No bother Fergus. Yes, I totally agree with you re: waste. I detest them and always will....They make no sense whatsoever!fergus wrote:I am obliged to you Dermot and that is what I thought was the case but it seems like such a waste to me. Surely they could issue some bonus music on the vinyl editions as an added attraction to the medium?!cybot wrote:It's a double Lp that only plays on three sides instead of four. Usually the fourth side is either blank or has an etching on it....fergus wrote:
Excuse the ignorance Dermot but what is a three sided LP as opposed to a triple LP???
Electronica - what are you listening to?
Re: Electronica - what are you listening to?
Re: Electronica - what are you listening to?
jadarin wrote:
Holy other:Held
Another new one to add to the list. Good stuff John :)
Re: Electronica - what are you listening to?
Time for some old fashioned D&B :) Music to break treadmills lol
Re: Electronica - what are you listening to?
Listened to ....... Sonnamble..... Seven Months in E minor.
and following up....
Biosphere........ Shenzhou..
and following up....
Biosphere........ Shenzhou..
Let the Good Times Roll...................
Re: Electronica - what are you listening to?
'Seven Months in E minor' Brilliant title :) Sonnamble.....who he?Adrian wrote:Listened to ....... Sonnamble..... Seven Months in E minor.
and following up....
Biosphere........ Shenzhou..
Re: Electronica - what are you listening to?
Well Sonnamble is actually Conor Curran, I posted a previous album above, CJC which was a bit too technical for me, however Sonnamble is much more listenable.
Excerpt from The Milk Factory http://www.themilkfactory.co.uk/st/2010 ... r-forwind/
Sonnamble is originally the project of London-based software designer and musician Conor Curran, who, after completing his music studies at Trinity College Dublin, has been involved with a number of projects, including his solo work as CjC. With Sonnamble, Curran aims at exploring the possibilities of live digital processing in improvised music. For this debut release, Curran teamed up with bass and guitar player Peter Marsh. The pair spent the best part of a year developing an approach that allowed them to process their respective instruments and incorporate the resulting sounds into substantial music compositions.
Sonnamble weave intense granular textural soundscapes, processed live from heavily treated electric and lap steel guitars, double bass, electric bass and analogue synthesizers, into beautiful introspective sparse pieces which all share a particularly abstract aesthetic. While guitars remain the primary focal point of the seven improvisations collected here, they are presented in a multitude of forms throughout, at times appearing in almost bare natural state, with very little treatment applied, as is the case on Opening or, to a lesser degree, on Sehnsucht, at others processed beyond recognition, their aural materiality ultimately amalgamated into the overall fabric of the record. While references to Fennesz or Machinefabriek seem almost unavoidable, there is a certain earthiness here which is rarely found in records of this type. With the processing done on the fly, as the improvisations take shape, there is very little margin for error, yet this never transpires at any point on the record. This is perhaps the result of months of collaborative effort, yet there seem to be a strong understanding and respect between the two musicians, which render the music extremely fluid and light and allow them to make it all sound like a very organic course.
Instead of relying on ever increasingly sweeping slabs of distortions and noise to flesh up their pieces, the pair choose to focus on the more intimate and delicate nature of their instruments, often magnifying minute sonic details or incorporating elements that would all too often remain unnoticed otherwise. This level of attention to details is also reflected in the complexity of the sound formations put together by the pair, especially on pieces such as Trasnochar, Knock Knock, Nocturne or Heal, which all feature some micro sounds and textures, some placed in evidence, others appearing more discreetly, weaving in and out of the backdrop or permanently set deep into the sound structure of a piece.
Seven Months In E Minor is a record which unveils its profound beauty with great care, and requires a level on commitment to fully appreciate its depth. This said, the great ease with which Sonnamble arrange the various components at their disposal into consistent pieces and the deep level of understanding between the two musicians makes it a wonderfully enjoyable record.
Excerpt from The Milk Factory http://www.themilkfactory.co.uk/st/2010 ... r-forwind/
Sonnamble is originally the project of London-based software designer and musician Conor Curran, who, after completing his music studies at Trinity College Dublin, has been involved with a number of projects, including his solo work as CjC. With Sonnamble, Curran aims at exploring the possibilities of live digital processing in improvised music. For this debut release, Curran teamed up with bass and guitar player Peter Marsh. The pair spent the best part of a year developing an approach that allowed them to process their respective instruments and incorporate the resulting sounds into substantial music compositions.
