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KRANK 222CD
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"Jacob Long's reductionist rhythmic ambient vessel, Earthen Sea, ebbs towards a more purely elemental state on his second excursion for Kranky, Grass And Trees. He describes the creative process as one of 'simplifying things as much as possible,' designing uncluttered spaces traced in nothing but breath, field recordings, and 'sounds that could be played by hand but weren't.' The results feel decentralized but dynamic, low-lit evocations of ambiguous nocturnal environments -- dub techno disassembled into stray pulses and spare parts. It's a music both interior and infinite, languorous yet transformative, made in the outer boroughs of a metropolis but existing in its own liminal wilderness. Long's vision is a grounding one, rooted in the physical body but attuned to larger currents: 'In response to living in a fairly hectic city, and at a very hectic time for the world at large, creating something more drawn back and restrained felt appropriate.'"
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KRANK 222LP
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$20.00
PREORDER
RELEASE DATE: 6/7/2019
LP version. "Jacob Long's reductionist rhythmic ambient vessel, Earthen Sea, ebbs towards a more purely elemental state on his second excursion for Kranky, Grass And Trees. He describes the creative process as one of 'simplifying things as much as possible,' designing uncluttered spaces traced in nothing but breath, field recordings, and 'sounds that could be played by hand but weren't.' The results feel decentralized but dynamic, low-lit evocations of ambiguous nocturnal environments -- dub techno disassembled into stray pulses and spare parts. It's a music both interior and infinite, languorous yet transformative, made in the outer boroughs of a metropolis but existing in its own liminal wilderness. Long's vision is a grounding one, rooted in the physical body but attuned to larger currents: 'In response to living in a fairly hectic city, and at a very hectic time for the world at large, creating something more drawn back and restrained felt appropriate.'"
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KRANK 220CD
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"Anoyo ('the world over there') draws from the same sessions which led to the 2018 work Konoyo but rendered starker, solemn, and stripped back, with more of a naturalist tint. Tim Hecker's processing here moves in veiled ways, soft refractions and whispered shrouds woven within improvisational sessions of traditional gagaku interplay, evoking a sense of vaulted space, temples at dawn, shredded silk fluttering in the rafters. This is boldly barren music, skeletal and sculptural, shaped from wood, wind, strings, and mist. Modern yet ancient, delicate and desolate, Anoyo inverts its predecessor to compellingly conjure a parallel world of illusion, solitude, and eternal return."
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KRANK 220LP
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LP version. "Anoyo ('the world over there') draws from the same sessions which led to the 2018 work Konoyo but rendered starker, solemn, and stripped back, with more of a naturalist tint. Tim Hecker's processing here moves in veiled ways, soft refractions and whispered shrouds woven within improvisational sessions of traditional gagaku interplay, evoking a sense of vaulted space, temples at dawn, shredded silk fluttering in the rafters. This is boldly barren music, skeletal and sculptural, shaped from wood, wind, strings, and mist. Modern yet ancient, delicate and desolate, Anoyo inverts its predecessor to compellingly conjure a parallel world of illusion, solitude, and eternal return."
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2LP
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KRANK 058LP
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"Scott Morgan's second Loscil full-length, Submers, took inspiration from salvaged Time Life classical music albums and 'the indelible mystery of submarines and the deep sea.' Composed using a custom-built Max / MSP sequencer-- with no external samplers, synthesizers, or acoustic instruments involved -- the limitations of the process shaped these masterful, minimal compositions. Each piece was produced as a live mix, direct to disk, with no separated tracks. Originally issued in November of 2002 on compact disc, Kranky is now making these timeless recordings available on vinyl for the first time. All of these tracks are named after submarines, the final cut being a requiem for the crew of the ill-fated Russian nuclear vessel Kursk. Recorded at home using only samples as sound sources, the album is rife with source-less echoes, steely surfaces and ominous melodic and rhythmic undertows. The sifted melodies are layered over muffled, clicking and pulsing rhythm tracks with an appropriately aquatic feel to the tracks."
