Born in the GDR in the early 1980s, German musician & composer Tim Linghaus had his first experiences with making music when he discovered his father’s RX 11 and guitars as a young boy. During his university years he played guitar in bands ranging from metal to singer/songwriter, but more recently he has been producing an understated, nostalgic, and deeply personal style of neoclassical music centered around piano, synthesizers and ambient noise. It began with the wonderful debut EP ‘Vhoir‘ (Moderna Records) in 2016 and on into last year with the poignant, quietly stunning ‘Memory Sketches‘ (Schole/1631 Recordings).
Tim begins the new year with ‘About B. (Memory Sketches B-Sides Recordings)‘, a collection of additional material that did not make it on to the first album and which has a slightly different focus which he explains in this conversation about the record.
Continue reading “Duologue: A conversation with Tim Linghaus”
A vibrant and eclectic selection where genres never define of confine, but only serve as reference points for where words fail to describe the music; a sort of musical edgeland where ambient and modern classical minimalism co-exists with acoustic, folk, electronica, post-rock, and shoegaze.
Continue reading “2018 Year In Review: Journeys in Post Rock, Experimental Folk & Acoustic”
For eight years, Brendon John Warner wrote, recorded & toured Australia with the progressive post-rock group We Lost the Sea before heading down a different musical path to pursue his growing interest in synthesis and lo-fi electronics. Beginning to pull at what he calls “a long lingering creative thread”, he dedicated himself to a “radical, contemporary musical view focused on contrasts, textures, dynamics, spatial relationships and instrumentation”. That choice and commitment have come to fruition in the form of his first full-length solo album entitled La Fonte (“The Melt”), a sprawling, kaleidoscopic electroacoustic exploration of the relationships between humanity and planet earth, ecology and economy, and climate change. Those are pretty ambitious themes to tackle in a first effort, not to mention one that clocks in at over a full hour of immersive instrumental music, but Warner says that stretching himself in this way had a significant impact on him creatively speaking.
“Both musically and thematically ‘la fonte’ challenged me to re-imagine the way I express myself through music. While storytelling through instrumental music in nothing new to me, using a broader concept of sound and composition to delve into more contemporary issues became the hallmark of what I was trying to achieve. From the use of found-sounds and sampling to blending synthesized drums with live percussion, and even a more open approach toward improvisation, this record, and the impossibly big themes it aims to explore, changed me as a musician and as an artist.” – Brendon John Warner
Continue reading “ALBUM STREAM: ‘La Fonte’ by Brendon John Warner”
Madeleine Cocolas is no stranger to incorporating music with other art forms. She has composed numerous works music for film, dance, and art exhibitions from painting to textiles. It should be no surprise, then, the fondness she developed for The Metropolitan Museum of Art after recently relocating to New York and on her newest album she finds a unique way to express her love for both the city and the museum while creating a highly engaging intersection between modern art, generative music, and compositional forms. The approach is best described by Cocolas herself:
“When I moved to New York City, I knew I wanted to write an album somehow connected to the city, but I wasn’t sure how to anchor it. It was probably on my third or fourth trip to The Metropolitan Museum of Art that I realized how much I loved The Met, and how much it meant to me to be there. I chose nine artworks…that really resonated with me, used custom software programmed by Gregory Long specifically for this project to analyze an image of each artwork to create sounds, and then incorporated those sounds into my compositions. Each track on the album represents an individual artwork, so the album is like a collection of individual works.” – Madeleine Cocolas
Continue reading “Through a musical lens: Metropolitan by Madeleine Cocolas [bigo & twigetti]”
In the world of music, sometimes serendipity turns into collaboration and sometimes collaboration turns into a fruitful partnership. Such is the case with Floex (aka Tomas Dvorak) and Tom Hodge. Their new album A Portrait of John Doe has just been released on Mercury KX adding even more lustre to a catalog that already includes such artists as Òlafur Arnalds, Luke Howard, and Sebastian Plano. The pair began work on the music after a fortuitous chance meeting in Berlin and the project has taken three years to complete as they honed the compositions and worked with the Prague Radio Symphonic Orchestra (PRSO) to bring the arrangements to full bloom. A Portrait of John Doe is an ambitious record not only in terms of musical invention, but in the quest of its over-arching existential theme as well, a kind of “avant-garde” music for and about Everyman.
