Aug 112010
 

ANTONY | FENNESZ Returnal 7″ Editions Mego
BARBARA MORGENSTERN – Fan No.2 2CD Monika
CINDYTALK – Up here in the Clouds CD Editions Mego
GX JUPITTER-LARSEN Expanded Slam 10″ hrönir
HILDUR GUDNADOTTIR – Mount A CD Touch
KIMONO – Easy Music for Difficult People CD Kimi
MARK McGUIRE – Living with Yourself LP/CD Editions Mego
MORGAN PACKARD – Moment Again Elsewhere CD Anticipate
MOSAIQUE – Shattering Silence DL Crónica
NATALIE BERIDZE / TBA – What about Things like Bullets DL Monika
RAIONBASHI / KRUBE. Ansätze zum Taumel LP hrönir
SAM PREKOP – Old Punch Card LP/CD Thrill Jockey
SOLAR BEARS – She was Coloured in 2LP/CD Planet Mu
TEHO TEARDO – Soundtrack Work 2004-2008 CD Expanding
TOMAS PHILLIPS – Quartet for Instruments CD Humming Conch

ANTONY | FENNESZ
Returnal
7″ Editions Mego eMEGO 104X
Release date: August 30
http://www.editionsmego.com
http://www.fennesz.com
http://www.antonyandthejohnsons.com

“Returnal”
Voice by Antony
Piano by Daniel Lopatin
Recorded at Lofish, New York, May 2010
Engineered and Mixed by Alex Nizich

“Returnal”
Remixed by Christian Fennesz, June 2010
Hot on the heels of the acclaimed Oneohtrix Point Never Returnal album come these fabulous versions of the title track. Antony swings the mood and strips the track of its delayed harmonised vocals and creates poignant ballad with Dan OPN on piano. Fennesz on the other hand sprinkles some his world famous majestic stardust over the proceedings.

All packaged in dazzling artwork by Stephen O’Malley.
BARBARA MORGENSTERN
Fan No. 2 + Bonus CD Plastikreport / Enter The Partyzone
2CD Monika Enterprise Monika70
Release date: September 17
http://www.monika-enterprise.de
http://www.barbaramorgenstern.de
Fan No. 2 is a roundup of Barbara Morgenstern’s extensive recorded output to date including previously unreleased versions and never before heard mixes as well as brand new exclusive tracks. As a special treat for fans of the Berlin singer, musician and producer, the double CD set includes a bonus CD of her two early EPs “Plastikreport” and “Enter The Partyzone”, which get their first official release here.

The collection is a guided tour through Morgenstern’s catalogue starting from her first release on monika, Vermona ET 6-1, named after the cult organ that BM put to such great use on all of her early work. The version of “Das Wort” contained on Fan No. 2 is a rarity that gets its first proper release here. Then there’s Thomas Fehlmann’s Mix Expansion version of “Der Augenblick”; another previously unreleased track originally taken from the Fjorden album. There are two tracks from 2003s seminal Nichts Muss album: “Aus heiterem Himmel” and the title track, “Nichts Muss”. These are produced by scape label founder Stefan Betke aka Pole, who has also remastered all the tracks on this double CD set.

2006 saw Morgenstern shift slighty away from electronics towards a more organic sound with the use of traditional instrumentation. The piano version of “The Operator” is dedicated to Scottish pianist and composer Bill Wells (with whom Barbara has released on Leaf and Karaoke Kalk) and was so far only available on the single of this song. “Camouflage” from her last full length album, BM, represents another major milestone in the career of Barbara Morgenstern. She always wanted to work with Robert Wyatt and the dream came true with this delightfully moving song. The second number from BM to be included on Fan No. 2 is the anthemic “Come to Berlin” – a harsh criticism of Berlin’s city planning policy disguised in the form of a pop song promoting tourism in the German capital.

Fan No. 2 draws to a close with 3 more previously unreleased tracks. A version of Mountainplace originally appeared on Chicks On Speed’s acclaimed Girl Monster compilation, . Whereas “Wegbereiter” and “Blackbird” are both brand new exlusive tracks. The first sees BM typically walking a fine line between kitsch and heart-wrenching while the later, a cover of The Beatles song, is unashamed uplifting pop as only Morgenstern can do and with it’s funky electronic production is surprisingly far removed removed from the original.