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KRANK 214CD
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"Portland, Oregon resident Mary Sutton's solo debut materialized in the wake of a performance she gave at a clothing-optional soaking-pool sauna: 'I had never composed for synth before but wanted to make something people sitting motionless and naked in hot bubbly water would want to hear.' It was while in this headspace that she reconnected with Satie's entrancing cyclical motifs, particularly the way 'he subtly spins melodic fragments, and pivots harmonies and phrases so the repetitions feel new and surprising yet soothingly familiar, as if casting a spell.' The nine intuitive instrumentals comprising The Deep End accomplish exactly that, threading complementary shades of soft-hued hypnosis, dazed modal introspection, icy amusement park reverie, and lunar lullaby into a prismatic suite of contemplative melody and synthetic communion. Sutton's songs are active rather than ambient yet their structure is more suggestive than scripted, full of lulls, asymmetries, and daydreams. Each track was written specifically to be played live on an analog synthesizer, with no overdubs or post-production wizardry. The sound of Saloli is one of warm-blooded wiring, turned on and tapped into, emotive and electric, storied machines speaking through all too human hands."
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KRANK 214LP
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LP version. "Portland, Oregon resident Mary Sutton's solo debut materialized in the wake of a performance she gave at a clothing-optional soaking-pool sauna: 'I had never composed for synth before but wanted to make something people sitting motionless and naked in hot bubbly water would want to hear.' It was while in this headspace that she reconnected with Satie's entrancing cyclical motifs, particularly the way 'he subtly spins melodic fragments, and pivots harmonies and phrases so the repetitions feel new and surprising yet soothingly familiar, as if casting a spell.' The nine intuitive instrumentals comprising The Deep End accomplish exactly that, threading complementary shades of soft-hued hypnosis, dazed modal introspection, icy amusement park reverie, and lunar lullaby into a prismatic suite of contemplative melody and synthetic communion. Sutton's songs are active rather than ambient yet their structure is more suggestive than scripted, full of lulls, asymmetries, and daydreams. Each track was written specifically to be played live on an analog synthesizer, with no overdubs or post-production wizardry. The sound of Saloli is one of warm-blooded wiring, turned on and tapped into, emotive and electric, storied machines speaking through all too human hands."
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KRANK 204LP
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LP version. "Monument Builders is the new album from Loscil, the ambient/electronic project of prolific composer Scott Morgan. It was primarily created on sample-based instruments in Morgan's century-old Vancouver home. Like that aged space, this music is also rough-hewn, with rickety samples of boiling kettles and resonant moving air. Recordings from a vintage micro-cassette recorder contribute distortion, rattles and textures that serve as both percussion and abstract aural color. According to Morgan, the genesis for the album may have begun as he viewed an old VHS copy of the American experimental film Koyaanisqatsi. 'Something about the time-tarnished visuals and the pitch warble on Philip Glass's epic score added a new layer of intrigue for me,' says Morgan. 'Glass has always been an influence but lo-fi Glass felt like a minor revelation, as if the decay was actually enhancing the impact of the film's message.' The investigations on Monument Builders also took inspiration from the anti-humanist writings of influential philosopher John Gray, as well as photographer Edward Burtynsky's iconic aerial photographs of pollution and environmental destruction. 'Gray's writing, particularly his book Straw Dogs: Thoughts on Humans and Other Animals, reinforced a bleak notion I had that we humans don't have much say in how it all turns out,' says Morgan. 'With Burtynsky, I was struck by the fact that something so strikingly beautiful could be the result of large-scale waste and exploitation.' Monument Builders was composed during a period in which the life-and-death battles of close friends and family forced Morgan to examine his own feelings on mortality. In the course of that introspection, Morgan found himself buoyed by a feeling of celebration and a stubborn sense of survival -- an acknowledgement of what it means to be able to breathe and create amidst the clash of love and chaos. Ultimately, Morgan hopes the music here can offer listeners solace while leaving room for exploration and surprise."
