September 10, 2019 – Industrial/metal band DECENT NEWS and Machine Man Records proudly announce the new full-length release, "Monolith." The 10 track album is available on both CD and digital formats. For fans of: industrial/rock or industrial/metal Stream "Black Box" on Youtube HERE:https://www.youtube.com/watch?v=gQtgX7H1_MA&t=9s "As far as the music goes, the intro melody of "Black Box" […]
Pre-order the forthcoming Celluloide single now ! Quelque Chose S’Efface is the forthcoming single of Celluloide to be released on september 27. Released as a limited edition 7″ white vinyl, the new Celluloide single also features “Poème Cinétique” as exclusive B-side and a download code for both tracks and a remixed version of the title track. TRACKLIST: A-side: Quelque Chose […]
We are excited to announce preorders on our next release! Belgium’s Luminance! The title is “Ahead”, and it is double LP! MR-083 $22Release date – September 23 Here are the descriptions/links/covers: Belgium based Luminance continues to build his multiverse and embarks on a journey towards the infinite, meandering through a melt of genre-defiers best likened […]
Geist + Codenys is a collaboration between Alex K/Digital Geist and Patrick Codenys of Front 242. The 12" single contains 3 different versions of the track "Minor" which was released on I Die: You Die's "Telekompilation" last year and a remix by Marcos Cabral. It is limited to 300 copies and is in preorder; shipping […]
Dear Friends, Very pleased to announce my first duo LP with Jérôme Noetinger. A Sunset For Walter is out now on Pentultimate Press. You can listen HERE. Available now from SoundOhm or direct from PP. US pre-orders from Forced Exposure. UPCOMING SHOWS: 31/8: CH — Willisau: Jazz Festival Willisau 12/9: CH — Lausanne: Le Bourg 27/9: PL — Krakow: Sacrum Profanum Festival […]
Up for Pre-Order:New album by PETER BJÄRGÖ “Structures And Downfall” as CD and LP (141st Cycle) as well as a re-issue of his first album from 2010 “A Wave Of Bitterness” CD (153rd Cycle) and a repress of his long sold out 2nd album “The Architecture Of Melancholy” CD (41st Cycle). Shipping dates for these […]
BONSAI UNIVERSE SET TO RELEASE 2ND STUDIO EFFORT: TOO MANY GHOSTS The Brainchild Of Guitarist, Woody Aplanalp, Bonsai Universe Takes You On A Journey To Another World With Its Psychedelic Electric Sound San Gabriel, CA August 12th, 2019–Woody Aplanalp has toured extensively, playing guitar and collaborating with a diverse array of artists such as Bobby […]
August 13, 2019 – German electronic/industrial artist NEON INSECT is pleased to announce the release of their highly-anticipated full-length release, New Moscow Underground. For fans of: Ministry, Skinny Puppy & Front 242. Neon Insect, now under new licensing agreement with New Dark Ages, will release New Moscow Underground on CD on September 15. First pressing […]
BLOOD RHYTHMS is an ongoing and constantly morphing collective spearheaded by veteran experimental artist and Chicago native Arvo Zylo. The unit's new LP, CIVIL WAR began its conceptual impetus before its vinyl debut, 2014's ASSEMBLY, which was a layered whale song / locomotive stomp of brass & wind instruments recorded in a meat locker, released […]
Dais Records is proud to release the first ever official reissues from legendary German darkwave outfit Pink Turns Blue, both If Two Worlds Kiss and Meta are out today! Order them here. The band is also hitting the road in September for a full North American tour, find all info about the re-issues & tour dates below! Founded in […]
øjeRum “Without Blood The Sun Darkens” CD (135th Cycle)Surreal, mysterious and poetic is how one could define the work of Danish musician and collage artist Paw Grabowski. His latest album “Without Blood The Sun Darkens” exudes feelings of the simplicity of being present, in the absence of absolute existence, pervaded by memories, moods and emotions, […]
Formerly known by fans of drum’n’bass and breaks as Raiden, Berlin-based British producer Chris Jarman recently deployed “Dead Skin Cells,” his debut album in the guise of Kamikaze Space Programme (out on Osiris Music), after spreading some tracks on labels like WNCL Recordings, Mord and Mote-Evolver and tunes through regular sets, meeting the likes of […]
While revving up for Southern, the imminent drum’n’bass festival he set up in a beautiful area on the Eastern seaside of the upper Jonean coast, not far from his native town Taranto, Francesco Oliveto, better known as Promenade, is also spreading “Ballads,” his debut solo album, through his label BNC Express, which has been aptly […]
Primitive Race Cranial Matter Metropolis Records 9 August 2019 * Credits* Blurb about release All songs written, arranged and performed by Chris Kniker, Mark Thwaite, Chuck Mosley, Erie LochExcept Your Heart In Real Time lyrics and vocals written and performed by Chris ConnellyAll drums performed by Dale CroverProduced by Chris Kniker, Mark Thwaite, Erie LochCo-Produced […]