Fan No. 2 charts the course of Barbara Morgenstern’s catalogue and the development of her style. Not quite a “best of” in the conventional sense of the term, but still packed with “hits hits hits”. In this respect it’s ideal for long-term fans, who will especially appreciate the bonus CD containing the rarities “Enter The Partyzone” (originally a cassette release in 1997 on Joe Tabu’s living room label, Hausfrau im Schacht) & “Plastikreport” (which was previously only available as a very ltd. release on Leipzig label Club der guten Hoffnung), as well as for any new listeners wishing to find out whats so special about Barbara Morgenstern’s music.
21.08. DK – Kopenhagen, Strøm Festival
09.09. NL – Deventer, Slowlands Festival
30.09. DE – Düsseldorf, Aproximation Festival
01.10. DE – Kassel, Schlachthof
02.10. DE – Offenbach, Hafen 2
07.10. DE – Karlsruhe, Jubez
08.10. LUX – Luxemburg. Dqliq
22.10. DE – Saarbrücken, Sparte 4
23.10. DE – Aachen. Musikbunker
29.10. DE – Hamburg, Hafenklang
CINDYTALK
Up here in the Clouds
CD Editions Mego eMEGO 106
Release date: August 30
http://www.editionsmego.com
http://www.cindytalk.com

Recordings by Gordon Sharp 2003 – 2010 at the Mid-levels (hk) but mainly at Roi Vert, Okamoto Japan.
Mastered at Piethopraxis, June 2010
Artwork by David Coppenhall
Up here in the Clouds is the second installment in the new Cindytalk sound which started llast years The Crackle of my Soul. Whereas Crackle was more of a blistering burner, Clouds has a fresher cooler sound to iit, with longer tracks that slowly evolve in great patches of aural beauty.

The sound that Gordon Sharp and co create now is a unique blend of cracked electronics, near awkward ambient textures that always seem to flow smoothly like the most natural of sounds around, building up a great set of modern electronic music which closes with the child like melody of the title track. Superbly packaged with new David Coppenhall artwork in a 4-panel digipack.



