Miasmah & Fenêtre rec. pres : Jasper TX & Christophe Bailleau (releasekonserter) + Mia dj´s
lørdag 14. juni 2008 kl. 19:00 på Sound of Mu
Dobbel releasekonsert denne flotte lørdagen på Sound of Mu. Svenske Jasper TX kommer med ny skive på Miasmah og dette krever feiring! På toppen av det hele gir labelkamerat Fenêtre ut en skive med franskmannen Christophe Bailleau, nøyaktig samtidig! Dermed er det duket for en dobbel dose releasekonserter, salg av rykende ferske skiver, god drikke og Dj Knive / Indiana Ross bak spakene. Hurra!
Litt info om utgivelsene →>
MIACD008: Jasper TX – Black Sleep
As is often the case with Jasper TX’s music, the guitar plays a
prominent role. This album sees every conceivable sound caressed and
tortured from the instrument, from the romantic and direct chimes of ‘Pt
III’ to the distant whisper of ‘Pt. IV’. Rosenqvist states Oren
Ambarchi, Johann Johannsson, Arvo Part and Tim Hecker amongst his
influences – something that gives some insight into the sound and scale
of this release. Impossible to explain in simple terms, comparisons
could also be made to Deathprod, with sounds slowly emerging and
disappearing into thick clouds of murky warmth. The sheer scale and
focus on display here also shows Rosenqvist’s knowledge of Classical
music, and in a way ‘Black Sleep’ is akin to a symphony – its orchestra
made from guitars, pianos and synthesizers instead of the usual strings
and brass.
FEN004: Christophe Bailleau & Neal Williams
- On Soft Mountains We Work Magic
Fenêtre Records presents its fifth release, this time the full-length collaboration album between French multi-artist and electronica afficinado Christophe Bailleau and American folk singer-songwriter Neal Williams, also known from his moniker Possible Selves. Bailleau makes a welcome return to the Norwegian label since his remix of Greg Haines’ exquisite “Snow Airport” for the label compilation RUFS. On On Soft Mountains We Work Magic, we find two quite different artists, both taking turns to feature prominently, but also presenting us with this magic of theirs that emerges, precisely as promised, when they combine their talents. Williams has a rasp, distinct voice and plays lovely folk-like melodies, both voice and instrumentation managing to sound meticulous and close but slightly out-of-tune and shaky, reminiscent of the vocal talents of his peers in Bill Callahan (aka Smog) and Simon Joyner. Bailleau on the other hand lays out lovely soundscapes as backing melodies, but also whole compositions bereft of Williams’ voice.
Together the two weave rich textures and sonic patterns, fragmented melodies that we tune into before hurriedly moving on to find some other focal point, and overall the album has a very colourful feel in its presentation. In addition the compositions capture several atmospheres, some huge and floating expanse, wonderously unknown as Bailleau works his electronic magic, at times alien and unnerving, but also warm and fuzzy and then carefully nested in more traditional folk tones with down-to-earth acoustic guitar melodies carried forward by Neal Williams’ soothing voice.