Exciting updates, news & more Remixes & Beyond What we have been up to, you ask? We do not sleep here at BIINDS HQ, that is for certain. While we're slowly working on our new EP, a few remixes by us/for us have been released. First, we released "It is I (KvK Devil's […]
Title: "Nu_Polygon releases Dystopian City, a noir cyberpunk ambient odyssey in the same genre as 2814" Description: "Dystopian City is an album inspired by 2814 hypnagogic music and the more ambient side of vaporwave. Neo_Polygon's album is a mix of old computer sounds, mall music loops, ethereal pads, advertising snippets processed beyond recognition and commercial […]
Entropy Zero – Start a War Released through Position Music / Subterra Records / FiXT Music This project belongs to Maks_SF, who has already established himself as a successful composer capable of combining a broad variety of genres within his music. Alongside with his other projects and writing for games and commercials, he became "Entropy […]
According to Human Ear Music‘s info on “Demonstration Disc” (2017, CD/DL, HEM), the recent release by Jason Grier, “issues of labor theory, social practice, and sonic activism underly an abstract surface worked and re-worked toward a hallucinatory depth of field. Loud, decadent, irreverent, and cinematic, Demonstration Disc sounds like mashing down all the preset buttons […]
Montreal-based sound-artist, performer and composer Nicolas Bernier recently dropped a new release on the label of Acte community (grouping some experimental sound artists on an edge of innovation, who are active in Montreal area). According to the introduction by the label, Transfert/Futur, the title of this release “marks a shift from Nicolas Bernier’s rather reductionist approach […]
The inventive Finnish-American guitar explorer Raoul Björkenheim recently released “Doors of Perception”, his third album on Cuneiform together with eCsTaSy, his brilliant band consisting of the brilliant drummer Markku Ounaskari – Raoul’s long-lasting partner in art -, the young hyperactive saxophonist Pauli Lyytinen, and the bassist Jori Huhtala. “In a way, it is countercultural,” Björkenheim […]
The inventive Australian experimental producer Ross Manning recently dropped “Reflex In Waves”, which is more a co-production between Lawrence English’s imprint Room40 and Brisbane’s Institute of Modern Art, related to Manning’s first survey exhibition, titled Dissonant Rhythms. Before Ross starts an already-announced tour to bring this exhibition to many places throughout Australia (in ten venues […]
WOODY APLANALP’S BONSAI UNIVERSE SET TO RELEASE MOONSTREAM (Release Date: February 5, 2018) “From the far out reaches of space comes the latest release from Bonsai Universe.The band is the brainchild of musician Woody Aplanalp and his new album "Moonstream" is performed, produced and mixed by himself. Aplanalp has worked with well-established artists like Bobby […]
Founded in 1988, The Cascades are a Gothic/Post Punk Rock band from Germany. Their style is old-school goth (think Sisters of Mercy) with a modern, artistic sensibility. Over the years they’ve gone through some personnel changes but the band now consists of M. W. Wild – vocals; Morientes de Silva – guitar; and Markus Muller […]
Newsflash: 5th December 2017 www.coldspring.co.uk firstname.lastname@example.org Tel: +44 (0) 1663 749491 COLD SPRING RELEASES – PSYCHIC TV- OUT 23/01 PSYCHIC TV ‘KONDOLE / DEAD CAT‘ 2 x CD + DVD (CSR246CD) £23 Cold Spring are proud to announce “Kondole / Dead Cat” – a double CD and DVD collection, presented in a lavish 8-panel matt […]
Autumn releases wave 1, Fleck ESC live set & Nexus 23 guest mix UK producer Nexus 23 is back for his second sortie on Bass Agenda Recordings. 23 Theory, in short, is audio anarchy at its finest – giving the finger to convention and trends. Four tracks of fast and furious broken beats, wonky basslines […]
Anni Hogan of Willing Sinners, La Magia and Marc & The Mambas fame, has a new album ready titled “Lost in Blue”. ‘Lost in Blue’ is a musical odyssey, says Anni. Her blueness began with seeing Derek Jarman’s BLUE at IMAX in 2014 that helped ignite a big surge in her creativity plus she was listening to a […]
DEISON / DEVIS B e e s (Luce Sia, 042) Released on black C40, limited to 60 numbered copies with download code. Listen / Buy / Download “After a split cassette in 1997, «Bees» is in fact the first collaboration ever between the two historical Italian experimenters Deison and Devis G.* Deison and Devis worked […]
Mostly known as the drummer and the percussionist of the appreciated band The Necks, Tony Buck recently dropped a solo-release ‘Unearth’ on Lawrence English’s label Room40. Better-informed music lovers know that Tony’s activity is much more widespread over the contemporary scene: he extensively played, toured and performed with well-respected projects/musicians such as The EX, Jon […]
“Chasing Towers” is the new digital EP by Noisebrigade and it will be out on November 23rd on Bandcamp (www.noisebrigadeitaly.bandcamp.com) and the main digital retails to download and stream. Why is it titled “Chasing Towers”? Towers don’t go really far. Well, the towers the title is referring to are the ones of the tarot cards, […]
SYNTH NEWS from Slovakia! New compilation CD called SYNTH SLOVAKIA 2017 is released today on 11.11.2017. It is a collection of 15 synth-pop electro oriented bands/projects based in Slovakia. MONTE ROSA / MISSandTROOPS / THE SILENCE / SOUND MINISTERS / PROJEKT203 / IMIAFAN / H.O.H / BLACK ROSE / MARTIN JOY / FORCE / CORIOLIS […]
Mushroom’s Patience – From the Mountain – Lp SPQR XLVI – Black Vinyl + Postcards – ltd 64 copies Special Silver Edition – 14 € One of the most important releases in Mushroom’s Patience history is now re released in a very limited edition featuring 3 exclusive alternative cover postcards. This psychedelic masterpiece is […]
MUTE: NOVEMBER 2017 THROBBING GRISTLE – 40TH ANNIVERSARY REISSUES On November 24th, 2017 The Second Annual Report, presented as a limited edition white vinyl will be released in the original packaging and also on double CD. Additionally, 20 Jazz Funk Greats will be released on green vinyl / double CD plus The Taste Of TG: A Beginner’s Guide to Throbbing Gristle. This will […]
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