GX JUPITTER-LARSEN
Expanded Slam
10″ hrönir hr4441
http://www.hronir.de
http://www.jupitter-larsen.com
“Expanded Slam” and “Extended Slam”, two new compositions by one of America’s most consistently explorative and radical artists. Presented in a blazing gatefold package designed by Jupitter-Larsen, including an essay on the permawave, the polywave and the hoopla. Utterly delightful.
GX Jupitter-Larsen is an media artist, based in Hollywood, California, who has been active in a number of underground art scenes since the late 1970s. He has been involved in punk rock, mail art, cassette culture, the noise music scene, and zine culture. During the 1990s he was the sound designer for the performances of Mark Pauline’s Survival Research Laboratories. His best known work is as the founder of the noise act The Haters, who have performed all over the world, and appear on over 300 CD & record releases.
Mastered and cut at D+M
Edition of 500, vinyl only
HILDUR GUDNADOTTIR
Mount A
CD Touch Tone 41
http://www.touchmusic.org.uk
http://www.hildurness.com/MountA/InGray.mp3
Photography & Design: Jon Wozencroft
Mastered by Denis Blackham
This album was originally released by 12 Tónar in 2006 under the moniker Lost in Hildurness. The first solo recording from Hildur Gudnadottir (who is a member of the Nix Noltes band and has performed regularly with múm and Pan Sonic). In her dreamy soundworld she plays the cello, gamba, zither, khuur and the gamelan so this cd sounds like nothing else. This is exciting, tranquil, and melancholic stuff and at times it makes you think of a lost place and times gone by – and the music has the power to take you there. Recording sessions took place both in New York and in a house in Hólar, Iceland, specifically chosen for its good cello acoustics. It is strictly a solo album, Hildur has attempted to “involve other people as little as I could.” Like the cover art, it is personal and intimate.
It has been called “the perfect soundtrack to get lost in a forrest at night”, but this version, mastered by Denis Blackham, sounds fresher and better than ever.
Her latest solo album, the widely reviewed and highly acclaimed Without Sinking (Touch # TO:70, 2009) is still available from Touch.
KIMONO
Easy Music for Difficult People
LP/CD Kimi Records kr017
http://www.kimirecords.net
http://www.kimono.is
Third studio album from Icelandic progressive guitar rock band kimono is being released on Kimi Records next September. Easy Music for Difficult People marks a significant change in style for the band, returning as a trio and with their first album in four years. The band, which was formerly a quartet, has been active for eight years and has released two studio albums, one EP and one dub album based on their 2003 debut.
At just over 30 minutes and featuring nine songs, the album represents a shift from the “calm before the storm” soundscape (with which the band has been associated on their previous records) to a full-on post-punk album where urgency, darkness and immediacy hold sway.
This time around kimono took their time polishing their sound and a new set of songs that comprise Easy Music for Difficult People. After experimenting with live multi-track recordings in their studio, called “onomatopoeaic”, in downtown Reykjavík, the band recruited Arctic Death Ship engineer Aron Arnarsson and recorded the entire album live over a long weekend in the summer of 2009. Lead singer and guitarist Alex MacNeil manned the post of producer.
All instruments, amplification and drums were set up in one space with no dividers to isolate the roaring interplay of guitars from the relentless sonic attack of the drums. The result is an electrifying studio album where the band has attempted and succeeded in bringing its notable live experience to your stereo.
Reviews:
And clocking in at under 30 minutes, ‘it just socks you with baritone power and then finishes, saying “Call me” without leaving it´s number. But like the guitar rock slut that I am, it just makes me want to go back the beginning and play it again (and again)… – Bob Cluness, Reykjavik Grapevine
It is nothing less than astounding that Easy Music For Difficult People was recorded entirely live in the studio over the course of a long weekend! Claustrophobically tight, painfully raw, and staggeringly intense, its approx. 30 minutes showcase a mature, down-to-earth blend of rare quality and discipline, indifferent to international acclaim. – Vasilis Panagiotopoulos, Drowned in Sound
MARK McGUIRE
Living with Yourself
LP/CD Editions Mego eMEGO 107
Release date: October 1
http://www.editionsmego.com
http://www.mcguiremusic.blogspot.com
Electric and Acoustic Guitar Recorded February – September 2009 Cleveland and Westlake, Ohio by Mark McGuire.
