Israeli darkwave/electronic artist LIYA is pleased to announce the release of her new digital EP, LISTEN. For fans of: The Birthday Massacre & Depeche ModeLIYA TREBITCH is a singer/songwriter from Tel-Aviv, Israel. From playing the piano and composing since the age of 5, LIYA started making electronic music at the age of 23. Inspired by […]
Spheric Music presents the new release Rudolf Heimann „Die Unendlichkeit des Augenblicks“ Spheric Music SMCD 8306 Release Date: February 1st, 2019 EAN-Code: 4260107470854 Distribution: H’Art Musikvertrieb www.hart.de Style: Cinematic Electronic Die Unendlichkeit des Augenblicks = The Infinity of the Moment Does God exist? What is infinity? Rudolf Heimann will not answer these fundamental questions […]
LEFT HAND RIGHT HAND‘BITING THE HANDS THAT BLEED YOU‘ CD(CSR254CD) Legendary industrial / leftfield band LEFT HAND RIGHT HAND formed in 1986 when former members of Thee Temple Ov Psychick Youth affiliated band ZAHGURIM met THE COLONELS.This album curates tracks from their three principal sets: ‘Humdrum’ (1990, People Who Can’t), ‘Legs Akimbo’ (1992, World Serpent) and ‘In Mufti’ (1995, […]
JH1.FS3 (PUCE MARY & JESSE SANES) SIGN TO DAIS RECORDSANNOUNCE TRIALS AND TRIBULATIONS LPOUT JANUARY 25 ON DAIS RECORDSWATCH THE VIDEO FOR “PIPE TALK” HEREEmotional exploration through sound can become so indulgent that it overshadows the journey. JH1.FS3 eschews mining the human condition as mediation, opting for nuanced analysis rather than vanity. Using the seeds of improvisation as their root […]
New LP, In The House Of Strange Affairs, Out February 14th, 2018 TKK to Hit The Road with CURSE MACKEY for 2019 STRANGE AFFAIRS TOUR January 2, 2019 – "America’s Most Dangerous Kult" has released their newest single, "The Chains of Fame." Originally premiered on MXDWN, "The Chains Of Fame" is the debut track off […]
“Uprootedness is a theme I was concentrated on and was dealing a lot with in my past exhibitions and art projects. For many years I was searching for a place which I could call home. When I returned to the piano 4 years ago after a long break since my childhood (started at 6, quit […]
Discrepant recently released (or I’d better say re-released, as it was originally released by Turkish label Wounded Wolf Press) Loopworks, a collection of tracks that Turkish audio and visual artist Koray Kantarcioğlu made by means of the process known as databending. Most of the sonic sources came from old Turkish records (mainly of the 60s […]
Norwegian visionary artist MORTIIS proudly announces his return to North America in 2019! The godfather of dungeon synth is set to embark on a 10-date trek from March 28th to April 7th 2019. After playing in Europe (including several festivals), Russia, Australia, Mexico and South America, MORTIIS will perform his Era 1 material in USA […]
WORGOR "INVIDIOUS" Worgor is a one-man project from Melbourne, Australia that summons inspiration from the occult, extreme metal, dark ambient and industrial. Invidious is the follow up to the release from earlier this year, Worldcursed. Worldcursed was about a cult appeasing their dead gods by cursing the core of their planet, causing it to break […]
argyre planitia – The Atomic Age, was just released. Released as 4p factory sealed DigiCD limited to 300.Available as retail, wholesale or trade with other labels.And as promo for reviews. Just ask for it. Embrace our high tech. future, with a concept album that unites concepts like strong Artificial Intelligence, Internet Of Things and Cyber […]
A Place Both Wonderful And Strange is the Brooklyn-based duo whose name, while a reference to the cult TV series Twin Peaks, also exemplifies the dynamic of their personality and sound. Call it “occult electronica” or “doom gaze.” Whatever. Call it what you will; they mix electronica, goth, shoegaze, and dream-pop among other genres to […]
It seems that CACs, MCs or simply tapes are living a (more or less welcomed) new golden age in the independent music market and there are even many sound artists who re-release stuff on this magnetic support, but the operation that Disasters By Choice made with a bunch of some old tapes by Sicilian producer […]
Following the review of “Tropical Gothic” (out on Discrepant and featuring a great collage cover artwork by Evan Crankshaw), his new awesome record, we had an interesting conversation with the British influential guitarist, polyhedral artist and authentic musical globetrotter Mike Cooper, who – unlike many musicians who get banal and predictable after two or three […]
Melinda & Maciek is a project started in February 2018 thanks to an accidental Instagram connection between 2 musicians. Melinda Ligeti is a composer/singer/multiinstrumentalist/arranger/producer from Serbia, living in Italy, while Maciek Cieslak is a drummer from Poland, living in France. It all started with Melinda's old wish to write music based on a bare drum […]
Liquid Empires is a sonic exploration of the centrality of water to life on Earth. As Mehr explains, “We are water. Water is everything. It is life-giving and deadly, it is progress and comfort, it is central to our economy, energy, transport, food, warmth, cooling and manufacturing. At the same time, water means purity, beauty […]
“Klappstuhl ‘to go’”, is a free collection featuring tracks from various Klappstuhl Records releases published from 2015 to 2018 and it’s available now to download on the label’s Bandcamp page
Projekt Records announces "To Touch The Milky Way;" The 12th full-length release from Black Tape For a Blue Girl. Evocative, powerful and melancholic, BlackTape’s 12th studio album expands upon their sweeping Art Rock aesthetic. Songwriter and bandleader Sam Rosenthal’s electro-acoustic atmospherics and foreboding, engaging lyricism focus the band as they enter their 32nd year with […]
Varunna – Origini – cd – 12 € SPQR L – ltd 300 – CD eko digipack Italian version: Origini raccoglie gli esordi in vinile di Varunna: il primo 7” “Fuoco!” e lo split con Foresta di Ferro “Millenni”. Oltre al materiale rimasterizzato é stata registratata una nuova cover di Adamo “Cade la Neve” e la […]
Venus Fly Trap have just released on red vinyl their 2007 compilation “Methamorphosis”, which contains eleven songs taken from their albums.
