Faitiche is ten years old. October 2008 saw the release of Ursula Bogner – Recordings 1969-1988, for which the label was created. While working as a scientist in the pharmaceuticals sector, Ursula Bogner experimented with electronic music, undiscovered, for over three decades. When Jan Jelinek first heard Bogner’s work in 2008, he was enthusiastic. The resulting album, compiled by Jelinek from Bogner’s extensive oeuvre, is being reissued in a remastered version (LP/digital) to mark the label’s tenth anniversary.
Neil Campbell – I Must Have My Manias (Self-Released)
Music for electric guitar, electronics, percussion, recorder, rhythm box, synthesizer, toy piano, voice and yueqin.
Public Practice – Distance is a Mirror (Wharf Cat Records)
The debut ep from new york band public practice, distance is a mirror, is a confident, juried testimony of love steeped in dark optimism. dry, dead pan vocals chant over skittish guitar and danceable 70s grooves—songs snapping like rubber bands—seesawing between post-punk and its insomniac twin sister disco. with contradicting references as overt as talking heads (without the shoulders), but as specific as haruomi hosono of yellow magic orchestra (with some polka dots), the band is carrying a funky torch that does not get lit too often.
Howard Stelzer – Across the Blazer (Marginal Frequency)
Across the Blazer (MFCD C), from Howard Stelzer (Lowell, MA), is a real masterpiece of cassette music, blurring the lines between noise and drone music, worked from live performances of the same work, seamlessly layered, deceptively building to a crescendo that will not materialize, the bulk of the piece replicating the illusory effects of a Shepard tone. Composed from 2015 to 2017, Across the Blazer is an emergence from a winter laboratory, as rewarding as Stelzer’s unique presentation of sound gets.
The Moles – Code Word (Super Secret Records)
When many people think of warped genius (and occasionally lo-fi) indie pop from the 90s, they probably think of Guided By Voices or Neutral Milk Hotel. And for good reason but too few know of fabled Australian legends The Moles and bandleader Richard Davies.
The Moles’ recorded output fits reasonably well alongside the late 80s to early 90s era’s explosion of New Zealand “kiwi pop” like The Clean, 3-Ds and Tall Dwarfs that mixed Beatlesesque melodies with threadbare production and whacked-out noise. Davies’ brand of indie pop boasts an otherworldly innocence that deftly weds the esoteric cool of the Velvet Underground with a pure pop sensibility that never dribbles into puerile drivel.
Okkyung Lee – Speckled Stones and Dissonant Green Dots (Notice Recordings)
New York-based cellist Okkyung Lee has built an impressive standing via numerous releases on labels like Tzadik and Ecstatic Peace!, collaborations with an exceptional cross-section of heavies, and critically acclaimed solo albums. Her playing possesses an organic intensity across a vast range, and she is exceptionally musical when producing visceral multilayered sound using extended techniques. Here, she offers different facets on the two pieces which comprise “Speckled Stones and Dissonant Green Dots.” Side A, “Speckled Stones”, combines chaotic computer-generated and analogue synthesizer sounds; their rhythms and timbres providing multilayered ambience that builds and then clears like patches of night fog. The clean tones of Side B, “Dissonant Green Dots”, suggest early polyphony within cycles of tense, entrancing phrasings.
Jon Porras – Voices of the Air (Ba Da Bing)
Voices of the Air offers a fresh songwriting approach from a musician who’s experimentation has been a core aspect of his artistic development. After formally studying piano in his youth, Porras discovered grassroots experimental music and conceptual art during frequent visits to New York in the early 2000s. As half of the duo Barn Owl, Porras composed intricate dual guitar improvisations that would shift and shimmer through multiple mutations within any singular piece. At the same time, his voyages into minimalism were served by Elm, his solo act. His focus shifted from guitar to synthesizer, a move which led to an in-depth study of sound as an elemental force not always bound to traditional instrumentation.
See also: Review: Jon Porras – Tokonoma
Tashi Dorji / Tyler Damon – Soft Berm (Magnetic South)
[perfectpullquote align=”full” bordertop=”false” cite=”” link=”” color=”” class=”” size=”15″]Get into Tashi Dorji’s universe. “Soft Berm”, a live document from his duo with drummer Tyler Damon, is still available.[/perfectpullquote]
See also: Tashi Dorji / James Toth – Live at Hopscotch