On Friday, Andy Kozar released A Few Kites, a trumpet and electronics solo album on New Focus Recordings. It features works by Paula Matthusen, Ken Ueno, Scott Worthington, Eve Beglarian, and others. A plethora of extended techniques, including deconstructing the instrument itself, are pitted against imaginative electroacoustic vistas. Recommended.
Kate NV’s next recording, Room for the Moon, will be out on RVNG Intl. on June 12th. The Moscow based artist’s use of minimal grooves has become more fluid, with an assured hand at layering different textures. We have included two teaser tracks via Soundcloud here.
On behalf of Kate NV, a portion of proceeds from this release will benefit Mama Cash, an international fund that supports female-identifying, trans and intersex people’s movements around the world, as a part of our Come! Mend! initiative.
Golden Retriever and guitarist Chuck Johnson have joined forces on the Thrill Jockey album Rain Shadow (out May 25th). Today the trio release a teaser track, clocking in at nearly an album side of new music, titled “Empty Quarter.”
On Friday, October 25th, Westminster Choir College’s recording label, distributed by Naxos, will release “Composers at Westminster,” a digital recording of works by the composition faculty. It includes music by Stefan Young, Joel Phillips, Jay Kawarsky, Ronald Hemmel, and Christian Carey.
Three of the college’s choirs, conducted by Joe Miller, James Jordan, and Amanda Quist,as well as Victoria Browers, a member of the voice faculty, accompanied by pianist J.J. Penna, are among the performers on the recording.
You may listen to a stream or download the music via this link.
Black Marble (Chris Stewart) will release his third album, Bigger Than Life, on Sacred Bones Records this Friday, October 25th. Stewart leans on synth-pop sounds and styles heavily, but the music sounds freshly earnest and eminently tuneful rather than merely derivative. Check out standout songs “One Eye Open” and “Feels,” and then stream the rest, via the Bandcamp embed below.
Black Marble is touring in November (dates below).
BLACK MARBLE – November Tour Dates
Nov 2 Los Angeles, CA SUBSTANCE at the Los Angeles Theater
Nov 5 TUCSON, AZ Club Congress
Nov 7 Austin, TX Levitation at Empire Control Room
Nov 8 Oklahoma City, OK 89th Street
Nov 9 Memphis, TN Hi-Tone
Nov 10 Nashville, TN The Basement
Nov 12 Columbus, OH Ace of Cups
Nov 13 State College, PA Webster’s
Nov 14 Oberlin, OH Oberlin College
Nov 15 Toronto, ON Eisbaer 2019
Nov 16 Montreal, QC Bar Le Ritz
Nov 19 Hamden, CT Space Ballroom
Nov 20 Philadelphia, PA Underground Arts
Nov 21 Baltimore, MD Metro Gallery
Nov 22 New York, NY Bowery Ballroom (Record Release Show) w/ Automatic
On Friday September 28th, Supersilent – the experimental trio of Arve Henriksen (trumpet, voice and electronics), Helge Sten (Electronics), and Ståle Storløkken (keyboards and electronics) – released a fourteenth album, their second for the label Smalltown Supersound. The group is best known for performances of “slow jazz:” avant jazz that unfurls at a gradual rate. Supersilent 14 revels in slow tempos, as the track “14.7” (embedded below) demonstrates. However, this time out there are a few other components shifted t0 make for a different listening experience.
The recording’s dozen tracks – labeled with numbers and nothing more – are relatively aphoristic, ranging from the horror movie industrial cast of the one-minute long “14.9” to the comparatively spacious and spacey “14.12,” which clocks in at five minutes and thirty-nine seconds. Thus, “slow jazz” tracks and more primarily electroacoustic soundscapes are allowed limited room for development, instead presented as atmospheres that often seem to begin in progress. Some Supersilent releases have hewed towards a lusher palette than 14, which instead tends towards the edgy. Henriksen’s trumpet is frequently distressed and sometimes subsumed by electronics. Sten, who also releases electronica under the name Deathprod, produced and mixed the recording. His approach revels in noise and overtones in nearly equal measure. The result is an impressive amalgam of both ends of the “sound art spectrum.” Occasional moments of recognizable patterning, like the Middle Eastern scalar passages that supply a coda to “14.4,” sounding all the more remarkable for their relative isolation in the proceedings.
At a certain point in their respective careers, most recording artists find it difficult to come up with fresh ideas. With “14,” Supersilent not only seems to have reconsidered their music afresh; they sound like a group just getting started.
Australian instrumental quintet Tangents return with their fourth album via Temporary Residence. It is their finest work in some time, with an even broader palette of materials and stylistic reference points that are adroitly incorporated. The combination of cello, especially favoring pizzicato, and synth melodies remains, but along for the ride are prepared piano sounds, angular bass interjections, and skittering beats. Electric guitar textures and and undulating patterning are propelled by muscular acoustic drums.
Indebted to post-rock, jazz, alt-electronica, and a dose of contemporary classical sounds, it transcends these various categorizations and their carbon dating to create music that is entirely fresh and of the moment. Recommended.
On Febuary 16, 2018, RVNG Intl. digitally released Few Traces, a recording of rarities by Mark Renner. The physical release is this Friday (February 23rd).
Renner is an under-heralded icon of the Baltimore arts scene. A talented painter, printmaker, and musician, Renner’s work proved pivotal in the local community during the first early glimmers of post New Wave alternative rock.
Few Traces contains music from 1982-90. Built with a minimum of gear – a four-track recorder, guitar, and a Casio synthesizer – its songs and instrumentals are simply constructed but eloquent, tuneful, and charming in their immediacy. One can imagine college radio in an alternate universe spinning Renner’s “Saints and Sages,” “Half a Heart,” and “The Wild House” in heavy rotation. Given the resurgence of eighties synth pop, perhaps their time has come.
To garner some context for Renner’s work, Maia Stern has released a short documentary (embedded below). You can also check out streams of some of my favorites on the recording and there is a link below to purchase it via Bandcamp, as well as some information about charitable contributions that are being made from the release’s proceeds. Recommended highly.
“On behalf of Mark Renner, a portion of the proceeds from Few Traces sales will be donated to Ethiopia ACT, an organization committed to public health strategies to serve Addis Ababa’s community, under Come! Mend!, an initiative bridging RVNG’s work and interest supporting non-profit organizations and charities.”