Percussion on “Brothers” Performed and Recorded November 2008 at Zombie Proof Studios, Cleveland, Ohio by Nate Scheible.
Tape Samples Recorded 1991 – 1998 by Mark McGuire Sr., Jr.
Edited and Arranged by Mark McGuire 2009.
Mastered by James Plotkin, July 2010
Cut at Dubplates & Mastering, Berlin, July 22nd 2010
Outside Photos: Misc. Family Photos 1964 – 1996
Live Photo by Steve Bauras, Paris, France 2009
1229 Ramona by Cuyahoga County Real Estate OfÞce, Lakewood, Ohio 1956
Layout by Mike Pollard and Mark McGuire.
Mark McGuire operates chieþy as guitarist in the legendary EMERALDS. However he also has racked up an impressive set of solo releases over the last few years (albeit mainly in small to micro print runs). Living with Yourself is his new album and we at Editions Mego hope to meet any demand which may arise from this Þne selection of modern crafted guitar tunes. Focusing on his family, early friendships and the problems that inevitably develop through years of knowing someone, it takes McGuire’s sound even further out, and contains some his most accomplished songs to date.
The opening track is a Þne example of McGuire’s magic technique of taking a lone acoustic guitar then transforming the track into bliss-out electro wash looping off into the distance. And tracks like “Clouds Rolling In” and “Brain Storm” take off where such McGuire classics as “The Marfa Lights” (which incidentally is planned for a future reissue) left off. While connoisseurs of his sound will Þnd all they desire in here, many superb surprises await around every corner. These are songs that cruise, bubble and rise to the top.
MORGAN PACKARD
Moment Again Elsewhere
CD Anticipate Recordings ANT011
Release date: Oktober 11
http://www.anticipaterecordings.com
http://www.morganpackard.com
Morgan Packard follows his Airships Fill the Sky album (Anticipate, 2007) with Moment Again Elsewhere, a unique electroacoustic statement on club and home music that skillfully combines genre, instrument and program. Though it was initially supposed to be released over a year ago, a variety of factors postponed the album’s completion until now (scheduling changes, revisions, life, etc) and though the wait has been long this seems like the perfect moment, as it slowly arrived at the leanest and best version of itself. I am sure it benefited from the attention it was given over a longer period of time, even if the basic structures were there earlier. The lengthened production process allowed a more complete translation of the artist, taking a greater variety of snapshots of where he was at any given point and funneling them into the material here.
Morgan has been working on a combination of music and software for a number of years, and the further he goes down each path the more they influence each other. This album truly is a culmination of a line of thought and musical practice. I believe it’s the most representative of his sensibilities and sound and is the album I have wanted him to make for a while. That’s a weird thing to say perhaps, but it’s true. As much as I loved Airships Fill the Sky, when I heard the first demos in progress of Moment Again Elsewhere I told him, “this is the album I wanted you to make for a few years, so please keep going.” It’s that simple really. I think it uses his talents extremely well, a beautiful exhibit of what he can do and what the label represents.
Using piano, accordion and saxophone along electronic textures, groovy, yet humble rhythms and the controlled chance of his homemade Ripple software, Packard searches for and finds a voice of his own. On many tracks he maintains a sense of bass-fueled club music while pulling it into an entirely other context, one that is far away from the dancefloor while letting the memories of it sway the results. Exhibiting a house/techno/breakbeat influenced feel, but with less heft, these pieces have a bleepy downtempo character – movement without boominess – like four people clapping in their living room before heading out for the evening.
Through this, Packard creates a sense of minor drama, the kind that doesn’t call attention to itself, but sneaks up on you with its haunting, focused sense of melodic timing. It’s an honest electroacoustic music, using old instruments in a manner that retains their identity rather than allowing them to become a sound source to be obscured and fragmented, flittering with electronic touch-points without adhering to them too closely. This is one of the great strengths of Morgan’s music – to take his education and experience and use it to forge something new, to borrow from existing, codified ideas, and use those as a means of giving shape to the results, as guidelines rather than borders.

