Supersilent 14 (Recording review)

Supersilent

14

Smalltown Supersound
2018

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.

 

Tangents – New Bodies (CD Review)

Tangents - New Bodies - cover scan

Tangents
New Bodies
Temporary Residence Ltd.

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.

Mark Renner – “Saints and Sinners”

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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.”

Mike Donovan: “Sadfinger” (Bandcamp)

how to get your record played in shops


A preview track from Mike Donovan’s “How to Get Your Record Played in Shops,” which will be out on 4/20 via Drag City.


https://bandcamp.com/EmbeddedPlayer/album=3650878242/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/track=844659316/transparent=true/

 

TOUR DATES:
FEB 10 San Francisco, CA @ RPMetaspace (Closing Party for William Keihn’s “Trapdoor” exhibition)
MAR 1 Ojai, CA @ Ojai Rancho Inn
MAR 3 SF, CA @ RPMetaspace (Opening Party for Jesse Wiedel exhibition)
MAR 15 Oakland, CA @ The Octopus Literary Salon
MAR 20 LA, CA @ Zebulon^
MAR 21 Phoenix, AZ @ Lunchbox^
MAR 22 Tucson, AZ @ Fly Catcher^
MAR 23 San Diego, AZ @ Bar Pink^
MAR 24 San Francisco, CA @ Light Rail Studios^
MAR 25 Oakland, CA @ Ivy Room^
MAR 29 San Francisco, CA @ Rickshaw Stop w/ U.S. Girls
MAY 24 Frankfurt, Germany @ Zoom*
MAY 26 Antwerp, Belgium @ Trix*
MAY 27 Winterthur, Switzerland @ Salzhaus*
MAY 28 Vevey, Switzerland @ Rocking Chair*
MAY 29 Clermont Ferrand, France @ Coopertive de Mai*
MAY 30 Lille, France @ Aeronef*
MAY 31 La Rochelle, France @ La Sirene*
JUNE 4 Brighton, UK @ Concorde 2*
JUNE 5 Manchester, UK @ Gorilla*
JUNE 6 Dublin, Ireland @ Tivoli*
JUNE 8 Newcastle, UK @ Boiler Shop*
JUNE 9 London UK @ O2 Forum*
JUNE 14 Paris, France @ Bataclan*

*w/ Ty Segall and The Freedom Band
^ w/ Lars Finberg and The Bakersfield Moonlighters

 

Kaitlyn Aurelia Smith: “An Intention” (Joe Goddard Remix)

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Have you heard Kaitlyn Aurelia Smith’s The Kid (Western Vinyl, 2017) yet? Inspired by the loss of a friend, it is an electroacoustic journey from childhood to the loss of innocence, Armed with a Buchla Easel and supple voice, Smith articulates the experiences of childhood with winsome lyricism and an effulgent palette of synth timbres. It is easily one of the best electronica albums of late, and I’m naming it my choice for Best “Synth-pop” release of 2017.