This arrives on Friday with some extended stuff that only makes a great EP even better. You can pre-order the album here and the vinyl is also still available too.
Due this Friday (16th November).
The 32 tracks that make up the main body of the compositions are – like all good folk music – a patchwork of traditional pieces, half-remembered tunes and pure improvisation. It’s testament to Sandra Kerr and John Faulkner’s musicianship that the recordings work so well, not only within the context of the television episodes, but as an album in its own right. Of the recording, Oliver Postgate (in his exquisite autobiography ‘Seeing Things’) says: “Between them Sandra and John could play every sort of instrument from a mountain dulcimer to an Irish fiddle. They knew and could sing every tune in the world and didn’t bother with written music, except as a last resort. They were exactly suited to Gabriel the Toad and Madeleine the Rag Doll and in those roles were happy to play whatever music and sing whatever songs would be needed.”
Geographic North present an expertly curated, horror-themed compilation of exclusive aces from Félicia Atkinson, Pinkcourtesyphone, Ka Baird, Suzanne Kraft, CV & JAB, Jefre Cantu-Ledesma, Eluvium, Clarice Jensen, Arp, Ilyas Ahmed, Algiers and many more, all right in time for Samhain 2018.
Mantled in reference to the seminal Nicolas Roeg flick, ‘Don’t Look Now’ (1973), Geographic North’s 2nd collection of Halloween music shares much in common with the titular film’s classical scenery and unsettling psychology, with each contributor preferring inference and shadowplay over anything explicitly gory or sh*t-the-bed scary.
Bookended by prologue and epilogue from Sweden’s Arp, the set runs to 21 pieces in total, amounting to induce a nervously furtive state of mind fleeting between clammy anxiety, pensive midnight romance, and unshakeable uncanniness. It’s testament to Geographic North’s fine-tuned ears that the whole thing works so well, holding our attention by a silk thread for its feature-length 90 minute duration.
Like a movie, it’s best consumed in one go, but it’s worth pointing to key scenes such as Ka Baird’s nest of shivering keys in ‘Clearing’, and the cool tension between spiralling rhythms and tranquil chords in Felicia Atkinson’s ‘Little Things’ as crucial to the sequence, especially when contrasted with the more dread-filled nooks such as Robert Donne’s crushing dedication to Mika Vainio in ‘Rakkauslaulu’, the carmine seep of Jefre Cantu-Ledesma’s viscous organ wooze in ‘O Virtus Sapiente’, and the starkly sepulchral dynamic of ’Stabbing’ by Suzanne Kraft.
For our money comps rarely work, but much like PAN’s Mono No Aware, Geographic North prove that with the right curation you can sometimes end up with something much more weighty then the sum of its parts, in this case an engrossing narrative full of darkness and light.
In the dreamlike trip of El Ferrocarril Desvaneciente, or ‘The Vanishing Railway’, Rafael Anton Irisarri regales the story of an overnight train journey across Spain he took many years ago.
Marking Rafael’s 3rd release with Mexico City’s Umor Rex in just over a year, this one finds him in a beautifully heavy-lidded state of reverie, using distant pulses and finely tempered rhythmic noise to connote a sense of intimate movement through vast space, while his gauzy harmonics and half-heard melodies limn the fondly remembered journey with an intimate, nostalgic poignancy. Ideal walkman fuel for your next long journey, and fans of Tim Hecker, The Caretaker, Lawrence English, William Basinski.
New ambient excursions from Tim Hecker on the Kranky label. Konoyo finds this Canadian artist expanding his palette of sounds in new and interesting ways. On this album, Hecker works with the Tokyo Gakuso Ensemble to stunning effect. The pieces are beautiful and confounding - his trademark sound. Highly recommended.
Konoyo is available here on vinyl, compact disc and digital downloads.
Pioneering UK electronic research lab The Radiophonic Workshop has announced the Possom OST, its very first soundtrack for film.
The minds behind the Doctor Who theme song have come together for the soundtrack, which contains remastered material from the Delia Derbyshire archives – discovered in boxes of tapes in the late composer’s attic.
These tapes make up the foundation of the soundtrack, as the collective marry dread synth tones with bowed percussion and pastoral flute for a sound that is reminiscent of classic Italian Giallo scores and British industrial giants Coil.
Possum is the directorial debut from Matthew Holness, most famous for co-writing and playing the title role in cult horror-comedy series Garth Marenghi’s Darkplace.
Returning to the genre with a much straighter face, Possum tells the story of a disgraced children’s puppeteer returning home to face dark secrets that have taunted him throughout his life.
The Possum OST arrives on CD and digital formats on November 30, with vinyl to follow in 2019. You can preorder the score at The Radiophonic Workshop Bandcamp. Possum arrives in cinemas on October 26.
Suzanne Kraft beautifully paints outside the lines on ‘SK U Kno’, offering studio-rendered snapshots of material that gradually evolved into the pieces in front of you, drawing woozy connections between wistful ambient contours and more vaporous, hypnagogic loops, into unstable House and abstracted midnight Blues. One of the loveliest/smudged listens this year, huge recommendation.
On the A-side Kraft seduces with eight minutes of wilting chords and percolated synth voices in ‘Gaze’, before ‘Vast Mute’ breezes close to the kind of DJ Screw-style magick found in 0PN’s ‘Chuck Person’s Eccojams’, but to more abstracted, hazy effect.
His B-side follows with the beautifully mellow strums of ‘To Make A Stone Weep’ probing a Jim O’Rourke-like transition from acoustic balm to digital saltiness, and then we finally get to hear the full version of ‘Accelerate Me Wildly’, which now comes with an extra 12 minutes of astral synth-scaping and GRM-like electro-acoustics before it drops into killer, airborne funk trills and levitating chords with a proper West Coast US steez.
Available now on vinyl. Digitals coming in November.
Phono Ghosts returns with ‘Photons in Fashion’ featuring eight new tracks of intricately spliced tape samples, continuing the psychedelic eclectic sound that marked out his previous releases on Fonolith (Solar Dream Reel) and Skam (Chrome Position).
Over 30 minutes, ‘Photons in Fashion’ careers between the forceful ‘80s digi-funk blast of ‘Cassential’, space-lounge groove of ‘Binary Dynamics’ and hypnotic disco of the title track; progressing through to the brooding ‘Dramakai’ and slinky fretless bass of ‘Observatory of the Soul’, interspersed with dream-like fragmentary interludes, before closing out with the idiosyncratic synth bleeping of ‘Hear Me Read My Genetic Chirpy Chip’.
Vinyl, Cassette & Digital are available here.
Tomorrow we’ll likely see new iPhones and Watches. Should be interesting. Maybe the AirPower charging mat will also make an appearance. There may be other surprises too.
What to expect:
- iPhone XS 6.1 inch LCD display
- iPhone XS 5.8 inch OLED display
- iPhone XS 6.5 inch OLED display
- Apple Watch Series 4
The announcements begin at 10am in Cupertino, California. There are a variety of places you can stream the event.
An EP from 2015 that you may have missed.
Second EP by Berlin-based Scotsman, Claude Speeed. Steeped in all sorts of mannered loveliness, from classic American minimalism to cinematic post-rock and retro-futurist electronica, its intent is matched by its reach over five succinct pieces fanning out from the distorted dream sequence of ‘Traumzeuge’ to soaring synth scape ‘R U Sorry?’ via the curling chimes and zinging digital harmonics and binary cream of ‘Dr. Liz Wilson’, ascending to the crashing MIDI drums and longing vocal glossolalia of ‘Fret’. RIYL Oneohtrix Point Never, Kuedo, Mogwai.