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2LP
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KRANK 014LP
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"The second album from New York City's Bowery Electric was released in late 1996, less than 15 months after their self-titled debut, but it found them having traveled light years musically in the interim, the group having seemingly decided to see how far they could take the guitar/bass/drums/vocal setup into the atmosphere. Every aspect of their approach had been refined and focused: squalling, distorted guitars had been transformed into hazy, sensual sheets; the live drums transmuted to sampled rhythms more in debt to the blossoming down-tempo sound of the day; bass lines reduced to their most basic diagrams; vocals submerged to become one with the narcotized fog of the instruments; even the lyrics were reduced to a few minimal lines used sparingly so as not to overshadow the dynamic. Beat is a lush and dense mantra of shadowy percussion, barely-there vocals and immersive drones that envelops the listener in an opiated blanket of sound. The second in a trio of albums released by the core duo of Lawrence Chandler and Martha Schwendener, Beat is without doubt their definitive artistic statement. Coming 20 years to the day of its original release, this is the first time this album has been available on vinyl in almost two decades, and the first ever U.S. vinyl release."
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KRANK 204CD
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"Monument Builders is the new album from Loscil, the ambient/electronic project of prolific composer Scott Morgan. It was primarily created on sample-based instruments in Morgan's century-old Vancouver home. Like that aged space, this music is also rough-hewn, with rickety samples of boiling kettles and resonant moving air. Recordings from a vintage micro-cassette recorder contribute distortion, rattles and textures that serve as both percussion and abstract aural color. According to Morgan, the genesis for the album may have begun as he viewed an old VHS copy of the American experimental film Koyaanisqatsi. 'Something about the time-tarnished visuals and the pitch warble on Philip Glass's epic score added a new layer of intrigue for me,' says Morgan. 'Glass has always been an influence but lo-fi Glass felt like a minor revelation, as if the decay was actually enhancing the impact of the film's message.' The investigations on Monument Builders also took inspiration from the anti-humanist writings of influential philosopher John Gray, as well as photographer Edward Burtynsky's iconic aerial photographs of pollution and environmental destruction. 'Gray's writing, particularly his book Straw Dogs: Thoughts on Humans and Other Animals, reinforced a bleak notion I had that we humans don't have much say in how it all turns out,' says Morgan. 'With Burtynsky, I was struck by the fact that something so strikingly beautiful could be the result of large-scale waste and exploitation.' Monument Builders was composed during a period in which the life-and-death battles of close friends and family forced Morgan to examine his own feelings on mortality. In the course of that introspection, Morgan found himself buoyed by a feeling of celebration and a stubborn sense of survival -- an acknowledgement of what it means to be able to breathe and create amidst the clash of love and chaos. Ultimately, Morgan hopes the music here can offer listeners solace while leaving room for exploration and surprise."
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KRANK 205CD
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"From Steve Hauschildt: 'Strands is a song cycle that is about cosmogony and creation/destruction myths. The title alludes to the structural constitution of ropes as I wanted to approach the compositions so that they consisted of strands and fibers which form a unified whole. This was so the songs could have the appearance of being either taut or slack without being fundamentally locked to a grid. So the sounds/tones have a certain malleability to them and sound like they're bending through time. It's also grittier and more distorted than my previous albums. I wanted to try and capture that moment in nature and society where life slowly reemerges through desolation, so it has a layer of optimism looming underneath. The music represents this by seemingly decaying at times but then reforms and morphs in a fluid way back to its original state. I was also inspired by the movement of rivers, particularly their transformative aspect and how they're in a state of flux and change, in particular the