Straight out the gate and into 2016 is Trade And Distribution Almanac Volume Five, the latest in the ADAADAT label’s on-going series of compilations exploring the fringes of contemporary experimental electronic music. And just look which contemporary experimental fringe-bothering duo have been chosen to kick the proceedings! You can hear Howlround’s contribution, exclusive new track ‘Bush Fountains VIP’ by clicking here. The opening track on the compilation, it features a sample of a drinking fountain recorded in Bush House that somehow managed to get left out of the Ghosts Of Bush sessions.
Must say I’m very pleased to have been asked to contribute as releasing something on ADAADAT has been on my bucket list for the best part of a decade, thanks to it’s long and distinguished catalogue that also includes chip-tune gabba classicism from the mighty DJ Scotch Egg, splattery hardcore from Germlin and pretty much everything else from the criminally-overlooked Hungarian Surf-rock duo Agaskodo Teliverek (seriously, watch the video). Still alive and well today, ADAADAT’s latest release features twenty solid tracks of contemporary experimental electronics by the likes of Rutger Hauser, oMMM, Atom Truck and label head Romvelope. What’s not to like? Thanks to Mr. Bjørn Hatleskog for masterminding this one. We owe you a shandy!
In other new release news, goodly egg and fellow Radiophonicist Matt Saunders formerly of 4AD darlings Magnétophone is all set to launch the latest album from his Assembled Minds alias. Creaking Haze And Other Rave Ghosts is the inaugural release on Patterned Air Recordings and has received airplay from Gideon Coe and Tom Ravenscroft on 6Music and the nod of approval from Simon Reynolds and Wyrd Britain amongst others – and deservedly so, it’s a fine piece of work. I was very pleased recently to receive a CD in the post, which arrived in the most splendidly elaborate packaging, with lots of inserts, sleeve-notes and a nice leather cord to keep it all in place. It also contained a press release, which, as has become something of a tradition, I feel moved to quote from at length, rather than come up with any fresh ideas of my own. It’s been a rather long day, you see:
This is an album that almost doesn’t exist. It’s a cloud of old memories, a collective remembrance-pool of distant Saturday nights out, rave-fields, night-clubs, dancing getting intimidated, getting high, feeling the love of the tribe but always looking over your shoulder for some dark threat or other (and best not to mention the bad trips).
Creaking Haze is foggy, hauntological techno; a strange mix of British suspense/horror film tension and euphorically happy-beat-cycling. Listen closely and you’ll hear rust-flakes from the eerier moments of Tubular Bells, broken pistons from a flipped Detroit techno juggernaut, even flickery moon-bell-echoes of Morris jigs and baton clashes. It’s a wyrd electronic album of rural myth and country-fear and it’s flipside, city-rites and night bus anxiety…
Can’t argue with any of that, can you? Though I must say, having read both press release and sleeve-notes before listening, I was fully expecting it to be a rather gloomy and fragile ‘Death Of Rave’-style affair, like the work of occasional collaborator Farmer Glitch’s erstwhile Hacker Farm, Leyland Kirby or even one of Burial’s slightly less polished efforts. And while there is nothing wrong with any of that in the slightest, this album is actually a more rousing effort, mixing its fuggy and spectral electronics with liberal dollops of house and techno and pushing up the tempos steadily as the album progresses. Either way, it’s been on solid rotation for the last few weeks here at Fog Towers, particularly in the mornings, when I take it with coffee whilst trying to prepare myself for the day’s first coherent thought. Early contender for album of the year? Quite possibly…
Buy it here and check out the Patterned Air’s website here. The label claims to fall in the sweet spot between ‘early electronics, old techno, classroom composition, sleep music, general eeriness and weird things’, which I’m guessing will tick an awful lot of boxes for you as well. One to watch, I shouldn’t wonder, especially as there is said to be a collaborative work between members of Coil and Mount Vernon in the works. Now THAT should be interesting!
Pleased as punch to be part of this stellar line-up celebrating the launch of Buried Treasure’s gorgeous new 19-track concept compilation of modern day Radiophonia. The album (available here) is available now on CD for a mere SIX POUNDS and tickets to the launch party (available here) for include a complimentary download. I’m told both are selling fast, so don’t sleep on this one! Please enjoy this rather super trailer with further atmospheric details:
Excited to announce I’m off to Indonesia for a week hunting for new sounds to incorporate in some future work, and am looking forward to some adventures in the land of gamelan and birdsong! This means I will be largely out of contact for the next week and unable to respond to the usual deluge of listeners’ letters, fan mail and demands for cash, so please bear with me. I shall certainly be back in good time for Howlround‘s tour with William Basinski & Kepla – I wouldn’t miss it for anything and the London date at Cafe Oto sold out weeks in advance!