“We are looking for universal human stories, things that connect us. This is neither an apocalyptic or wildly optimistic vision, the album subject for ‘A Portrait Of John Doe’ is rather a search for modern human values. The theme of the album turns our attention to everyday moments of our lives, as a certain counterbalance to the unceasing pursuit of efficiency, singularity and uniqueness that is so characteristic of today’s times.“ – Floex and Tom Hodge
Continue reading “Floex & Tom Hodge – A Portrait of John Doe [Mercury KX]”
Norwegian multi-instrumentalist, composer, & producer John Erik Kaada knows a thing or two about making sounds that people want to hear. Over the course of his musical career he’s made quiet a lot of them across a diverse spectrum of genres and formats – solo albums, collaborations, soundtracks, and live shows. He has just released another album and while he no doubt wants people to hear to it, what he really hopes is that it will drive home the message of how important it is for people to listen, really listen, to one another. The title of each song on Closing Statements is either a quote or fragment from things that people, both famous and infamous, uttered when they were about to die. A somber theme to be sure, but Kaada gives it a life-affirming twist. While so much music about death look inwards towards feelings of grief, loss, or nostalgia, he discards such well-worn tropes to reveal a surprisingly poignant lesson for the living.
“I don’t think I’ll have more important things to say when I’m on my deathbed than I have generally in life. This applies to most people, I guess. Final words aren’t any wiser or cleverer than anything you’d normally say. But it’s the fact that you’re not going to say anything else ever again that makes this moment so special. You have the audience’s full attention…The underlying message of the album is that we have to listen to each other. In a modern world where people mostly don’t have the time or interests to get to know one another, we need to be reminded that we need to listen.” – John Erik Kaada
Continue reading “Kaada – Closing Statements [Mirakel]”
As 2017 drawing to a close, Stationary Travels premiered a track from The Amsterdam Sessions, an EP which resulted between Stockholm-based by Fabian Rosenberg (aka Klangriket) and Sjors Mans in his Amsterdam studio where they came up with five impeccably beautiful pieces named after locations in the city that intertwine ambient textures and atmospheric electronics with delicate piano-based compositions. It’s a pleasure to call attention to this project once more, this time on the occasion of the premiere of a mesmerizing video for “Prinsengracht” created by Frida Holmgren who also contributed violoncello on some of the tracks. In it she brings to life the pulsing patterns and blooming surges in what is the most kinetic piece on the album.
When Fabian first played the song for me, we were sitting in a studio at school. I saw the reflection of strip lights on a black computer screen and really liked the pattern it made. That is what initially inspired me. And I wanted to make a hypnotic video, since that’s how the song was for me when I listened to it. – Frida Holmgren
Continue reading “Video Premiere: Prinsengracht by Klangikret & Sjors Mans”
A little over a year after his patient fusion of close mic’ed solo piano with delicate synthesizer constructions on The Words She Said (reviewed here), Irish-born, Montreal-based composer/producer Paddy Mulcahy returns with an enigmatic foray into finespun electronica & percussion in the form a striking five-track EP entitled From Water. It begins with the shimmering “You Could Walk Across the Shannon” which treads a fine line between hope & melancholy in keeping with what Mulcahy sought to put across in the song.
“‘You Could Walk Across The Shannon’ is about overcoming the impossible. It’s a musical representation of being an underdog in a vicious race; it’s the rare ability to walk across a riverbed at low-tide. I want to inspire people who are suffering, people who are sad and feel like there’s no point. This music was inspired by nature, people and overcoming my depression.” – Paddy Mulcahy in DJ Mag, 03/09/2018 Continue reading “Sound Impression: From Water by Paddy Mulcahy [Phases Records]”
Amidst the teeming diversity and cacophonous sprawl of Los Angeles are scores of people who specialize in making and selling dreams. There is probably no place on earth that has not been imagined or portrayed there and preserved on celluloid. But to truly experience the soul of a place, to connect with it, soak it in, and meaningfully interact with it, you really do need to be there. Perhaps it was with this mindset that Brian Allen Simon aka Anenon packed up his instruments in the spring of 2017 and left behind a roiling political/cultural climate for the serene and picturesque rolling hills of Tuscany, home to millenia of sublime artistic expression and enviable provincial life. There, in a makeshift attic studio on the third story of a 16th century villa in the small town of Palaia he embarked on a month long musical odyssey which resulted in his fourth LP entitled Tongue.
“I live in the city of ephemerality. The omnipresent LA light soaks my mind and body and moves me forward towards a dark and inconsistent absence of remembrance. Around me, histories are bought and sold daily in an unplanned, urban and suburban dwelling that on paper makes zero sense, but in reality has become a haven for wide open creative thinking and action that couldn’t exist anywhere else…I wanted to make music that can live inside of anywhere one finds themselves: city or country. It’s a series of shifting moods and melodies that through the heart, mind, hands, throat, and tongue sing an outpouring of metaphysical, nuanced psychedelic passing truth.” – Brian Allen Simon
Continue reading “A Sense of Place: Anenon – Tongue [Friends of Friends]”