The band was formed by Alex (vocals) and John Novak (guitar, vocals), and Tony Booker on bass guitar prior to their debut twelve-inch single “Morphine” in March 1988. They had a mini-album ‘Mars, in 1989 on the French label Danceteria. They made 2 more albums for Danceteria, ‘Totem’ in 1990 and ‘Pandoras box’ in ’92.
Alex reformed the band with Andy Denton (drums), Gary Lennon (guitar), and Neil Ridley (bass) releasing the album Luna Tide in 1995. They toured Europe extensively, building up a large fanbase, but by 2004 the permanent members were down to ALEX AND Andy, bringing out the album ‘Zenith’ in 2004.
At the moment the band is back in the studio working on new material but in the meantime these classic tracks are released on great sounding vinyl in a collectors package.
Get your copy at the Spiral Archive Ebay Store
I recently had the chance and pleasure to listen to two releases by Japanese composer Chihei Hatakeyma: his solo album “Moon Light Reflecting Over Mountains” (Room40) and “Falling Sun”, a collaborative release he made together with Tom Honey aka Good Weather, released by Rural Colours. I recommend listening to both releases and digging deep into Chihei’s sonic output, but in the meantime I wish to introduce him, his outlook on music and the interesting interconnection between him and Japanese culture.
Chain D.L.K.: Good morning Mr.Hatakeyama! How are you?
Chihei Hatakeyama: Hello, I’m fine.
Chain D.L.K.: Your native country has given a number of very good ambient music makers in recent years, but I don’t express my admiration enough if I say your sound has something more, as it points straight at listener’s emotions, even when it seems to describe an environment. Would you say so?
Chihei Hatakeyama: I would say so. I try not to have a particular awareness or ambition to “make ambient music”.
Chain D.L.K.: Before speaking about your recent releases, could you describe your very first steps on the rich sonic scene?
Chihei Hatakeyama: For “Ghostly Garden”, I already had a clear concept in my mind, so I made the album to meet that concept. I tried to make a drone sound that utilizes the taste of sound files, without using melodies in “Ghostly Garden”.
Chain D.L.K.: Are there any features that distinguish ambient music makers or followers from other sound artists, listeners or musicians?
Chihei Hatakeyama: Modern ambient music has absorbed many different musical styles, such as modern classical, contemporary music or rock influenced Grouper. Compared to other music genres, I think one of the peculiarities of ambient music is that it has not been influenced by traditional communities, countries or regional gatherings. I feel that it is a very personal musical expression within this modern globalized world.
Chain D.L.K.: I remember a quote on ambient music – I think I heard it in a track by Pete Namlook – who described ambient as a music “that angels meditate to”. What do you think about this description? Do you have one for you music?
Chihei Hatakeyama: I think that the phrase is poetic and expanding. It’s a good description. I do not have any description for my music, but I’m always conscious about the sense of time passing by. When I make music, I release the tracks that make the listener feel like he/she is going into the sound.
Chain D.L.K.: You used to play guitar in rock bands when you were younger, but have you ever had any interest in “youngster” genres since then?
Chihei Hatakeyama: I don’t listen often to rock music. I used to listen to rock bands such as Metallica, Megadeth or Pantera. I often listen to old recordings of traditional folk music. The songs of mine workers in Nepal, music from Southeast Asia, India, Africa and so on.
Chain D.L.K.: Japan is often considered as an emblem of the balance between progress and tradition. Do you agree with such a description? How does Japan influence your sound?
Chihei Hatakeyama: I grew up in Japan, so, in some sense, I think you can say that everything of me is influenced by Japan. Sometimes the natural environment or history of Japan directly influences the concept of my albums. I’m inspired by those topics. When we consider the fact that John Cage was influenced by a Japanese Zen Philosopher and Brian Eno by John Cage when he founded ambient music, we could say that ambient music matches Japanese culture. There is also the pioneering role of the Zen influenced tea ceremony, Sen no Rikyu, who made tea utensils very simple and modern. It might be interesting to think about the relationship between the tea ceremony and ambient music.
