ruth garbus

ruth garbus ~ rendezvous with rama (autumn, 2010)

"lovely set of guitar/voice studies from vermonter ruth garbus, reminding of kath bloom’s sides (both w/ & w/o loren connors) & linda perhacs’ effortlessly breathy “parallelograms”. but then again i imagine most will compare the omnipresent patina of tape-hiss & chiming guitar figures to liz “grouper” harris; fans of whom will most certainly want to investigate herein" mimaroglu

"ruth garbus used to be in a band called Feathers,  she still plays with kyle t. in a band called happy birthday, she lives with c. weisman in brattleboro & her sister is merrill Tune-yards.

is she a singer/songwriter? folk musician? chanteuse? torch singer? jazz vocalist? new age artist? tropicalia? early music?. im not sure what we should call it. maybe all of the above. well it doesn't really matter anyhow because we think you'll think ruth's new album is super good." autumn

foto: miroslav tichý

feathers, otro nombre con significado especial

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the caretaker

the caretaker ~ patience (after sebald) (history always favours the winners, 2012)

"... James Leyland Kirby returns with a long-in-the-making soundtrack to acclaimed filmmaker Grant Gee's documentary about German writer WG Sebald. 'Patience (After Sebald)' is a multi-layered film essay on landscape, art, history, life and loss - an exploration of the work and influence of German writer WG Sebald (1944-2001), told via a long walk through coastal East Anglia tracking his most famous book 'The Rings Of Saturn'. Much like The Caretaker's oeuvre, Sebald's works are particularly focused on themes of memory, both personal and collective, making Kirby the ideal candidate for this score. Grant tasked him with soundtracking responsibilities, but rather than thrift shop shellac, the source material for 'Patience' was sourced from Franz Schubert's 1927 piece 'Winterreise' and subjected to his perplexing processes, smudging and rubbing isolated fragments into a dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear. Mastered and cut by Lupo at D&M, the album is adorned with another specially commissioned painting by Ivan Seal..." boomkat

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foto: miroslav tichý

miaux

 

miaux ~ untitled (self~released 2011) | 'untitled 7" (ultra eczema, 2011)

"warm thick tears force their ways out of droopy eyes, children cover their ears and peppep is rubbing his underbelly with sandpaper. the general gloom Miaux aka Mia Prce spreads on her sandwiches is darker than tatort and could easily replace any soundtrack of a fassbinder movie, the sad joy of a lady from sarajevo pushing her entire hands into a keyboard, don't ask her for a encore or you'll receive a grim reward!

it seems that a new breath of electronic music is blowing over antwerp, all in a sort of kubin/depressed pop/late wave/instrumental suicide kind of style who knows where the hell it came from, orphan fairytale's early antics, cassis and colombo, radio centraal...comes in a orange stencil printed cover design by dennis tearfus, your hands will be orange after holding it, limited to 150 copies. no reissues" ultra eczema

un teclado de juguete, suspiria, drácula, fassbinder, carnival of souls y mil y una referencias cinematográficas para un disco sencillo, breve y muy evocador. en rotación junto a mittland och leo, 'from the grave' de umberto y 'an empty bliss beyond this world' de the caretaker.

foto: miroslav tichy

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mi and l'au

mi and l'au ~  if beauty is a crime (important, 2012)

"After exploring their creative impulses through strings, horns, pianos, and varied folk influences, Mi and L'au decided to venture into a newer, more electric environment on their newest record. If Beauty is a Crime doesn't feature a single guitar. In fact, you won't find a traditional instrument anywhere on it. But, along with Mira and Laurent's redefined approach, something familiar found its way into their music. While making the album, both musicians noticed the specter of familiar melodies and rhythms haunting their work; the inspiration wasn't from a specific song or melodic line, but from a mood or an idea buried somewhere in the past. As they investigated this anomalous influence, they uncovered a shared memory of films enjoyed during childhood, specifically those scored by French composer François de Roubaix, who was known for his use of synthesizers, drum machines and folk elements. The connection between his work and their current endeavor was obvious. Subsequently, Mi and L'au immersed themselves in his music even as they continued to produce their own. Whether by fate or by coincidence, de Roubaix's music found its way into their lives just as they were beginning to explore what electronic sounds could do for them. So, in the end, they dedicated If Beauty is a Crime to François."

vuelven después de muchos años, como jakob olausson, hope sandoval o songs of the green pheasant. lo mismo pero diferente

foto: miroslav tichý

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