Hopefully all should tick over quite nicely for a week in my absence. Album number FOUR is currently being manufactured and I hope to have a further update soon. But for now, I thought I’d leave you with this extract from the Howlround archives while I’m away, especially as today, Friday 4th September, marks two years since the official launch of our second LP Secret Songs Of Savamala in Belgrade, Serbia:
The album launch party, as you may recall, took place within the ruins of The Spanish House, the former customs building with the highly evocative flooded basement that had inspired its creation . The above film, created by combining the first side of the LP with the beautiful photography of Milica Nikolic Micikitis, was screened that evening to an crowd packed with collaborators, colleagues and friends, sounds and images reverberating off the roofless walls and into the night. It was a very special feeling to be able to return the sounds back to their source, though for some reason I’ve never shared it online until now.
My grateful thanks go once again to Milica, vocalists Mirjana Utvić and Anita Knežić, Leila Peacock, Axel Humpert and the staff of Camenzind Belgrade, NO-FM and the Goethe Institute. Good friends all and I miss them. Hopefully we’ll all work together again before very long. Belgrade certainly isn’t short on items of sonic fascination!
For further details on that album’s gestation, you can also check out this archive interview with Tiny Mix Tapes from a few months later where I talk about …Savamala and also its predecessor, The Ghosts Of Bush. Thanks once again to Daniel Emmerson for this one!
Right, that’s quite enough nostalgia to be getting on with, better dash to the airport. Hopefully see you at Cafe Oto on 15th!
Howlround back in the lab for one final stab at finishing the new LP. This Vine video uploaded by Chris during the session (he has a smartphone!) caused much excitement on Twitter over the weekend, so I thought you might appreciate a re-appraisal. Look closely and you’ll count four machines in use simultaneously, with tension and restraint being provided in the absence of a mic stand by Buddah (which is oddly appropriate), the handlebars of my bike, a pint glass full of batteries and small change; and of course my ‘Stockhausen Syndrome’ mug, which is probably the single funniest object I own…
A number of surprisingly effusive people have already contacted us enquiring just what kind of composition were we cooking up with such a glorious tangle of tape and when they would be able to hear the results? Well, sooner than you might think as it happens as I shall be doing a turn on Stuart Maconie’s Freakier Zone on BBC Radio 6 Music this coming Saturday evening. We’ll be discussing the relationship between music and foley, which is of course PURE HOWLROUND TERRITORY, so I’ll be playing some selections from our catalogue including an extract from this latest work-in-progress, as well as examples of some of my favourite ‘composed sound effects’ from the great Radiophonicists of the past. There might even be something from the forthcoming Howlround album! Join us there, won’t you?
Now that the dust has settled, Howlround would like to say a huge thank you to everyone who attended both our performance and sound installation as part of the Jardins Efémeros Festival and also to everyone who helped in making it come to pass. There are far too many people to name individually, but particular gratitude must go to Sandras Oliverira and Rodrigues, Filipe Oliveira, Lino Ferreira, Jose Cruzio, the staff of both the Nacional Museum Grão Vasco and the Funerária D. Duarte and of course the ever-resourceful sound engineers Cristóvão Cunha and José Marques for putting up with our myriad of strange demands! And of course to Rui Miguel Abreu for kick-starting our participation in the whole affair – we owe all of these people several beers and will do our best to make good on this at some point. It was certainly one of our most memorable performances both for location, attendance, reception and dramatic incident – though thankfully poor Delia now seems to have recovered! Here’s a brief extract again in case you missed it:
And what a magnificent festival it’s been, encompassing performances, installations, workshops, sculptures, exhibits and DJs that took over the whole town, attracting both young and old, local and international. Unfortunately, the preparation of our own works required much squirrelling away in the backroom of our temporary studio-cum-abandoned-tie-shop and missing some fine work as a result, but we did our best to catch up where possible. Pye Corner Audio (the only other UK act on the bill) and Not Waving‘s joint set was predictably awesome but there were plenty of new personal discoveries too including supercharged garage punk from Dirty Coal Train plus ethereally brilliant solo sets from Johnathan Saldanha and Hysterical One Man Orchestra, both of HHY & The Macumbas. To our great regret we missed their group’s collective performance due to being locked in the museum (and who hasn’t had that happen to them at some point?), but made up for it with Lybomyr Melnyk‘s lengthy, dexterous and evocative solo piano works in the splendour of Viseu’s 16th Century Cathedral, not to mention Barcelona’s Eli Gras incorporating sound toys and bizarre home-made instruments into a set that had all the infectious enthusiasm of a kid in a sonic sweet shop. Away from the live music, DJ Sonido Tupinamba dropping some Yma Sumac and Martin Denny in the town square was a perfect backdrop to a restorative afternoon beverage and I really should also thank that one bar (the name of which escapes me) that both allowed and encouraged me to spin Oldskool Hip Hop on a borrowed laptop. Fun times, but there’s so much that I’ve left out!
