Carn is the startling new album from Kemper Norton and something we hold to be an entirely unique artistic vision.
Born of personal experience and “based around two uncanny experiences I had at two different locations – one in Cornwall, one in Sussex…” Carn’s self-defined slurtonic world encompasses drone, glitch, drift, folk song and divine melody.
These 12 hypnotic investigations occupy a unique emotional landscape where the uncanny melts into a wide-eyed surrender of moment and memory and even those darker shadows are bathed in a sidereal halo of warm light.
A mixture of traditional and synthetic utilising laptop, harmonium, voice, Casio and found sound Carn is the sound of the children of Coil reaching maturity…
2. Velan Dreath 1
3. Colour The Ocean Pink
4. My Ath Kar
6. Velan Dreath 2
8. Nucker Hole 1
9. Seven Times Around
10. Tenantry Down Wassail
Starlings is an album born of two excitements, two moments whose physical place shapes the resonances on it. First, Tundla Station, evening: stepping down from thirty-six hours on a train and walking back into the body of the building, feeling the travel that had been hanging so heavily slip off.
The arches of the place were alive with birds, flicking off the walls and the top of the crowds, delicate bodies who seemed drawn up, in ever more numbers, to the vaulted roof, where they were coming into roost. The host of them were all singing, in a high, pure pitch that was contained and multiplied by the masonry of the station into an incredible noise, loud but not painful. Walking through that station and out again into the night was one of the most exciting aural events of my life. I found out later they were Starlings.
Secondly, the album is very much about moving to London, after looking forward to it for so many years, and just being overwhelmed by things to do and the places to do them in. The East London Line extension had just opened, and I was up and down this railway all the time, and the spaces of this travel were just incredible to me.
The brutalist intervention of the new stations, into what is otherwise a very old railway line, brimming with clichés - the dripping tunnel under the river, the elevated section on Victorian arches - helped to fix my ideas of London's special syncretic character. That character very directly fed into the making of the album, and the kinds of sounds and atmospheres used.
Jacob Burns: London, June 2012
I’ve Come to Love You Forever is the strangely beautiful debut album from Michael D Donnelly (Delicate Awol, Rothko, Elite Barbarian) which melts down early Jah Wobble, Dickie Landry, Archie Shepp, My Bloody Valentine, Stephen Mallinder, Kevin Drumm, Autechre and a host of others to sculpt an addictively original, largely instrumental sound world.
Utilising bass guitar (deployed in a variety of different modes), synthesiser, cheap kids keyboards, various percussion (cattle bells, thumb piano, glock) drum machine, sampler and found sounds the end result is a haunting slab of rust-coloured brittle cinematic post-rock – a lone British Tortoise rewired for a cybergothic post-Terminator landscape. Sinister, exploratory and spacious with a paradoxically clattering liquid production I’ve Come to Love You Forever sees Donnelly assert himself as a truly distinctive voice.
Michael D Donnelly played bass with Delicate Awol from 2000 to 2003 before joining the second version of Rothko with founder member Mark Beazley and Tom and Ben Page (now of Rocketnumbernine and also ex of Delicate Awol) until they disbanded in 2010. During this time he also joined Ben Page in Elite Barbarian releasing their debut album on Front & Follow.
Begun in 2011, the album was recorded in Mile End and mixed by Donnelly and Mark Beazley in Walthamstow with Mark contributing bass to some of the tracks.
The album will be preceded with a mind-wrecking piece of animation by Scott Byrne of Schema Film for Behind the Laburnum
Shape Worship is the solo project of Ed Gillett and Observances is his official debut release after a couple of tantalising homemade demo EP’s. In his own words, Ed is interested in “the creative use of repetition, open collaboration, the enjoyment of mistakes and sub-bass.”
Taking broken 2-step beats and early 90’s techno (think of those early Black Dog Production 12’s) Shape Worship exists in a richly expansive dreamscape – warmly haunting and strangely benign. This is a gently maximalist universe where machine rhythms mix with organic texture (glazed bells, strange strings, crackling sticks), hall-of-mirrors vocals and wide-eyed synth melodies.
Although Shape Worship never loses sight of the dancefloor these are beatific sonic mandalas – complex shifting structures causing temporal dislocation and unravelling emotion - you start here and now you are here and now you are somewhere else. I come back to them over and over again as I never can quite remember what happened the time before and also… this is healing music, a balm that bends the bodybrain whilst protecting it. And if I’m making it sound all too gentle you’ve got me wrong – there’s pure disorientation from start to finish – it’s just you’ll come out a better person for it.
4. Air White Smoke Signal
Haunted soil… Abstract electronic transmissions from A Field in England…
Set within a landscape of sugar beet factories, deep murky fishing ponds and nettle strewn country lanes, Bloodhounds is a sonic exploration of a childhood spent in the English countryside.
Time Attendant is Paul Snowdon, a painter and musician recovering from a rural Northern upbringing by eking out a liminal existence across South East London bunkers. Following on from the highly acclaimed Treacherous Orb EP (More Than Human) and from startling contributions on The Outer Church compilation (Front & Follow), Moon Wiring Club’s specially curated Down By The Silver Sea (Gecophonic), and an astonishing set in late 2013 (accompanying the silent film L’inferno (Helios Film version, 1911) at the BFI in London, Exotic Pylon is slobberingly psyched to present Time Attendant’s debut album Bloodhounds which drops on vinyl and digital on July 7th 2014.
Continuing and expanding upon the strange strain of medieval acid (©Kek-w (Hacker Farm)) first explored on 2012’s debut 12” Tournaments Snowdon has pushed his highly original and peculiar vision into the strangest of corners collaging stuttering sine beats, lost in fog voices, surreal fanfares and sci-fi dub reverb around a minimal but endlessly flexible array of analogue boxes with just a modicum of digital post-production. This is genuinely Radiophonic – an unconscious misuse of equipment to paint inexpressible sound worlds, Snowdon being as influenced by contemporary electronica as he is by the secret history of electronics reared in academic laboratories from the early 20th century and onwards.
Like unearthing lost Brutalist architecture at a village fete, Time Attendant brings out the paradoxical pains and pleasures from an environment where the concepts of industrial and rural are rendered meaningless. Like the beautifully unique paintings that Snowdon creates Bloodhounds is the pinnacle of his sonic vision thus far – an earthbound sci-fi expose of the mud and stone beneath our feet.
1. Ermine Fever
2. Nettle Sting Riddle
3. Inky's Pitch
4. Crystal Mascot
1. Sugar Beet Perfume
2. Stalking Lines
3. Flashy Pointer
4. Fuchsia Circles