February 24, 2016

John Frusciante - Foregrow (rsd 2016 Item)

 John Frusciante's Foregrow doesn't sound like any Acid Test record, or any record, that's come before it. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA musician on Trickfinger, all bets are off. This one's truly a passage through night. Frusciante's using elements of John Carpenter's eternal scores, the drum programming DNA of jungle and footwork, and yes, a Roland TB-303, all slowed down to a crawl. Foregrow is a lurching, lysergic beauty which offers glimpses of his platinum pop instincts, but only behind the veil of true experimentalism.


 

February 2, 2016

L_ - The Outisder

 L_ is the moniker of the Brazilian producer and sound artist Luis Fernando. Having released his debut album »Love Is Hell« in 2014 through the Berlin-based ANTIME imprint, he also received attention with a slew of remixes and contributed to several compilations, most notably »Hy Brazil Vol. 7« which was hand-selected by Chico Dub, one of the most important figures in the Brazilian electronic music scene. In 2015, ˆL_ embarked on a successful, two-week long Germany tour with his ANTIME label mate AAAA and released the more dancefloor-orientated EP »The Outsider«, also through ANTIME. Apart from his work as a producer, Fernando regularlyhosts workshops on sound design with a focus on film and radio works. Fernando started making music as a young teenager, citing bands like My Bloody Valentine or Nine Inch Nails as inspiration for his first Shoegaze-leaning excursions in the music world. As he grew older, his taste varied and his own output became increasingly eclectic. Nowadays, ˆL_ works mostly digital and oscillates between film score-inspired sounds, acidic Techno, Noise and abstract electronic music. However heterogeneous ˆL_’s music might be in terms of stylistics, Fernando cunningly manages to weave all elements together into integrally closed narratives full of unforeseeable twists which follow a well thought out logic. The prolific Brasília-based producer furthermore creates continuity through his unmatched sensitivity when it comes to sampling. Fernando, who has researched and taught about the art of sampling, has built up an impressive archive and regularly immerses himself in his surroundings for field recordings. The result of his relentless pursuit


 

February 2, 2016

Strategy - Information Pollution

 Like some ingenious combination of John Cage’s chance operations and the numbers station data stream captured on The Conet Project, Strategy’s new album immerses listeners in baffling sonic waters. It’s a riveting work that converts the enigmatic effluvia of shortwave and dispatch radio chatter into thrumming, staticriddled clouds of ambience. An undercurrent of unease wafts through Information Pollution’s four lengthy tracks, as barely audible molecules of aural junk never meant for public consumption get repurposed into an unsettling strain of inverted chillout music. Information Pollution was born out of restraints. After moving into a new house with little space to set up his studio properly, Strategy (Portland producer Paul Dickow) could only work with a few devices at a time. He’d acquired an old Akai reeltoreel tape deck with tube preamps from his father, who’d recently cleaned out his own studio. Using radios, homemade effects boxes, and the tape deck, Strategy recorded these sound collages live to tape, without touching any synths or deploying any samples. “I discovered a lot of ghostly shortwave sounds,” Dickow says, “but also ambulance, parking, and school bus dispatch channels on forgotten frequencies that I think might have been once used for police or broadcast TV.” The result falls somewhere between Philip Jeck’s eroding turntable symphonies and William Basinski’s poignantly decaying Disintegration Loops. Dickow relates that he uses the term “Information Pollution” to classify “any spam, broadcast saturation, junk mail, invasion of unwanted information [that enters] the socialemotional public realm.” As with the material


 

February 2, 2016

Kalipo - Wanderer

 Jakob Häglsperger AKA Kalipo is a busy man. Operating as one third of German electro-punk band Frittenbude, his solo alias was brought to life in 2014 with debut album “Yaruto", released on experimental label Antime Records. The multi-faceted producer now returns to Audiolith with the “Wanderer EP", after having released the gorgeous “Mäusemarsch” this summer on the label’s electronic-focused Stiff Little Spinners compilation series. “Wanderer “is a restless record which sees Kalipo work his way through the deeper ends of four to the flour with a refreshingly experimentalist approach to production, with defamiliarized samples and analogue gear running the show. The music has changed since the Berliner’s debut album, becoming more propulsive, more physical and geared towards the dancefloor. Composed mostly on tour or over extended periods of travelling, the track names on “Wanderer” each come with their particular story, referencing places Kalipo has previously played or traveled to. Monolithic opener “Donau Sunrise” sets the tone straight from the start with sanguine arpeggiators that work their way across a mystical backdrop. Melancholic themes infiltrate the cracks of the album and stand out tracks “Banana Garden", written when Kalipo was stuck in a bamboo hut in the middle of thai jungle with a 40 degree fever and nothing else but headphones, a sampler and penicillin for company, and the stunning “Institute Of Cotton Wool” are set to become earworms of the highest order. “Wanderer” sees Kalipo right in his element. Tension builds and dissolves gracefully throughout and the Berliner’s audacious approach to production give his music an authentic and very recognizable feel, one which is clearly Berlin-influenced but which also evades the


 

February 2, 2016

Nuel - Hyperboreal

 Italian DJ and producer Manuel Fogliata hasn’t released a lot of records over the last ten years, but the few he has put out have always been worth tracking down. Perhaps best known for his work alongside Donato Dozzy in creating the much sought-after Aquaplano records at the tail end of the last decade, Nuel’s solo outings have been just as consistent and just as impressive. Whether taking on metallic electro or syrupy, bass-heavy ambience, Nuel’s attention to detail and his keen ear for a groove has made each release something to treasure. Nuel’s only previous full-length, Trance Mutation (Further Records, 2011), was a masterpiece of minimal repetition. It was possessed of a gossamer-light surface, all trippy rhythms and wonderfully playful melodies, but it was deep too. Made with just one microphone and a handful of instruments in his studio in a small Italian town, it’s one of those records that can somehow present the whole of a track in the first few bars but stay fascinating for ten minutes or more. While initial impressions might suggest little in the way of continuity between the organic tribalism of Trance Mutation and the colder, more mechanic sounds of Hyperboreal, Nuel’s ability to go deep into a particular mood, a particular sound, links the two. An expert in the art of minuscule variations, Nuel’s compositions are always changing, always evo