August 5, 2019 – Influencial synthrock band IRIS proudly announces their long-awaited return with their new release, Six. IRIS' album Six releases on Aug 23rd, 2019. For fans of: Depeche Mode, Mesh & De/Vsion While other synth-pop projects die to write that one hit and make it as danceable and catchy as possible, IRIS writes […]
August 6, 2019: Detroit-based post-punk/dark rock act VAZUM is pleased to reveal the video of their cover of the classic Bauhas track, "She's In Parties." The track appears on their new release, VARIANT available digitally via Bandcamp. View the video HERE:https://www.youtube.com/watch?v=sSetflAztBA For fans of: Bauhaus, Joy Devision & REM VARIANT also features a cover of […]
TROUM news July 2019 The very first vinyl release on Transgredient Records is out! MONOCUBE & TROUM – "Contemplator Caeli" LP (Transgredient TR-14) lim. 200 copies on clear "spaced out" coloured vinyl (clear with bits of sprinkled red and blue), numbered ed. with inlay CONTEMPLATOR CAELI denotes […]
July 23, 2019 – Collaborative Alternative Rock Band PRIMITIVE RACE has revealed an early taste of their upcoming album, Cranial Matter in the form of a Toshi Kasai (Dale Crover Band) re-imaging of the title track. The remix album Cranial Matter is a follow up to the 2018 album Soul Pretender, and honors late front […]
Angelina Yershova: Very well, thank you!
Chain D.L.K.: Could you introduce yourself to our readers in your own words?
Angelina Yershova: Hi to all readers! I am very happy to be here with you all! I am a pianist and composer from Kazakhstan, and I currently reside in Italy.
Chain D.L.K.: I read you graduated with the maximum score and honor at the Kazakh National Conservatory of Music Kurmangazy in Almaty, an academy I’ve never heard of, to be honest. You’ve also attended other academic environments. What are the main differences in the ways/manners of speaking about harmony, melody, rhythm and so on in all the academic places you’ve been?
Angelina Yershova: I formed myself as a musician and composer in a classical music environment. I then got my degree at the National Conservatory of Kazakhstan, but later I also obtained a degree in electronic music at the Rome Conservatory “Santa Cecilia”, and I must say that there are indeed differences in how harmony, melody, and rhythm are approached dialectically, but we are talking more about differences in the language which is used within a given environment, and not about actual conceptual differences in those subjects.
Chain D.L.K.: Getting deeper into music makes people perceive it in a different way. It’s a sort of process that (I say luckily) makes people more particular… did you experience such a process? Would you refuse a ticket for a concert or a gig of some commercial band?
Angelina Yershova: I have always been very particular, but as time went by I have gotten even worse!! I love quality music, and especially when behind a project or a track there is a concept, there is a true artist, and when he/she wants to share his art. I am also choosy in regards to sound and the context I hear it in.
Chain D.L.K.: Improvisation and composition… are they opposite poles or meeting intersections in your way of making and perceiving music?
Angelina Yershova: In my case, I often unite these two opposite poles: I could write a score before playing, without even touching the instrument’s keys, imagining the notes, the structure of the track, its evolution, its idea, everything, just in my thoughts. But I can also put my hands on the keyboard and let free thoughts fly elsewhere, or play a graphical score, leaving a lot of space to improvisation. Improvising stimulates me the most; it makes me feel more ecstatic, and I love that feeling.
Chain D.L.K.: In your remarkable release “Piano’s Abyss,” piano is considered as a sort of spiritual medium for listeners. Would you say other composers or artists made a similar connection? If so, which ones are the closest to your way of exploring the possibilities of a piano?
Angelina Yershova: I have never followed anyone, in particular, save for my passion for classical music giants Johann Sebastian Bach and Sergey Rachmaninoff. I like the enigmatic and mysterious charm in the music of Gyorgy Ligeti, Arvo Pärt, Olivier Messiaen and Klaus Schulze. There are several artists that, in my opinion, have contributed to enlarging the vision of the piano sound, from John Cage’s prepared piano till today: Experimental Bowed Piano Ensemble, Hauschka, Mario Bertoncini, Simone Pappalardo and others. Ultimately I think every artist is always in search of new possibilities to increase their freedom of expression.
Chain D.L.K.: Do you remember the exact moment when you started listening to piano in a different way?