Cuyahoga River in Cleveland where I live, which notoriously caught on fire thirteen times because of industrial pollution in the 1960s and before. I was very interested in the dichotomy of oil and water and the resulting, unnatural symptoms of human industry. It's a very personal record for me as it is a reflection of my hometown where I grew up and where it was mostly recorded. ' From Kranky: 'Graceful compositions flow throughout Steve Hauschildt's fourth release for Kranky following his Where All Is Fled full length from late summer 2015. The songs fluctuate from the serene calm of album opener 'Horizon of Appearances,' to the pulsing hypnosis of 'Ketracel,' and on to the searing grandeur of album closer 'Die in Fascination,' throughout, Steve remains restrained and in complete control of his sound.' "
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KRANK 205LP
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LP version. "From Steve Hauschildt: 'Strands is a song cycle that is about cosmogony and creation/destruction myths. The title alludes to the structural constitution of ropes as I wanted to approach the compositions so that they consisted of strands and fibers which form a unified whole. This was so the songs could have the appearance of being either taut or slack without being fundamentally locked to a grid. So the sounds/tones have a certain malleability to them and sound like they're bending through time. It's also grittier and more distorted than my previous albums. I wanted to try and capture that moment in nature and society where life slowly reemerges through desolation, so it has a layer of optimism looming underneath. The music represents this by seemingly decaying at times but then reforms and morphs in a fluid way back to its original state. I was also inspired by the movement of rivers, particularly their transformative aspect and how they're in a state of flux and change, in particular the Cuyahoga River in Cleveland where I live, which notoriously caught on fire thirteen times because of industrial pollution in the 1960s and before. I was very interested in the dichotomy of oil and water and the resulting, unnatural symptoms of human industry. It's a very personal record for me as it is a reflection of my hometown where I grew up and where it was mostly recorded. ' From Kranky: 'Graceful compositions flow throughout Steve Hauschildt's fourth release for Kranky following his Where All Is Fled full length from late summer 2015. The songs fluctuate from the serene calm of album opener 'Horizon of Appearances,' to the pulsing hypnosis of 'Ketracel,' and on to the searing grandeur of album closer 'Die in Fascination,' throughout, Steve remains restrained and in complete control of his sound.' "
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KRANK 203CD
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"The Benoît Pioulard Listening Matter is the sixth Kranky album from Thomas Meluch under the nom de plume Benoît Pioulard. It arrives on the 10th anniversary of his first LP, Précis, and offers a rekindled focus on self-examination, as well as a return to vocal-based pop structures following the mostly instrumental Sonnet (2015). Recording for the Listening Matter began during a period of grief, turmoil and self-medication, and continued throughout two years of growth and healing. Reflections on vice ('Layette', 'Anchor as the Muse'), virtue ('Narcologue') and death ('A Mantle for Charon') feature equally in this concise treatise aimed at the flawed-but-resilient core in us all. By coincidence this album was completed on the very day Meluch's only brother died; accordingly, it's dedicated to him and anyone seeking paths away from their demons."
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KRANK 203LP
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LP version. "The Benoît Pioulard Listening Matter is the sixth Kranky album from Thomas Meluch under the nom de plume Benoît Pioulard. It arrives on the 10th anniversary of his first LP, Précis, and offers a rekindled focus on self-examination, as well as a return to vocal-based pop structures following the mostly instrumental Sonnet (2015). Recording for the Listening Matter began during a period of grief, turmoil and self-medication, and continued throughout two years of growth and healing. Reflections on vice ('Layette', 'Anchor as the Muse'), virtue ('Narcologue') and death ('A Mantle for Charon') feature equally in this concise treatise aimed at the flawed-but-resilient core in us all. By coincidence this album was completed on the very day Meluch's only brother died; accordingly, it's dedicated to him and anyone seeking paths away from their demons."