Sadly the festival (including our sound installation at the Funerária) ends this weekend, but if you’re in the vicinity there’s still plenty to see before the curtain comes down and the gardens themselves are cleared away on Sunday night. Our thanks go once again to festival curator, organiser, lynchpin and hardest working woman in Portugal, Sandra Oliveira, for putting the whole thing together and not sleeping for days. We’re hoping you get to have a holiday at some point – and that you’ll let us come back next time!
A rather hurried post at the culmination of a manic week preparing for our sound installation and performance for the Jardins Efémeros Festival in Viseu, Portugal. A more considered write-up will doubtless be forthcoming, but for now I thought you might enjoy these images and this extract from last night’s set in the magnificent C15th cloister of the Nacional Museum Grão Vasco – our first ever open-air performance!
Thankfully the intense heat combined with a slight breeze that threatened to blow our tape loops around had calmed by the time of our 23.30 performance, though the evening was not without its dramatic moments, including a significant chunk of our set in which our reel-to-reel machine ‘Delia’ appeared to give up the ghost completely. For added intrigue, it just so happens that our performance occurred on the 14th anniversary of the death of her Radiophonic namesake. I’m not a superstitious man, but I’m pretty certain there’s some symbolism at work in there somewhere. Thankfully she clicked back into life after some tense moments and a lot of silent pleading and is now recuperating in our surprisingly plush hotel:
Away from the stage, our sound installation at the Funerária D. Duarte runs throughout the festival and thanks must go to the staff for being so obliging in allowing us free play among the coffins in the back room.
The work itself is some twenty-seven minutes in total and consists of the Funerária staff (all members of the same family) talking about their work mixed in with a soundscape of Viseu using recordings gathered from local abandoned buildings and subjected to the patented Howlround treatment at our temporary studio in the back room of a former tie shop. Our favourite piece of feedback so far has got to be a reported ‘Mummy, where are all the dinosaurs?’
Jardins Efémeros runs until 12th July and it’s proving to be a remarkable achievement, quite literally transforming the town. Our gratitude must of course go to festival curator and lynchpin Sandra Oliveira, our translator Lino and all our new friends for being so welcoming and supportive. We’ve been so busy preparing for our own contributions since our arrival last week that we haven’t actually had time to check out much of the festival yet, but one thing that particularly captured my own imagination during a brief tea-break was Vanda Rodrigues‘ ‘Cloud Room’, stepping into which felt like entering a Boards Of Canada video!
Howlround will be performing as part of this year’s Jardins Efémeros Festival (or ‘Ephemeral Gardens’) in Viseu, Portugal on July 3rd at the Nacional Museum Grão Vasco. We’ll also be producing a sound installation in a funeral parlour! Click on the image below for more details and the full festival line-sup can be downloaded as a PDF here. Further sounds and images to follow – plus Pye Corner Audio and Holly Herndon are playing too! Hurrah!
It’s the first event in what is shaping up to be quite a busy summer for Daphne, Delia, Magdalena and Elisabeth, our quartet of sprightly though occasionally wonky reel-to-reel machines. So busy in fact, that I thought it might be an idea to embody it in poster form:
In the meantime, thanks to everyone who came to Speak No Evil‘s ‘Light And Shadow Salon’ last Thursday and to the staff of New River Studios for going above and beyond the call of duty to ensure that our quartet of tape machines got home safely (it’s a long story). Great new venue, hopefully we’ll be invited back soon. I was intending to post an extract here from this first Howlround performance since that Barcelona basement last summer, but unfortunately due to a technical glitch I’m currently unable to do so. However the entire event was being simultaneously broadcast on Sonica.FM, so with a bit of luck we might be able to work something out. Thanks to everyone who came up and told us how much they had enjoyed our set, but for added amusement I shall leave with you with the unsolicited advice offered by an older gentleman in the audience who, after observing us conjuring a mass of howls, shrieks and clanks from our quartet of elderly reel-to-reel machines and a vast tangle of ageing, twisted tape, remarked that our live set needed to be a bit ‘slicker’ and ‘more professional’ if we were going to get anywhere. I thanked him and suggested he check out our alternative website http://www.spectacularlyandheroicallymissinghepointofthewholedamnedenterprise.com