Posted by Ronoc on June 26, '17
Richard from Analogue Chat and It's not music baby interviews Hannes and Conor about past, present and future for the Forwind project.
Posted by Ronoc on June 1, '17
Thet Liturgiske Owäsendet are Linus Schrab and Johan Fotmeijer. Armed with guitars, field recordings and modular synths they've evolved their own brand of improvised soundscaping over a number of previous releases.While much of their output has tended to be long form, drone based textural explorations, this release opts for shorter running times and a greater variety in approach to both form and texture.
The pair's previous cassette 'Hafvet' was inspired by (and named after) the sea, and the industrialised but sparsely populated American Midwest is the inspiration for this one; it's clear that geography's important to them. The opening 'Platteville' is presumably named after oad (pop.1,256). Mournful melodic phrases are looped into a chunk of lush, classically inflected melancholia worthy of Stars of the Lid – post apocalyptic easy listening, perhaps. The brief but gorgeous 'Hazel Green' is named after a village around 15 miles down the road (pop.1,256). Perhaps fittingly it plays with near silence, placing slowly overlapping stacks of chords over a muted ticking pulse. Occasional percussive bass figures punctuate the shimmering harmonic clouds that dominate the faintly Eno-esque 'Klar Piquett', while 'Iron Ridge' drops us into a nightmarish industrial soundscape of low frequency noisebursts, piledriver thumps, gaseous hisses and distant looped voices that's reminiscent of the early work of 80s experimentalists 23 Skidoo.
'Mineral Point' is the most obviously programmatic piece; a lumbering yet insistent tattoo of metallic clunks, scrapes and thuds grind away in a suitably machine like fashion while faint bell like tones hover above. 'Rajah' closes things off in a more subdued manner, its faint, simple melodic figure looping away to itself on rising thermals; a long cool drink of water after the heat. By turns immersive and in your face, Wisconsin Mining State is a luminous, involving imaginary soundtrack best heard with lights off and headphones on.
FWD18 will be available digitally and as a limited edition cassette, packaged in cardboard box with riso-print in rare risofedral blue on rough warmwhite paper stock.
Posted by Ronoc on December 15, '16
Triptych sees Forwind end the year on a high with the hugely well received Credence, Decadence and Concession EP’s merged into a fully actualised spectacle with our final physical release of 2016. A Closer Listen has selected this release (and the EPs) in it's 2016 shortlist for best album covers.
Keeping the much deliberated sequencing of the original productions intact, Triptych extends and completes the original vista with a freshly tailored closing piece ‘Coda' that brings Tomonari’s opus to completion. After the increasing intensity of the first 60 minutes the new composition adds the final waypost to the lush and epic audio landscape as it dissolves into the ether with something that is both splendid and graceful. A fitting finale.
Posted by Ronoc on November 20, '16
After kicking off the Angry Ambient Artists series with two of the most established and respected names in contemporary composition; Machinefabriek and Philippe Petit, Volume 2 sees the series look to two new talents - Svetlana Maraš and Bodies Under The Waterfall in their efforts to make some creative sense of these dark times. AAA Vol.2 sees both artists making their solo release debuts in an exacting and intense fashion. Svetlana Maraš is a composer and sound artist from Serbia. With a long CV covering everything from writing for ensembles through to installations and radio works, here Svetlana focuses her skills on two precision produced pieces; ‘Habitat’ and ‘Aftermath’. The first piece serves as a somewhat restrained opener. Dense layers of atmospheric hiss are interspersed with an array of sounds that convey something akin to a primal digital swamp where the emerging life is finding its feet. It closes out on a harsher noise signal which foreshadows the increased intensity and dissonance in the second piece. ‘Aftermath is in a way very political. When I started working on it I was approaching it as a subtle, almost ambient track, improvisatory...then came the rhythm, then came the noise and I realised that the need to articulate these musical events was a way to articulate my feelings and thoughts on the endless stream of bad news on a daily basis....violence, injustice, wars, corruption....’. Bodies Under The Waterfall is George Royle. The UK based producer works with obscure samples mined from ‘the depths of the internet’ as well as field recordings chopped and stretched and reshaped into ‘something unrecognisable but with traces of their past shining through’. The subject matter is dark as the titles convey (“Apathetic Pathetic, Drinking Problem, Drowns”) but there is solace in the expression and exploration of these themes and feelings that manifests itself in the warm fuzzy wash of the three powerful pieces. There’s an anger and a yearning as emotive tones and frequencies battle to break through the wall of sound. The submerged vocals add to the sense of the hazy and the hidden as human thought and speech are left to fend for themselves in the drama and distortion.
Posted by Ronoc on August 6, '16
Following on from the hugely well received EP series by Tomonari Nozaki, Forwind begins a new audio adventure with the first instalment of our new cassette and digital series, ‘Angry Ambient Artists’. Vol.1 kicks off the series in uncompromising fashion featuring two intense outsider cuts to add some scares to those simmering summer nights... Angry Ambient Artists started life as a tongue in cheek take on the contrast between the calm, blissful work of certain artists and their less than happy online personas. The potential for some Spinal Tap type humour is obvious, as it is with any musical scene that takes itself very seriously. The idea with the AAA series is to have a poke at purist rules, play with genres, labels, categorisation and what you are 'allowed' or expected to do within these. Machinefabriek opens up the series with ‘Graniet’. Rutger is probably most widely associated with a refined textural approach to electroacoustics. So we asked him to do the nastiest track he had in him. “The idea was to make something ‘brutal’, but with that, I also tried to make it beautiful and captivating simultaneously”. Graniet is an exemplary meld of the distorted and dissonant with some artful and arresting sound design. Philippe Petit has been making all manner of challenging and exciting music from the fringes for over a decade. Here he takes us down the next twist in the road after Rutger, with a raw composition using theremin, guitars and electronics. ‘In Corpus Voluptas’ sees the ‘musical travel agent’ head for the unhinged and macabre in an eerie and ominous piece that could just be the perfect soundtrack to someone’s world unraveling for good…. Two reviews are already available from A Closer Listen and Yeah I know it sucks I think it's safe to say they won’t be playing this tape in Ibiza this summer.