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The shift to a studio environment was a significant one, since Able Noise was primarily conceived as a live band, thinking of and writing for the live concert experience specifically. Consider their practice an Active Performance of sorts, one that seeks to challenge understandings of the medium of the live arena, how its properties and limitations can be addressed creatively, and the dialogical relationship between performer and the audience. Those who have caught them live will have witnessed very physical yet malleable performances, shaped each time by the context at hand, be that the time of day, the acoustic properties of the space, and the shared energy of the assembled patrons. True to this approach, the pair have embarked upon the recording of their debut album with a similar exploratory impetus. In a studio without a physical audience to confront, the questions are suddenly quite different: how does one create a definitive recorded music initially rooted in improvisation, how is that recording then listened to and understood, and, without the spectacle of performance, how is it possible to work with the sense of hearing alone. Unsurprisingly, the music of High Tide is significantly different to that of an Able Noise live set. Minimalism has been traded for a detail-oriented approach, the limitations of two sets of hands suddenly lifted by the possibilities of multi-tracked thinking, post-production and various processing techniques. Real-time gives way to fragmentation, distortion and dilation, and the shift is notable - High Tide is a woozy and often disorientating listen that plays quick and easy with conventional notions of structure, at once both centreless and impressionistic, yet somehow guided by an imagined formless space. Reliant much less on their own capabilities - and limitations! - as musicians, Knegtel and Andropoulos heartily invited the contributions of friends from both their local Athenian music community and those made while playing the UK, with the important disclaimer given that anything played during the recording session will not sound the same once on record. The result is duos, trios, quartets and sextets playing in different experiences of time, and on dynamic scales vastly different from one another, brought to equal footing. Critically, the wholesomeness of their creative communion belies the darker theme of inertia that the pair acknowledge runs throughout the album, a sense of bodies of very different weights and momentums existing alongside each other, either adapting to or clashing with one another. In short, the outside world can’t help but seep in, even as you create within your own hermetic universe - the feeling of hopelessness amidst endless political and social strife, obsolescence in the face of technological development, time’s inexorable march. These are things we’ve all felt, and while High Tide, like much before it, doesn’t provide any definitive resolution for these challenges, it does present its own set of unique possibilities written in the shared language of its creators. 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Her delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. “I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes,” says rousay. The album balances the poetic soul of her influences with a documentarian heart, rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. Her innate ability to conjure pure feeling from sound derives from her delightful embrace of pop forms, the vulnerability found in field recordings, minimalistic arrangements and innovative sound choices. sentiment is blissfully, achingly melancholic, and an undeniably sensual listening experience. 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Cheri Knight, a music composition student at the Evergreen State College, is developing her practice in a quaint but adequately equipped campus recording studio, amalgamating with the sonic timbre of the surrounding time, space, and place, while devoting to her own inner maxims. At once performative and meditative, electronic and organic, collaborative and self-contained, Cheri’s early compositions are simultaneously complete and sketches of a ceremonial process at play. American Rituals captures the artist’s environmental emergence, unearthing a unique compositional voice and signposting a regional sonic ethos. The path to Evergreen seems gently preordained for Cheri, a whisper in the trees. Growing up in a musical household in Western Massachusetts, she learned to play piano and clarinet, demurring from notated music but composing piano pieces in the minimalist mode of Erik Satie and folk songs inspired by Joni Mitchell. In high school, her class studied John Cage’s work, an epiphanic moment for the young artist. The group also visited a studio outside Amherst where she encountered the modular limitlessness of a Moog synthesizer. Cheri studied philosophy and music at Whitman College in Washington, and then took a year to build a stone house with some friends in New Hampshire. She settled at Evergreen soon after, carrying with her a zeal for improvisation, creative investigation, and hands-on experimentation. The seven works anthologized on American Rituals are foremost an expression of Cheri’s elemental approach to creating, rather than writing, music. Polyvocal chants, spoken-word collages, primal post-punk excursions