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2LP
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KRANK 202LP
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Double LP version. Gatefold sleeve. "Physicalist is the third album from New York City synthesis trio Forma. Since their acclaimed self-titled debut in 2011, Forma have been perfecting a distinctive style of improvised kosmische and minimalism that blends swirling arpeggios, ambient soundscapes, and driving motorik beats. Physicalist is a sprawling, double LP journey featuring new member and multi-instrumentalist John Also Bennett. The first Forma album to include acoustic instrumentation, Physicalist owes more to American composers like Harold Budd or Terry Riley than Klaus Schulze and other Krautrock visionaries. The album was recorded during marathon sessions at Brooklyn's Gary's Electric studio, and is packaged in a gatefold jacket with original artwork by Robert Beatty and a liner notes essay by writer and critic Michael Barron. Physicalist was mastered by Bob Weston. Formed in 2010 by Mark Dwinell in Bushwick, Brooklyn, Forma released their first two full-length LPs on John Elliot's influential Editions Mego imprint, Spectrum Spools. Physicalist is the first full-length statement from the new lineup, which also includes founding member and percussionist George Bennett. The double LP contains two distinct halves; the first consisting of rhythmic compositions derived from the trio's formidable array of modular and vintage synthesizers, and the second breaking from the grid with ambient, free-flowing experiments on piano, flute and acoustic percussion. The album marks a departure from Cool Haptics, the group's techno-leaning 2014 EP on The Bunker New York. Physicalist takes its title from physicalism, the philosophical belief that all phenomena in the universe are created entirely from physical interactions. Using a synthesizer as its foundation, kosmische music turns algorithms into art by investigating infinite possibilities within a set of physical parameters. The electronic composer Laurie Spiegel once suggested that a looped algorithmic sequence could go on forever, and as long as humans were able to interact with it, it would never cease to interest us. This is the bedrock of improvisation, and it is from this vantage point that Forma have created Physicalist, an American kosmische music in which a boundless voyage gives way to a structured environment -- a programmed jazz with the grid as guidepost. 'We're not interested in providing an escapism for people,' says member Mark Dwinell, 'We want to instead connect with people through a vigilantly monitored present. To us, that real moment, shed of any fancy, is just as divine.'"
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KRANK 202CD
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"Physicalist is the third album from New York City synthesis trio Forma. Since their acclaimed self-titled debut in 2011, Forma have been perfecting a distinctive style of improvised kosmische and minimalism that blends swirling arpeggios, ambient soundscapes, and driving motorik beats. Physicalist is a sprawling, double LP journey featuring new member and multi-instrumentalist John Also Bennett. The first Forma album to include acoustic instrumentation, Physicalist owes more to American composers like Harold Budd or Terry Riley than Klaus Schulze and other Krautrock visionaries. The album was recorded during marathon sessions at Brooklyn's Gary's Electric studio, and is packaged in a gatefold jacket with original artwork by Robert Beatty and a liner notes essay by writer and critic Michael Barron. Physicalist was mastered by Bob Weston. Formed in 2010 by Mark Dwinell in Bushwick, Brooklyn, Forma released their first two full-length LPs on John Elliot's influential Editions Mego imprint, Spectrum Spools. Physicalist is the first full-length statement from the new lineup, which also includes founding member and percussionist George Bennett. The double LP contains two distinct halves; the first consisting of rhythmic compositions derived from the trio's formidable array of modular and vintage synthesizers, and the second breaking from the grid with ambient, free-flowing experiments on piano, flute and acoustic percussion. The album marks a departure from Cool Haptics, the group's techno-leaning 2014 EP on The Bunker New York. Physicalist takes its title from physicalism, the philosophical belief that all phenomena in the universe are created entirely from physical interactions. Using a synthesizer as its foundation, kosmische music turns algorithms into art by investigating infinite possibilities within a set of physical parameters. The electronic composer Laurie Spiegel once suggested that a looped algorithmic sequence could go on forever, and as long as humans were able to interact with it, it would never cease to interest us. This is the bedrock of improvisation, and it is from this vantage point that Forma have created Physicalist, an American kosmische music in which a boundless voyage gives way to a structured environment -- a programmed jazz with the grid as guidepost. 'We're not interested in providing an escapism for people,' says member Mark Dwinell, 'We want to instead connect with people through a vigilantly monitored present. To us, that real moment, shed of any fancy, is just as divine.'"
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KRANK 201CD
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"Precious Systems is inspired and influenced by the landscape in and near New Orleans, particularly the juxtaposition of the natural with industrial and commercial constructs as they reflect life here. The songs on the album attempt to create contrasts of their own as one means to induce unreality or alter perspective. While it is greatly influenced by science fiction, its sounds and stories often become it themselves. The sounds come from a variety of sources, but are anchored by a few aging, outmoded machines. A beloved Rickenbacker 3000 in combination with a Roland R-8 drum machine, and RE-501 tape echo set the tone of technology in subsidence. Melissa Guion is MJ Guider. She lives and works in New Orleans and previously released the Green Plastic extended play cassette in early 2014 on the Constellation Tatsu label. Employing heavy washes of bass and a deft touch in mixing, she uses stark contrasts to construct a semi-surreal aural space. What results are songs that exist in a wholly contained sound environment, minimal yet lush, spare yet saturated, and most importantly, entirely compelling."