Sonnamble weave intense granular textural soundscapes, processed live from heavily treated electric and lap steel guitars, double bass, electric bass and analogue synthesizers, into beautiful introspective sparse pieces which all share a particularly abstract aesthetic. While guitars remain the primary focal point of the seven improvisations collected here, they are presented in a multitude of forms throughout, at times appearing in almost bare natural state, with very little treatment applied, as is the case on Opening or, to a lesser degree, on Sehnsucht, at others processed beyond recognition, their aural materiality ultimately amalgamated into the overall fabric of the record. While references to Fennesz or Machinefabriek seem almost unavoidable, there is a certain earthiness here which is rarely found in records of this type. With the processing done on the fly, as the improvisations take shape, there is very little margin for error, yet this never transpires at any point on the record. This is perhaps the result of months of collaborative effort, yet there seem to be a strong understanding and respect between the two musicians, which render the music extremely fluid and light and allow them to make it all sound like a very organic course.
Instead of relying on ever increasingly sweeping slabs of distortions and noise to flesh up their pieces, the pair choose to focus on the more intimate and delicate nature of their instruments, often magnifying minute sonic details or incorporating elements that would all too often remain unnoticed otherwise. This level of attention to details is also reflected in the complexity of the sound formations put together by the pair, especially on pieces such as Trasnochar, Knock Knock, Nocturne or Heal, which all feature some micro sounds and textures, some placed in evidence, others appearing more discreetly, weaving in and out of the backdrop or permanently set deep into the sound structure of a piece.
Seven Months In E Minor is a record which unveils its profound beauty with great care, and requires a level on commitment to fully appreciate its depth. This said, the great ease with which Sonnamble arrange the various components at their disposal into consistent pieces and the deep level of understanding between the two musicians makes it a wonderfully enjoyable record.
Let the Good Times Roll...................
Re: Electronica - what are you listening to?
Wow! Thanks a million for that Adrian! Will have to check his music out now :) By the way are you familiar with Dubliner Donnacha Costello's album 'Together is the New Alone' (horrible title, I know!). This wonderful album came out on the mille plateaux label back in 2001. It's one of my all time favourites and never ceases to move me with it's mood of terrible sadness and loss. Absolutely stunning...Adrian wrote:Well Sonnamble is actually Conor Curran, I posted a previous album above, CJC which was a bit too technical for me, however Sonnamble is much more listenable.
Excerpt from The Milk Factory http://www.themilkfactory.co.uk/st/2010 ... r-forwind/
Sonnamble is originally the project of London-based software designer and musician Conor Curran, who, after completing his music studies at Trinity College Dublin, has been involved with a number of projects, including his solo work as CjC. With Sonnamble, Curran aims at exploring the possibilities of live digital processing in improvised music. For this debut release, Curran teamed up with bass and guitar player Peter Marsh. The pair spent the best part of a year developing an approach that allowed them to process their respective instruments and incorporate the resulting sounds into substantial music compositions.
Sonnamble weave intense granular textural soundscapes, processed live from heavily treated electric and lap steel guitars, double bass, electric bass and analogue synthesizers, into beautiful introspective sparse pieces which all share a particularly abstract aesthetic. While guitars remain the primary focal point of the seven improvisations collected here, they are presented in a multitude of forms throughout, at times appearing in almost bare natural state, with very little treatment applied, as is the case on Opening or, to a lesser degree, on Sehnsucht, at others processed beyond recognition, their aural materiality ultimately amalgamated into the overall fabric of the record. While references to Fennesz or Machinefabriek seem almost unavoidable, there is a certain earthiness here which is rarely found in records of this type. With the processing done on the fly, as the improvisations take shape, there is very little margin for error, yet this never transpires at any point on the record. This is perhaps the result of months of collaborative effort, yet there seem to be a strong understanding and respect between the two musicians, which render the music extremely fluid and light and allow them to make it all sound like a very organic course.
Instead of relying on ever increasingly sweeping slabs of distortions and noise to flesh up their pieces, the pair choose to focus on the more intimate and delicate nature of their instruments, often magnifying minute sonic details or incorporating elements that would all too often remain unnoticed otherwise. This level of attention to details is also reflected in the complexity of the sound formations put together by the pair, especially on pieces such as Trasnochar, Knock Knock, Nocturne or Heal, which all feature some micro sounds and textures, some placed in evidence, others appearing more discreetly, weaving in and out of the backdrop or permanently set deep into the sound structure of a piece.
Seven Months In E Minor is a record which unveils its profound beauty with great care, and requires a level on commitment to fully appreciate its depth. This said, the great ease with which Sonnamble arrange the various components at their disposal into consistent pieces and the deep level of understanding between the two musicians makes it a wonderfully enjoyable record.
Re: Electronica - what are you listening to?
On a gorgeous double vinyl presentation as only Touch know how....
Re: Electronica - what are you listening to?
Vinyl again, this time a triple....Believe it or not John Surman makes an appearance!