and hymn-like incantations are bound together by a performative energy; a Cage-ian commitment to the present moment which harbors a meditative interior. The first piece Cheri made at Evergreen manifested when a multi-tracked mic test spontaneously evolved into a vocal ostinato. This experience of layering her own voice allowed Cheri to see images of the sounds she was making “in real time.” In Cheri’s music, language takes on a playful, fluxist, material quality as it is patterned in space. This word play is most evident in pieces like “Prime Numbers” and “Primary Colors,” which uses speech as an elemental material forming our changeable perception of the world. Channeled through the human voice, which is instrumentalized in every piece on American Rituals, language becomes a mutable force and a virtuosic apparatus. Spoken, sung, recited, incanted, chanted, instructed, whispered. It asks us to breathe, in and out. It tells us stories, reads us instructions, reminds us of water. Through rhythmically repeated speech patterns and flowing turns of phrase, the voice conveys ritualized patterns of everyday material becoming beautiful and strange, musical and memorable, conceptual and devotional. The musical output of Evergreen entering the 1980s should not be underestimated in its contribution to the burgeoning Seattle-Olympia DIY axis, with pieces on American Rituals evidencing a contagious ethos and aesthetic. K. Leimer’s Palace of Lights label first issued Cheri’s “Primary Colors” and “Hear\/Say” as part of its 1982 compilation Regional Zeal, Mouth Music From Olympia Washington, while “Prime Numbers” and “Breathe” were included on the Steve Fisk - produced compilation Dub Communiqué the same year. But beyond catalog crossover and collaborative evolution, there is a shared sonic energy coursing through American Rituals which speaks to an absorption of place, of atmosphere, of weather. During a peer pilgrimage to the 1981 New Music America Festival in San Francisco, a change in weather was forecasted when Cheri met composer and theorist Pauline Oliveros. She spent part of her final year at Evergreen independently studying at the Zen Arts Center in Mount Tremper, New York, with Pauline and her partner, the performance artist Linda Montano. Aligning with both luminaries amplified the artistic and philosophical resonance of Cheri’s work, bringing tenets of Buddhism and Living Art into both her artistic and life practice. Following these principles, Cheri’s art eventually did become absorbed into life: living on a farm with goats in rural Massachusetts, writing songs, playing in bands, and eventually drifting away from music and into other things. But as is often the case, the path taken is never forgotten, only temporarily out of mind. With the help of old friends and new, the music of American Rituals was salvaged (not without hundreds of emails and phone calls) from master tapes stored in the collections of various peers and recording engineers from the extended Evergreen set, and is re-presented\/ represented now with care. Cheri Knight’s American Rituals arrives in vinyl and digital formats July 15, 2022 from Freedom To Spend. A portion of the proceeds from this release will benefit Draft Gratitude, a draft horse rescue in Winchester, New Hampshire dedicated to saving the lives of senior working horses. TRACKLISTING A1. Prime Numbers A2. Tips On Filmmaking A3. Hear\/Say A4. Water Project #2261 B1. Primary Colors B2. Breathe B3. 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With every Grails album released since Doomsdayer’s Holiday being a sprawling double-album endeavor, Anches En Maat was conceived as a return to the comparatively efficient single LP runtime. With that, Grails set out to craft the same sonically dense world that their longer albums showcased, while trading singular indulgences for live collaborative interplay. The core group of founding members Alex Hall and Emil Amos (Om, Holy Sons) joined Jesse Bates, Ilyas Ahmed, and AE Paterra (Zombi, Majeure) in Atlanta, GA to record Anches En Maat together a novel event for a band who had become so accustomed to recording separately and then labouring in post-production for months or even years on end. An improbable blend of melted 1980s softcore and daytime soap opera soundtracks, cosmic minimalism, aching Westerns, melancholy electronic pulses, and massive soul-disco strings, Anches En Maat is one of Grails’ most ambitious albums of their 20+ year career. Through continually refining and maturing their vision as a band, Grails have stumbled upon a reprogramming of their internal logic and come out the other side with a new defining statement. Track Listing: 1. Sad \u0026amp; Illegal (5:05) 2. Viktor’s Night Map (5:03) 3. Sisters of Bilitis (5:32) 4. Pool of Gems (3:10) 5. Evening Song (3:48) 6. Black Rain (4:49) 7. 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The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs \u0026amp; Champagne) and Alex Hall (Lilacs \u0026amp; Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion – and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) – Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails’ most sentimental and high-minded trip yet. Tracklisting: 1. 