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KRANK 201LP
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LP version. "Precious Systems is inspired and influenced by the landscape in and near New Orleans, particularly the juxtaposition of the natural with industrial and commercial constructs as they reflect life here. The songs on the album attempt to create contrasts of their own as one means to induce unreality or alter perspective. While it is greatly influenced by science fiction, its sounds and stories often become it themselves. The sounds come from a variety of sources, but are anchored by a few aging, outmoded machines. A beloved Rickenbacker 3000 in combination with a Roland R-8 drum machine, and RE-501 tape echo set the tone of technology in subsidence. Melissa Guion is MJ Guider. She lives and works in New Orleans and previously released the Green Plastic extended play cassette in early 2014 on the Constellation Tatsu label. Employing heavy washes of bass and a deft touch in mixing, she uses stark contrasts to construct a semi-surreal aural space. What results are songs that exist in a wholly contained sound environment, minimal yet lush, spare yet saturated, and most importantly, entirely compelling."
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KRANK 197CD
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"From Christopher Bissonnette: 'This new series of works reflects an evolution of my adeptness with modular synthesis. As with my previous release Essays in Idleness, Pitch, Paper & Foil was constructed from a range of synthesis and compositional techniques. The goal with this album was to form a collection that exhibits more restraint than previous works. Modular synthesis can be an unruly medium and taming it in order to produce delicate or subtle tones can be challenging. As with Essays..., I have allowed the artifacts of the process to find their way into the finished product. Tape noise, distortion and by-products of the random sequencing method all contribute to the character of the final recordings.' Continuing the explorations of the analog synthesizer first revealed on his last album, Bissonnette's deft touch in recording and mixing is a joy to experience. While most contemporary analog synth slingers find themselves unable to not overload the sound-field with the endless array of possibilities the instrument provides, Bissonnette provides a master class in economy and control."
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2LP
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KRANK 096LP
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"This is the first vinyl issue of the classic fourth loscil album originally released in May of 2006. from the original onesheet: Scott Morgan notes: Compositionally, many tracks on Plume are similar in approach to First Narrows; they started with a harmonic root from which sounds were processed into a loose structure over which the live players could improvise. There was substantially less editing this time around with the live tracks. I opted to choose the better improvised passes and merely mix them in and out rather than cut them up. I think this leaves a lot more natural space and balances the heavily structured and repetitive electronic elements with more organic performed layers. Jason Zumpano returned from the First Narrows ensemble and I also recruited long time friend Steve Wood and my partner Krista to play some ebow guitar as well as Josh Lindstrom to play some xylophone and vibraphone which added some new elements into the mix. Thematically, I stuck with things that are quintessentially loscil; flow, subtle movement, gradual transition, growth. Also of significance to this album is the family connection. 'Charlie' was composed after seeing and hearing my daughter Sadie through ultrasound while still in the womb. The track was also composed as a womb-like sound experience for her to sleep to after she was born, hence the heart beats."
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2LP
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KRANK 199LP
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Gatefold double LP version. "Album No. 3 from Christina Vantzou is the result of a two-year process of composing, arranging, rearranging, experimenting, and melding classical instruments with synths and electronics. Recorded in Belgium with a 15-piece ensemble of strings, horns, woodwinds and micro-choir, the tracks vacillate between orchestral, ambient soundscapes and more structured works that the composer refers to as 'pillars.' The internal core of the record, however, is unwavering. All tracks head in the direction of otherworldly drones surrounded by soft, subtle and sometimes intense veils or points. The structured tracks mark a new direction for Vantzou. Whereas 100% of the music on No. 1 and No. 2 was composed without time structure or steady click, the pillars on No. 3 adhere to a solid mathematical scheme. Perhaps Vantzou's day job as a math teacher is starting to have an influence. No. 3's virtual instruments and voice samples hearken back to Vantzou's time with The Dead Texan, specifically tracks like 'Aegina Airlines' and 'When I see scissors I cannot help but think of you'. The synths on No. 3 were given special attention and were recorded over a 2 week period using a DX7, Yamaha CS20, Roland Juno-6, and a selection of eurorack modular synths, making No. 3 very much a hybrid record, both symphonic and synth-based. To complete the album, Vantzou made 2 slow motion videos using a phantom high-speed camera and a 16mm short film."