Angelina Yershova: Yes, I remember that particular moment: it was a long time ago, I was in my home in Kazakhstan, and I was living a very peculiar moment. During a cold winter night, all of a sudden the lights went out in the whole city. It was a total blackout that lasted around 90 minutes. In the total darkness, it seemed to me that something was taking me elsewhere from my thoughts. I approached the window. Darkness was burning my eyes, and everything seemed surreal. Watching up towards the sky, I was amazed by the spectacular view that appeared in front of me…. a giant score made of stars! Riding the wave of this emotion, I started improvising in the dark and it was beautiful; I was playing the stellar score, and I remember this indescribable sensation, but in my imagination, at that moment, something was lacking in the sounds and the piano keys and the chords… I was feeling an intense desire to expand the sound, to go “beyond the real sound of the instrument”… so I wrote a track called “Stellar Sky” that maybe one day I will publish…
Chain D.L.K.: Do you think that the current academic teaching of piano acts as a sort of mask of the power of this instrument?
Angelina Yershova: I believe that academic education helps in acquiring a basic knowledge of the instrument, but after having done that, in my opinion, to do a serious research one must forget everything that one has studied and must try to imagine oneself as if one is “an alien on an unknown planet in search of the monolith hidden somewhere.”
Chain D.L.K.: Let’s examine “Piano’s Abyss” extensively… how many years did you work on it?
Angelina Yershova: “Zooming” the sound of the piano has always been my obsession. Jumping into the sound of the instrument and enlarging the timbric perception of the single note. I am honestly not able to exactly quantify it in terms of time, but I did go through a long period of maturation and growth of the idea, of the research of the synthesis of the sound of the instrument. Then all the improvised piano parts were played impromptu in one evening. So it took a very long and a very short time!
Chain D.L.K.: Is it a metronome providing that ticking element that could be heard in the opening, Immersion?
Chain D.L.K.: The following track “Suspense” reminded to me of some releases in the collaborative album by Fennesz and Sakamoto, but it seems to be a connection to your experience as a soundtrack composer… related to this last aspect, what’s your approach to score? Do you analyze plots and characters before composing?
Angelina Yershova: The collaboration between Fennesz and Sakamoto is wonderful, very cinematic!! Usually when I compose music I “visualize the sound” and “I live it” through the sensation of the color, the form and the emotion of the moment, so the sound for me is alive and real, just as if it was a true character. I could say that my approach is in some way similar to the “Live the character” of Stanislavkij’s Method Acting: “Live the sound.”
Chain D.L.K.: A short parenthesis… I read your compositions are often used by RAI and Mediaset, the main ItalianTV broadcasting networks… I haven’t watched TV in ages, as I am easily bored, but can you tell us how your music became embedded in their programming?
Angelina Yershova: I like to create different pieces of music exploring different styles and genres, without fear of stepping away from known territories, and above all, I like to surprise myself, and sometimes to push myself to the limit, changing the sound radically but always working with quality in mind. I don’t turn the TV on often myself, but for me, it is always a great challenge to create music for visuals.
Chain D.L.K.: Are there any tracks in “Piano’s Abyss” inspired by Italian or Kazakh places?
Angelina Yershova: They are unknown spaces, with immense and imaginary places. They are “inner” areas, somewhat connected with my passion for the cosmos and astrophysics.
Surely in Kazakhstan’s open nature, it is a lot easier to experiment and experience solitude in the midst of the shamanic steppe.
Chain D.L.K.: The central piece, “Icy Breath,” actually renders what the title says…how did you extract those sonorities using a piano?
Angelina Yershova: They are two sonic levels: the first one is a “frozen” prepared piano. They are pizzicato strings in the high register with reverb and a very specific equalization. The second level is “spatial and atmospheric,” made through synthesis and the elaboration of some partials of the piano sound spectrum. There are also other technical details that regard the spectrum analysis of the frequencies chosen as the main ones.
Chain D.L.K.: There’s a recurrent breath-like sound in your tracks… how did you make it? Is there a reason why you often include it in your compositions?
Angelina Yershova: That breath-like sound is a key element, since it was created specifically to “humanize” the piano sound. I wanted to give breath to the instrument, creating a sort of alter ego to the real character (the natural piano sound). In the album, there are two levels of piano sound: the real one and the processed one. The breath of the piano is obtained through a specific electronic synthesis and extreme sound stretching.
Chain D.L.K.: Have you performed “Piano’s Abyss” on live stage yet? If so, any interesting feedback or reactions?
Angelina Yershova: I would very much love to perform this project live, but it would require more than two hands! 2 for the real-time elaborations and another 2 to play the keys and the strings – but I believe nothing is impossible! Pragmatically, I think that I would simply need to create controllable automation for some of the elaborations. I am currently experimenting with all the relevant possibilities.