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Iris Silver Mist is named after a fragrance made by the nose Maurice Roucel for the French perfume house Serge Lutens. It’s described as smelling more like steel than silver. It is cold and prickly, soft and shimmering, like stepping outside on an early, misty morning, your body still warm from sleep. A perfume, with its heart notes and scented accords, shares its language with music. Both travel through air, simultaneously invisible and distinct. Rather than begin with music, Iris Silver Mist began with the absence of it. As the pandemic led to no live music, the smell of cigarettes, soap, and the sweat from warm stage lights and shared bathrooms was replaced by unphysical, algorithmic listening at home. Suddenly, and for the first time since she was a teenager, Hval found herself growing interested in perfumes. Smelling, reading, collecting, writing—she immersed herself with scent while her music was put on hold. It took her a year to understand what was happening, until she did: she was seeking another way of sensing physical intimacy. Where music had turned into a void, she filled it with fragrance. Throughout Iris Silver Mist, perfume continues to turn into smoke, mist, and music. On lead single, ‘To be a rose’, Hval half-speaks, half-sings to the beat of a drum machine: “A rose is a rose is a rose is a cigarette.\" Roses and cigarettes are romantic forms of wishful thinking, transporting you someplace else. Of the track, Hval says: “’To be a rose’ was written as a restless pop structure. It has a chorus, with chords and a melody, but each chorus sounds slightly different, like we are experiencing the melody from different seasons, decades or even different bodies. The clichéd rose metaphor in the song is equally restless. It can change shape into a cigarette and then evaporate to smoke. My mother and I (two restless humans) are both present in the song: ‘I was singing in my room, she smoked on the balcony\/Long inhales and long exhales performed in choreography.’ If about anything, ‘To be a rose’ is about how one thing becomes another thing, how we all come from somewhere and someone, and how this is stranger and more powerful than we think.” Tracklisting: 1. Lay down 2. To be a rose 3. I want to start at the beginning 4. All night long 5. Heiner muller 6. You died 7. Spirit mist 8. I don’t know what free is 9. The artist is absent 10. Huffing my arm 11. The gift 12. A ballad 13. 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RIYL: Dirty Three, The Body, Stars Of The Lid, Kali Malone, This Will Destroy You, Sarah Davachi, Thee Silver Mt Zion. 180g LP pressed at Optimal with 350gsm Arktika jacket + 300gsm Arktika inner + DL card. Galaxy Heart is the companion album to Phosphenes (Nov 2021) and completes an intensive body of work that Montréal composer-violinist Jessica Moss wrote, performed and self-produced in deep isolation throughout 2020. As A Closer Listen wrote in its Top Ten Modern Composition list for 2021, “few musical voices represent so well the estrangement and intensity of our times; Moss is among the best of them.” Galaxy Heart consolidates this assessment, revealing the more exploratory and extemporaneous side of her profoundly expressive instrumental lyricism. Where Phosphenes showcased some of Moss’ most deliberate and accomplished post-classical compositions to date, Galaxy Heart quivers with a raw and searching energy, juxtaposing rough-hewn and honed pieces. Expanding the palette to include spiky semi-improvised electric guitar along with remotely-recorded guest contributions from drummer Jim White (Xylouris White, Dirty Three) and contrebassist Thierry Amar (Godspeed You! Black Emperor) on a couple of tracks, the album inscribes a (mostly) instrumental space of bristling anguish, melancholia, resoluteness and conviction. Opening with the distorted dissonant string clusters of “Resistance Creature” and the through-composed knock-out “Uncanny Being”, with White’s roiling drums and Amar’s upright bass the simmering substratum for Moss’ alternately gritty and rounded violin movements, Galaxy Heart pivots to electric guitar and sludged post-industrial drone on “This Continuous Spectrum”, a descending melodic motif recurring over doomy low-end bursts and a slow broken-steam engine beat. Side One closes with two vocal tracks: “Is There Room For All Of It” (again featuring White and Amar) has Moss singing and playing organ in a spine[1]tingling longform unison melody; the chilling title track “Galaxy Heart” calls back fractured electric guitar and droning pulse, with Moss belting out initially strangled, strident lines that give way to gently layered voicings in a cratered spaciousness these dynamics then cycling forward like the sequences of a dying star. Side Two features three superb violin études, each distinguished by Moss’ distinctively amplified violin timbres and her unique ear for the tropes of various folk traditions, interspersed with the plaintive but stately vocal song “Enduring Oceans”, and closing with “Opened Ending”, her mesmerizing contribution to Constellation’s Corona Borealis Longform Singles Series from 2020, previously released only as a digital track and short film by indie legend Jem Cohen (Fugazi’s Instrument documentary, Benjamin Smoke, Museum Hours). Galaxy Heart is cosmic music of dark matter and interstellar dust, of gravitational waves and celestial grit that connect messy terrestrial life with its human, animal, natural suffering and beauty to chaotic and unruly universal forces. Tracklist: 1. Resistance Creature 2. Uncanny Being (Violin Study #2) 3. This Continuous Spectrum 4. Is There Room For All Of It 5. Galaxy Heart 6. Light Falls On Every Door 7. Uncanny Body (Violin Study #1) 8. Enduring Oceans 9. 