Chain D.L.K.: Your music sounds ethereal and concrete, at the same time. Do you think that such a coexistence between “tangible” and “intangible” could be better represented than by sound or music?
Chihei Hatakeyama: I like the fluctuations between “tangible” and “intangible”. I like things that are in between things, for example what is in between modern and postmodern.
Sometimes I get lost when I compose music: I sometimes cannot decide if I should use representational sounds or abstract sounds; sometimes, I get confused about how I want to make a track elapse. I find it interesting that these confusions come straight out of the compositions, so, recently, I tried to reproduce those confusions in my tracks.
Chain D.L.K.: Let’s speak about your lovely new album. First of all, how did you enter room40?
Chihei Hatakeyama: I have known room40 since the early two thousands. In 2007, Lawrence English contacted me. After that, I released an album, “saunter”, in 2009, with the room40 label.
Chain D.L.K.: How did you make the textural mantle of each track? Have you manipulated “real” objects or inoculated frequencies around them?
Chihei Hatakeyama: I often record the electric guitar, and later process those materials using a computer or outboard processors. However, for “Moon Light Reflecting Over Mountains”, I think I just recorded the sounds of my guitar without processing them on most of the tracks. I also used an analogue synthesizer on some tracks.
Chain D.L.K.: A title like “Moon Light Reflecting Over Mountains” sounds really poetic. Does it have any connection with the compositional aspects or the way you shaped the sounds?
Chihei Hatakeyama: The title “Moon Light Reflecting Over Mountains” certainly depicts a scenery with the moon shining over a mountain. This album started out with my visit in the Nara prefecture in 2009. Nara has an older history than Kyoto, and is not too refined, having still the atmosphere of early Japan, and it is also the place where many historical events and myths took place. I walked mainly around central Nara, which is the birthplace of the Yamato government. I also did some field recordings. Nara is a basin surrounded by mountains. The title comes from a scene where those mountains are gazed with moonlight. The ancestor god of the current Japanese emperor’s family is a sun goddess named Amaterasu, and Amaterasu has a brother named Tsukiyomi who is a moon god. There is a hypothesis that Tsukiyomi was an important ritual subject, and that is why I chose the moon.
Chain D.L.K.: Where did you take the field recordings of “A Bronze Pike”?
Chihei Hatakeyama: The field recordings used in “A Bronze Pike” were not recorded in one location. I collaged several field recordings from scenes such as a street corner in Nara at night, the front of the Hashihaka tomb in south Nara and also singing workers in Paris.
Chain D.L.K.: In spite of titles like “Mausoleum” or “Phantom Voice”, there is nothing really menacing or horrific in your tracks. Is such a discordance intentional?
Chihei Hatakeyama: I named the tracks on this album following the theme, which is the history of Nara and Japan. “Mausoleum” depicts my impression, actually the shock I had when I visited the Hashihaka tomb. This Hashihaka tomb is one of the oldest tombs in Japan – a very beautiful Keyhole shaped tomb. Onryo worshiping (Revengeful ghost worshiping) has had an important role in Japanese history, and the title “Phantom Voice” comes from an impression, or maybe a delusion that evoked from a spiritual experience I had when I was walking around Nara late at night.
Chain D.L.K.: “Journey To The Imaginary Paradise” is one of my favourite moments of the whole album. Why THE imaginary Paradise and not AN Imaginary Paradise?
Chihei Hatakeyama: This track was inspired from a god named Okuninushi Mikoto, who appears in Japanese myths. He was the king of earth, but he eventually gave away his position and went to another world. I wanted to express the place that he went to by using the word THE.
Chain D.L.K.: What can you say about the cover artwork?
Chihei Hatakeyama: The artwork is a photograph of a Torii built in front of a shrine. This Torii is made out of stones. Although it is difficult to tell from this picture, this Torii faces the sea. Japanese shrines currently have buildings on their grounds, but I think that their early form was simple, just placing a Torii that is made out of ropes, in front of a natural scenery, such as mountains, sea, stones and trees. There was a shrine that had only a Torii in Nara, so I decided to use a Torii for the cover art.
Chain D.L.K.: One of your recent releases that reached my headphones was the collaborative piece with Tom Honey, better known as Good Weather For An Airstrike, on Rural Colours. Can you tell us something about “Falling Sun”?
Chihei Hatakeyama: On this album, we exchanged each sound file using email. “Falling Sun” uses many instruments: electric guitar, vibraphone and field recordings. It creates scenes that people might visit during “Falling Sun” .
Chain D.L.K.: Any forthcoming collaborations or releases?
Chihei Hatakeyama: I have several solo projects in progress now and I am working in collaboration with Dirk Serries, Ken Ikeda and Eraldo Bernocchi.
Visit Chihei Hatakeyama online at:
Toronto-based Artoffact Records will re-issue Marsheaux’s Inhale record with an ultra-rare vinyl effect.
MARSHEAUX IN THE PRESS
Full album stream via Bandcamp.
HOME BASE: Greece
MEMBERS: Marianthi Melitsi and Sophie Sarigiannidou