecessors explored, using the materials of chance operations, MIDI translation,' and other generative principles that favor inclusive musical environments over the narrowly constrained.
In 2010, Spencer Doran, one part of Visible Cloaks alongside Ryan Carlile, prepared the first volume of Fairlights, Mallets, and Bamboo, a mixtape indicated by Doran as an investigation into fourth-world undercurrents in Japanese ambient and pop music, years 1980 - 1986.' These mixes contextualized the outré orbit of Yellow Magic Orchestra-related solo projects and their abstract, radiant forays as forever futuristic modes of music.
Reassemblage evokes similar musical futures celebrated on the Fairlights mixes, but does so observantly rather than reverently. The title Reassemblage, for example, is taken from a film essay by Trinh T. Minh-ha, which explores the impossibility of ascribing meaning to ethnographic images. The author aims to speak nearby' rather than speak about.' In other words, to embrace lapses of understanding, and realize that the impulse to map direct meaning across a cultural gap often results in further disconnect.
In an effort to speak nearby' rather than speak about,' Visible Cloaks filters and forms source material to become young again. Often the duo strip tonal elements of their specificity or randomize melodies so they become stirring and lucid. Essential patterns emerge, conscious experience heightens. In these moments, the musical language of Reassemblage finds unlimited resonance and presents a path to uninhabited realities.
The origin of this language could be described as translingual or polyglottal, working within the eastern / western feedback loop of influence, Fourth World ambiguity, and the universality of human emotion. Incorporating an international array of virtual instruments to advance the idea of panglobalism through digital simulation, tones and colors cohere into a living, breathing pool of sensorial experience in Visible Cloaks' environs.
Beyond embracing the fluidity of worldly musical influences, Visible Cloaks works fluently between mediums. The contribution of stalwart digital and installation artist Brenna Murphy's dream dimensions to Reassemblage's cover artwork and surrounding videos extends the album's exploration of global headspace into a visual, visceral reality.
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There is a way to reach into the pulse of everything. It comes when ideas
are stripped down to their bare essentials, blossoming then into massive monoliths that are designed with elegant simplicity. Such is the path taken on our next limited 7", led by Chronicle veterans Staffan Linzatti and new comer to the stable, Arnuad Le Texier. Entitled "Far Behind The Line", it embarks
with a sense of soaring weightless that only Arnaud can provide. "Radar"
is a statement of futurism, thrusting the listener forward and farther into the in nite. It's sonic qualities mimic radio towers, satellites, and frequencies transmitted from the far reaches of the unknown. "Destination" acts as the perfect counter, disrupting the psyche in all the right ways with dissonant wails and unearthly chimes. Together they come as a distinct package, presenting an impressionistic interpretation of what may come, or what already has.
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Some believe that the environment in which you make music - from the studio space, to the location itself - has a profound effect on the creative process. Immerse yourself in the world around you, the theory goes, and it will shape the music you make. Listen to Gorthleck, the third album from veteran downtempo alchemists Benjamin Smith and Paul 'Mudd' Murphy, and you can almost visualize the craggy, windswept and breathtakingly beautiful environment in which it was made. Reconvening after a near seven-year hiatus last summer, the duo headed up to the Scottish Highlands to spend a week recording in the surrounds of Gorthleck House, nestled on the shore of Loch Mhor in Inverness-shire. Earlier this year, they returned to the same venue, with its' stunning views of the tranquil loch and rocky, wooded hills rising in the distance, to complete the nine-track set. Certainly, the immersive environment and famously changeable weather seems to have inspired the longtime friends and studio partners. The album's epic centrepiece, the nine-minute Mhor', sounds like an emotional love letter to the body of water they strolled alongside every day. Its' undulating synthesizer line - reminiscent of classic Tangerine Dream and the Orb's A Huge Ever Growing Pulsating Brain' - mimics the slow ebb and flow of water across the loch, while Smith's shimmering guitar lines mimic the glint of sunlight reflecting off the surface. Elsewhere, the audio references are a little more subtle, but no less relevant. The hazy jazz guitars, twinkling pianos, rich grooves and fluttering clarinets of Nether' sound like the perfect accompaniment to a single malt whisky-fuelled sunset session at the water's edge, while the quietly foreboding aural textures, layered guitars and urgent electric violin of Enos' evoke memories of watching storm clouds gathering behind distant Highland mountains. The same could be said of Mr Coats' - a track arranged in steamy Mexico, and blessed with all the humidity you'd expect from such an excursion - while you can hear gale force winds whistling around the rafters on Dogwood'. As for Errogie', it's as bracing as a crystal clear morning in the Highlands, chilly, but hugely life affirming. The duo's previous two albums, 2007's Blue River and its' 2009 follow-up, Le Suivant, were both hugely evocative, but neither captured a distinct a sense of time and place quite like Gorthleck. Listen carefully, and you could almost be there with them, watching the sunrise and sunset.
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YUYAY Records advances to physical goods: The six track EP "Endomorphism" by Sophus Y. Lie is the imprint's first vinyl record being released. Shining light on a melancholic side of electro, the exceptional and uncommon sound design invites you to settle down and take your time listening. And yet, your endorphins will jump.
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