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As the Frontera recordings demonstrate, this music also works powerfully and exceptionally well on its own: oscillating between tension and release; evoking open, anxious interzones and closed, claustrophobic spaces; conveying an overarching landscape of forbidden access, foreclosed movement, and the unfathomable multiplicities of trauma and resilience that occur under our dehumanising international apparatuses of inadmissibility and control. “Grid\/Wall”, “Fences” and “Parkour” combine electronics and spartan four-piece avantrock that set bodies in alternately furtive and laboured motion. The pulsing synthetics and noise textures of the more overtly technetronic “Scanner”, “Scaling”, “Body Pressure” and “Frontier” pin bodies down, whether hiding in corners, crawling for cover, or exposed to the searchlights. Field recordings contributed by David Bryant (Godspeed You! Black Emperor, Hiss Tracts, Set Fire To Flames) comprise some of the raw material here too. The Frontera album tracks faithfully to the narrative of the original work, where eight movements (featuring a company of 10 dancers) flow from controlled chaos and tensely choreographed kinetics to slow, wrenchingly austere set pieces. This tremendous multimedia performance—framed by the stark and peerless lighting design of United Visual Artists—is a discerning and deeply affecting meditation on borders and surveillance, resistance and separation, solidarity and cooperation; bodies blocked and restrained, monitored and pursued, hiding and escaping, yearning and overcoming. After touring as the live band for the FRONTERA dance production into early 2020, the pandemic brought further performance dates to an abrupt halt (along with Fly Pan Am’s own scheduled UK\/EU tours, in support of their terrific 2019 comeback album C’est ça). But during an easing of lockdown restrictions in late summer, the band was able to convene with Constellation’s go-to producer Radwan Moumneh at the storied Hotel2Tango in Montréal to put this soundtrack to tape. 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On Dream Less Suite, the first new album by The Hafler Trio since 2016, Andrew McKenzie unearths, resurrects and completed recordings he made through the years with Genesis P-Orridge. This 2LP features soundtracks to unfinished films, live performances and the real versions of tracks you know and love, released for the very first time and mastered from the original reel to reel tapes. Expect the unexpected and be prepared for the unprepared. File under: Subliminal soul music for the very faint-hearted. Demented disco for insecure insomniacs. Asymmetric acid for hoovering hipsters. Immersive polka for naughty night nurses. Soothing sounds for crying babies. Liberating latin for lesbians on xtc. Transcending tribalism for jogging junkies. Frenetic freakbeat for nihilistic numerologists. Jiving jazz for tyrannic transgenders. Hypnotic exotica for corrupt gymnastics. Indescribable sounds for angry journalists. Endless entertainment for everyone and the rest of the family. All f#cks given 2.0 Masters at work. A1. Genesis P-Orridge \u0026amp; The Hafler Trio - Better Not To Begin A2. Genesis P-Orridge \u0026amp; The Hafler Trio - Alaura (yes) A3. Genesis P-Orridge \u0026amp; The Hafler Trio - Veiled Threat (extract) B1. Genesis P-Orridge \u0026amp; The Hafler Trio - ??????? B2. Genesis P-Orridge \u0026amp; The Hafler Trio - Slave Priest (yes) B3. Genesis P-Orridge \u0026amp; The Hafler Trio - Hope dies Now, Gratefully C1. Genesis P-Orridge \u0026amp; The Hafler Trio - E-am-E D1. 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Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO Montréal producer and sound collagist Joni Void returns with their warmest and most welcoming album yet, wedding their sampledelic songcraft to rubbery and percolated downtempo beats. Every Life Is A Light expands on Void’s recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void’s acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic broken machine kinetics of earlier Void, summarized by Sasha Geffen as “drawing despair and wonder from within the vast unfeeling of digital communication” in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it’s the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void’s raw materials continue to draw heavily from samples (their own Walkman cassette field recordings and songs by others) and from a wide community of musical guests. Vocalists Haco on “Time Zone” and Ytamo on “Cloud Level” help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single “Vertigo,” a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones’ “Nightclubbing” covered by Animal Collective. One of Void’s greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on “Story Board.” The album’s two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on “Muffin–A Song For My Cat” and the languid sampled bass riff and breakbeat of “Event Flow,” are perhaps most overtly ‘lofi chill.’ Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, ‘imperfectly’ in the moment. Dozens of these polaroids adorn the album’s back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. 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