Chain D.L.K.: Are you going to explore the abyss of other instruments sooner or later?
Angelina Yershova: Absolutely YES! I would be very enthusiastic to discover other “sonic abysses” too.
Chain D.L.K.: Just after “Piano’s Abyss,” you released “Resonance Night” on Twin Paradox, whose availability has been scheduled for next February… any word about this forthcoming album?
Angelina Yershova: “Resonance Night” can be seen as a second chapter of the artistic adventure that began with the critically acclaimed previous album, “Piano’s Abyss,” and it is a journey on the “resonant train” riding in the mystifying darkness of the night.
Chain D.L.K.: I obviously pre-listened to “Resonance Night”… and I can recommend it to our readers! Superb work! What’s the main difference between it and the album we’ve extensively talked about, in your words?
Angelina Yershova: It is an album with a totally different concept. If in the previous album, the central idea is the sense of suspense, the endless “falling into the abyss” and the final total disorientation, in this album the central idea is the rhythmic pulsation. Even on a sonic level this album, compared to the previous one, offers more contrasts and features different techniques.
Chain D.L.K.: “Resonance Night” has been described as a journey from darkness to light…was this the intent from the beginning, or did it come while working on it?
Angelina Yershova: This intent was not planned or specifically pre-conceived, since it is more of an evolution process and an exploration of the experience. “Resonance Night” is another part of the journey that began with “Piano’s Abyss”; it is a development of the story.
Chain D.L.K.: Why did you decide to title the final track “Start of the Journey”?
Angelina Yershova: When one listens to an album from beginning till end, one is somewhat guided by the music, but when it ends one remains in the silence of one’s emotions and sensations. In other words, what remains is the person that has lived that unique experience. So it is an actual journey that one takes when the sound is no longer there. One is not guided anymore, but goes into the elsewhere that was composed by the artist. It is also a metaphorical/symbolic way of saying that every end is only a good beginning!
visit Angelina Yershova on the web at: www.angelinayershova.com
We are VERY excited to be reissuing the early demos of Martial Canterel. We plan to release the Navigations Volumes II and III of Sean McBride’s early work as standalone LPs as well as a very special triple gatefold LP that will include Navigations Volumes I-III.We are also teaming up with German label Anna Logue Records to co-release a lost NDW gem Monopol Weltweit. This LP is a complete German synthwave pop masterpiece and has been LONG out of print since it’s inception in the early 80s.
Troy // Medical Records, LLC
Navigations Volume I-III
20 January 2017
|Medical Records proudly presents a special limited edition of all 3 “Forgotten Tracks, Sketches and Unfinished Work 2002-2004” by Martial Canterel as a triple gatefold set. Volume I was released previously in 2013, and Volume II and III are simultaneously being released by Medical Records as standalones. Sean McBride has been producing work under the Martial Canterel moniker dating back to 2002 as well as working as half of Xeno And Oaklander. These tracks capture the allure and depth of Sean’s early work exploring rhythms and perfectly crafted pop songs using a very early incarnation of limited instrumentation. Fans of Martial Canterel’s early work (think “Austerton” and “Sister Age”) will be instantly elated. This is the first time these tracks have been released on vinyl and have been remastered for this release by Martin Bowes at the Cage, UK. Contains special bonus insert with lyrics. Fans of early Martial Canterel as well as other cold wave icons such as A Blaze Color, Snowy Red, and the like will need this collection. Presented on high-quality 180gram classic vinyl in a triple gatefold pack.|
20 January 2017
|Medical Records collaborates with their good friends Anna Logue across the pond in Germany to present the long out of print Neu Deutsche Welle cult classic album Weltweit by Monopol. Released in 1982, Weltweit was the sole output of the band. It has appropriately become quite rare and difficult to find with the resulting high prices to obtain an original copy. Inspired by the greats such as Kraftwerk, YMO and Klaus Schulze, the three members crafted an exquisite collection of pop songs played on a very impressive collection of analog synthesizers, self-builds and drum machines that were considered cutting edge at the time. The band would have recorded a second album but split up before that was possible. Members of the band continued to be involved in the music industry at least peripherally but didn’t participate in further collaborations or bands. Also interestingly, Monopol was basically a studio-only project and actually never played live (despite some TV appearances). The album has been remastered by Martin Bowes at the Cage, UK. Contains a special bonus insert with lyrics and photos. Definitely a must-have for fans of NDW such as Grauzone, Reingold and the like. Presented on high quality 180gram classic black vinyl. Limited edition.|
Over n` out!!
Justin / COLD SPRING