This sense of finding the means to structure oneself makes perfect sense in the context of his choice to program an application environment in which to work (which he has dubbed Ripple). Rather than figuring out how to utilize software to arrive at the desired process, he has created software to be more conducive to how he wants to make music. The results reflect the difference, with this album a product of not just sonic choices but of the tools he has made to conform to a means of production.

On a different point on this continuum of programming for art, and as an extension of his collaboration with fellow Anticipate artist Joshue Ott (who performs visuals with his superDraw application and collaborated with Packard on the Unsimulatable DVD in 2007) the two recently released an app for the iPad / iPhone platform called Thicket. Combining their individual styles in interactive visuals and sound, respectively, they have increasingly been channeling their performance, production and programming expertise into a shared workspace that supports each direction, and Thicket is a mobile, multi-touch personalized version of this experience, another representation of Packard’s melding of different, but related branches of practice.
MOSAIQUE
Shattering Silence
DL Crónica 051
http://www.cronicaelectronica.org
http://www.myspace.com/mosaiquemusique
All tracks written and produced by Jan Ferreira.
Mastered by Miguel Carvalhais.
Following his 2008 release in Crónica, Filare, Jan Ferreira presents his new work Shattering Silence, 14 tracks totalling over one hundred minutes of music. Once again, Mosaique releases in the Unlimited Series and is available as a free download in either 320kbps MP3 or Apple Lossless formats.
Jan Ferreira is one of the most promising Portuguese new composers of hands-on electronic music, creating his pieces from a limited palette of tools and resources, including the manipulation of feedback, analog synthesis and distortion. His pieces have deep roots in live performance, and that imbues them with a characteristic immediacy and freshness, as traces of his creative touch and direct manipulation are felt throughout the pieces.
“In this release I worked for the first time with analogue synthesis. It was new territory so I spent long time exploring timbres and textures and what especially drew my attention was the “sharpness” of sound as if one could sense its outlines like with forms and shapes. Also how sounds emerged and ‘cut’ through the air was of special interest to me. After recording the material it was put into composition with emphasis on the effect of layering certain sounds (and hence what depth or sense of contrast they create) and the feeling of change that occurs when the ‘sound scenery’ shifts. The composition then was more a frame in which these things were allowed to occur (especially in the more abstract pieces) than a linear narrative. All this is also based on a general visual quality that sound conveys to me.”
NATALIE BERIDZE / TBA
What about Things like Bullets
DL Monika Entreprise Monika68
http://www.monika-enterprise.de
http://www.myspace.com/tusiaberidze
Georgian musician Natalie Beridze aka tba first came to monika through her contribution to Volume 1 of the popular series 4 Women No Cry. Now her latest solo releases are coming out on the Berlin label too. This 5 track online EP is a taster for the full-length album, ForgetFulness, that is coming out in autumn. And while “What about Things like Bullets” stands proud on its own, it’s sure to leave you wanting more.
While these are her first solo releases on monika, Tusia Beridze is certainly no newcomer. With output on labels such as Max Ernst, her ongoing collaboration with the Goslab collective and most recently a release on Laboratory Instinct, tba’s sound is both rich in texture and depth of vision. From the industrial beats of opening title track What about things like bullets to the club friendly electro-ambience of “The Face We Choose to Miss” and the intricate electronica of “This isn’t Right, this isn’t even Wrong”, the cutting edge production gains warmth and a personal touch throughout from the presence of tba’s voice. No more so is this the case as in her remarkable cover of Nine Inch Nails / Trent Reznor’s “Hurt”. Of course, Beridze is following in big footsteps with her rendition of this song as the late great Johnny Cash also covered it as one of his last recordings. But tba’s version in all its ambient elegance adds a whole new dimension to this brilliantly melancholy ballad and thereby recollects perhaps Pop Artificielle’s (Atom TM) take on Jealous Guy. This fine EP ends with “Silently” – which is nothing short of breathtaking.
