Posted by Shane on November 12, '17
New Swedish label Purlieu Recordings has got off to an incredible start in 2017 with some brilliant releases from nordBeck, Claudia Bonarelli, Tutti Harp and Giuseppe Falivene. Our eclectic mix for Purlieu features an hour of ambient, noise, classical, drone, outsider and industrial sounds interspersed with some interview cut ups. It's available to stream now on Soundcloud and Mixcloud. Enjoy!
Posted by Shane on October 30, '17
Forwind hits release number 20 with Scripts by London based sound artist Jeremy Keenan. While his Forwind debut sees him make a rare addition to his discography, his list of projects, performances and installations is lengthy and prolific (see bio). This wealth of experience is evident on the four tracks of warm speaker filling electro-acoustic ambience he delivers on Scripts.
While interest in sound art and more academic approaches to audio is arguably at an all time high there can still be a tension between what works in an installation or gallery setting and what works as a purely listening experience. There are no issues here though in this carefully developed EP that sees Jeremy's expertise in synthesis, spatialisation and feedback used to striking effect.
Title track and EP opener Scripts sees the journey begin in a subtle manner with a slice of glacial ambience that introduces the listener to some of the themes that will feature and develop over the four pieces. There's an inquisitive feel to the opener in its foreshadow of bigger reveals later on. Notes and tones are restrained as they rotate around a bed of gently dramatic stabs before taking us into more cavernous territory with some beautifully crafted bass pulses.
Next up is Intone an undoubted highlight on the release. Overused as the word may be, epic fits the bill here with a track that glistens, enchants and even unnerves as the icy atmosphere hints at colder waters ahead. It points to an unfolding story and elicits a sense of uncertainty as it explores the senses nature can bring alive when its vastness, beauty and danger are witnessed on a grand scale, or in smaller more focused renderings through the prism of technology. 'Zapffe' sees a more understated approach take hold as a more subtle sound palette cushions the gently booming subs that guide us through the passageway.
The mini-odyssey closes out with We Were Supposed to Drown. Beautifully pitched sine tones increase the tension as a swirling bed of atmospheric noise and foreboding bass evoke the overwhelming feelings invoked by fully grasping our tiny individual place within nature and the cosmos. Much like the rest of the EP it works on a couple of levels. One is local and in situ, personal and story-like, the other hinting at something bigger, wider, grander.
Scripts is complimented and completed with artwork by London based Irish artist Martina O'Shea. Taken from the spoils of an arts project she did in Iceland in 2017, the chemigram cover art perfectly visualises the intricate ultraviolet organics at work in the music.
Posted by Shane on October 20, '17
The Traces series of podcasts goes on tour! We were delighted to be asked by Shimmering Moods to join their excellent podcast series and obliged with a winding, weaving mix of underground ambience, harsh electronics and adventurous electro-acoustics . Hope you enjoy!
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.