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KRANK 199CD
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"Album No. 3 from Christina Vantzou is the result of a two-year process of composing, arranging, rearranging, experimenting, and melding classical instruments with synths and electronics. Recorded in Belgium with a 15-piece ensemble of strings, horns, woodwinds and micro-choir, the tracks vacillate between orchestral, ambient soundscapes and more structured works that the composer refers to as 'pillars.' The internal core of the record, however, is unwavering. All tracks head in the direction of otherworldly drones surrounded by soft, subtle and sometimes intense veils or points. The structured tracks mark a new direction for Vantzou. Whereas 100% of the music on No. 1 and No. 2 was composed without time structure or steady click, the pillars on No. 3 adhere to a solid mathematical scheme. Perhaps Vantzou's day job as a math teacher is starting to have an influence. No. 3's virtual instruments and voice samples hearken back to Vantzou's time with The Dead Texan, specifically tracks like 'Aegina Airlines' and 'When I see scissors I cannot help but think of you'. The synths on No. 3 were given special attention and were recorded over a 2 week period using a DX7, Yamaha CS20, Roland Juno-6, and a selection of eurorack modular synths, making No. 3 very much a hybrid record, both symphonic and synth-based. To complete the album, Vantzou made 2 slow motion videos using a phantom high-speed camera and a 16mm short film."
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2LP
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KRANK 198LP
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Double LP version. "Steve Hauschildt's new album is his first since the late 2012 release of Sequitur. Although Where All Is Fled sonically harkens back to his earlier albums such as Rapt for Liquid Minister and Tragedy & Geometry, it slowly becomes apparent that it is also a divergence from those recordings. Both the artwork and the music on this new work were heavily inspired by surrealist landscape paintings, early alchemical emblems, and recurring visions Steve had from dreams. The result is a pristine series of cascading melodies, fantastical terrains of layered lattices, and overlapping patterns of synthesizers superimposed with orchestral instrumentation. Hidden in the crevices of the album are processed crowd sounds, re-sampled text-to-speech synthesis, piano, and animal noises which reveal themselves after repeated listens and blur together notions of artificial and natural sound. While slowly unfurling, each sound is given it's own place and space, never hurried, never cluttered. The album is a modern kosmische milepost, and the most accomplished statement of Steve Hauschildt's vision yet."
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KRANK 198CD
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"Steve Hauschildt's new album is his first since the late 2012 release of Sequitur. Although Where All Is Fled sonically harkens back to his earlier albums such as Rapt for Liquid Minister and Tragedy & Geometry, it slowly becomes apparent that it is also a divergence from those recordings. Both the artwork and the music on this new work were heavily inspired by surrealist landscape paintings, early alchemical emblems, and recurring visions Steve had from dreams. The result is a pristine series of cascading melodies, fantastical terrains of layered lattices, and overlapping patterns of synthesizers superimposed with orchestral instrumentation. Hidden in the crevices of the album are processed crowd sounds, re-sampled text-to-speech synthesis, piano, and animal noises which reveal themselves after repeated listens and blur together notions of artificial and natural sound. While slowly unfurling, each sound is given it's own place and space, never hurried, never cluttered. The album is a modern kosmische milepost, and the most accomplished statement of Steve Hauschildt's vision yet."
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KRANK 196CD
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"When I was a child, I spoke to Helen.
"Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar), Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (backup vocals). Originally started with the intention of being a thrash band, it turned into something else entirely. The Original Faces was recorded over a period of several years in Portland by the band members and their friends Nick, Chris, and, largely, Justin Higgins. Written together, some songs based on Liz and Scott's demos."
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