tba’s music is captivating and yet at the same time leaves enough room to let the listeners’ imagination run off in its own direction. And this download EP is just the beginning. If you like this, stand by for the immanent release of her brand new album, ForgetFulness, which contains collaborations with Japanese pianist Ryuichi Sakamoto as well as a host more original Natalie Beridze compositions. In the meantime, enjoy this EP!
RAIONBASHI / KRUBE.
Ansätze zum Taumel
LP hrönir hr0392
http://www.hronir.de
http://www.myspace.com/krube
http://www.tochnit-aleph.com/raionbashi
From the first split second on Krube. grabs your attention with his hyper tight musique concrète that combines sounds from everyday objects, body openings and non-definable machinery. An old accordion may surface but it doesn’t prevent him from continuing straightforward cut-ups, thus exploring scary maybe even unknown territory. If he’s to perform at your local venue, leave mama at home and witness.
Raionbashi’s bunker soundscape seems to be breathing with anxiety. In celebration of his earlier release In Teufels Küche critic Dan Warburton stated that all sounds are “absolutely exquisitely worked and placed with extraordinary attention to detail […] that makes Löwenbrück, like Milton, a true Poet.” His new composition “Musik und Skepsis” even goes further: slow-motion horror musique concrète that’d drive Artaud, Nietzsche and Cioran to fall on their knees in a state of euphoria. No doubt.
Raionbashi, established in 1999, is Daniel Löwenbrück, curator of many shows and festivals in Berlin; he runs the magnificent shop/mailorder rumpsti pumsti and the label Tochnit Aleph. Krube. is a Berliner too. During his job as a concert organizer for innumerable punk and hardcore bands in Saarbrücken he started his solo project in 1999 and eventually moved to the capital four years later. Ansätze zum Taumel is Krube.’s first official release to date. Raionbashi has gained quite a reputation for his releases on Hanson, Absurd and Entr’acte.
Original front cover painting by Rudolf Eb.er
Mastered and cut at D+M
Edition of 500, vinyl only
SOLAR BEARS
She was Coloured in
2LP/CD Planet Mu Records ZIQ270
Release date: September 20
http://www.planet.mu
http://www.myspace.com/solarbears
Hailing from Ireland; Wicklow and Dublin to be precise, Solar Bears are JOHN KOWALSKI and RIAN TRENCH, the sole producers and musicians on the album She Was Coloured In. They met and formed at Pulse Sound Engineering School, started recording and were swiftly picked up by Planet Mu. The album follows in the wake of expectation laid down by their recent “Inner Sunshine EP” and a series of remixes.
Solar Bears’ music is the soundtrack to a good life. Their song writing and production has a languid, pastoral grace that intertwines rock and electronics, twisting melodies through prog rock’s structures and sounds, occasionally making sharp turns into more tense post rock territory, sliding between longer tracks and short mood-setting miniatures. The album mixes analogue electronica with the quietly epic perspective and shimmering neon synths of late 70’s, early 80’s Kosmiche music and the synth pop it informed.
She Was Coloured In starts with the cosmic disco intro of ‘Forest Of Fountains’ before moving straight into gorgeous watery Rhodes and vocoder with ‘Children Of The Times’. ‘Twin Stars’ takes huge synth lead chords and builds up the drama with synthlines anad arpeggios. By ‘Head Supernova’, we’re floating in beatless ambience, with a miniature that is reminiscent of chilly 80’s synthscapes. The album starts moving again with the sophoric trance of ‘Cub’, before synth pop is evoked with the laidback evocative arpeggios of ‘Hidden Lake’. ‘Dolls’ pits a children’s choir against rolling guitars while ‘Neon Colony’ mixes gliding bottleneck guitar and triumphant synths. The album finishes with ‘Perpetual Meadow’s’ sleepy sunkissed drone before stopping abruptly and making you drop down to earth. Spend some time with the Solar Bears.
TEHO TEARDO
Soundtrack Work 2004-2008
CD Expanding Records ecd31:10
http://www.expandingrecords.com
http://www.tehoteardo.com
Teho Teardo is one half of ‘Modern Institute’ with Martina Bertoni and in 2006 they released the critically aclaimed debut album Excellent Swimmer on Expanding Records, Teho’s work as Modern insttitute makes up but a small part of his creative world and since the release of Modern Institute’s debut album he has worked on many varied musical projects, collaborations and sound installations, more recently though he has become well-known for his award winning soundtrack work in his birthplace of Italy.

The album Soundtrack Works 2004-2008 is a selective compilation of his recent work in film music which has won him many major awards and much critical acclaim. The album includes incidental music from the international hit and Cannes jury prize winner Il Divo for which he also won the Ennio Morricone prize at the Italia film festival. Ennio Morricone himself presented the prize to Teho and the Il Divo soundtrack went on to win the David di Nonatello
prize, the most important prize for music in Italian cinema.

Teho’s method of working takes in much more than a film’s imagery. Teho starts work immediately after reading the film’s script and by doing this creates music that has a life of its own creating compositions that work as music in their own right. Soundtrack Work 2004-2008 is an album which apart from being ‘music for films’ also conjures up worlds outside those created by Teho for the cinema.

ENNIO MORRICONE had this to say about the album: “Teho Teardo searches for originality through difficult forms, using repetition, an economy of materials and a personal minimalism; in short, through a continuous ‘passacaglia’ he searches for solutions that can fit both his
needs and those of the film he writes music for. Experience tells me that sooner or later, those who seek will find and in the passages between searching and finding there are important moments, moments such as the ones we can hear on this beautiful album.”

This album is a record of the extraordinary early work of an important new name in the world of film music.
TOMAS PHILLIPS
Quartet for Instruments
CD Humming Conch Conch007
http://www.hummingconch.net
http://www.myspace.com/tomasphillips
Relying predominantly on acoustic instrumentation, Quartet for Instruments compounds exploratory inspiration, precision, and elegance to create a work that is both evocative and absolute.
As a well-versed artist with many distinct styles, Tomas Phillips has released works on such notable labels as Trente Oiseaux, Line, NVO, and Koyuki, as well as having an extensive background in contemporary literature and fine arts.
Created with piano, clarinet, minimal electronics, and cello during a two-month residency program at Headlands Center for the Arts, outside of San Francisco, California, Quartet for Instruments stands as a delicate, yet flourishing example of directional music, set in a gentle, free-flowing pathway.
The piece is very much an extension of Intermission/Six Feuilles (Line, 2006), which attempted to harness various influences into a focused, composition-driven work. Where Quartet for Instruments differs is in the depth of its arrangement and in the fact that it utilizes recordings (mostly piano and clarinet) of improv. Thus, it operates at the midpoint between composition and improvisation.
Like Intermission/Six Feuilles, it is also a fairly demanding piece in the sense that it relies on an aesthetic of duration with minimal repetition. It does contain movements, though these are not necessarily independent of one another; the piece is intended to function as a singularity with decisive variations. – Will Thomas Long & Tomas Phillips
Tomas Phillips (b. 1969) is a composer, novelist, and teacher whose sound work focuses on improvisational performance and minimalist through-composition.
He began composing electronic music in the early 1990s, releasing limited edition cd-rs, most notably under the moniker Eto Ami (with Dean King), and has since created music for installations and collaborations in dance and theatre. Labels to release his music include Trente Oiseaux, Line, Non Visual Objects, and Koyuki.
Philips has taught in the disciplines of literature and fine arts at various universities in the US, Québec, and Finland. He completed an interdisciplinary PhD at Concordia University in Montréal in 2007 and currently teaches in the field of contemporary literature.
ANBB
23 Aug – DE – Kampnagel Sommer Festival, Hamburg
03 Sep – HR – Tvornica Kulture, Zagreb
16 Sep – IT – Nextech Festival, Florence
17 Sep – DE – Berghain, Berlin
18 Sep – PL – Poz_modern Festival, Poznan
21 Sep – PT – Teatro Maria Matos, Lisbon
22 Sep – FR – Oxigene Festival, Strasbourg
BARBARA MORGENSTERN
21.08. DK – Kopenhagen, Strøm Festival
09.09. NL – Deventer, Slowlands Festival
30.09. DE – Düsseldorf, Aproximation Festival
01.10. DE – Kassel, Schlachthof
02.10. DE – Offenbach, Hafen 2
07.10. DE – Karlsruhe, Jubez
08.10. LUX – Luxemburg. Dqliq
22.10. DE – Saarbrücken, Sparte 4
23.10. DE – Aachen. Musikbunker
29.10. DE – Hamburg, Hafenklang
MAX RICHTER
03.11. DE – Berlin, Hau 1
MUTTER
05.08. DE Festsaal Kreuzberg, Berlin
15.08. DE Dockville, Hamburg
07.10. DE Gebäude9, Köln
09.10. DE 59:1, München
10.12. DE Manufaktur, Schorndorf
11.12. DE Cafe Zentral, Weinheim
RADIAN
Sep 28 ES – Palma De Mallorca, Centrematic Festival
Oct 01 PL – Wroclaw, Avant Art Festival
Oct 02 IT – Cagliari, Signal Festival
Oct 07 AT – Graz, Musikprotokoll
Oct 13 CH – Zurich, IGNM
Nov 06 AT – Weis, Music Unlimited
SUDDEN INFANT
28/Aug DE – Schlagstrom Festival, MIKZ, Berlin
09/Sep LT – Sound Forest Festival, Riga
25/Sep DE – Echtzeitmusikfestival, Ausland, Berlin
21/Oct CH – Musikforum, Lucerne
22/Oct CH – Zoom In Festival, Berner Münster
24/Oct CH – Cave12, Geneve
26/Oct CH – WIM, Zurich
29/Oct FR – Instants Chavires, Paris
03/Dec GR – Absurd Festival, Xanthi
ZEA
03 Sept NL Maastricht, LBB
09 Sept NL Amsterdam, OT301
13 Sept NL Tilburg, Incubate Festival
19 Sept NL Nijmegen, Fest de Oversteek
17 Dec NL Leiden, Triplex Fest
Dense Promotion
Ed Benndorf
Reichenberger Str. 147
10999 Berlin
+49 30 616 529 60
http://www.dense.de
NEW SEPTEMBER 1ST
Weserstr. 165
12045 Berlin