Suche:kelly lee owens

Kelly Lee Owens returns with LP8.2 - a compendium to her LP.8 album from earlier this year, produced by Kelly herself along with Lasse Marhaug (Jenny Hval).

This mini album contains four tracks and 18 minutes of new Kelly Lee Owens music following the abstract industrial beauty of LP.8.

After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time. It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway.

Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with Lasse Marhaug. An esteemed avant-noise artist, Marhaug envisioned making music that would fall loosely in line with Throbbing Gristle. Kelly, on the other hand, had planned to create something inspired by Enya, an artist who has had an enduring impact on her creative being. They met each other halfway, pairing tough, industrial sounds with ethereal Celtic mysticism, and creating music that ebbs and flows between tension and release.

One month later, Kelly called her label to tell them she had created something of an outlier, her ‘eighth album’.

After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time. It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway. Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with Lasse Marhaug. An esteemed avant-noise artist, Marhaug envisioned making music that would fall loosely in line with Throbbing Gristle. Kelly, on the other hand, had planned to create something inspired by Enya, an artist who has had an enduring impact on her creative being. They met each other halfway, pairing tough, industrial sounds with ethereal celtic mysticism, and creating music that ebbs and flows between tension and release. One month later, Kelly called her label to tell them she had created something of an outlier, her `eighth album'.

Kelly Lee Owens' meisterhaftes zweites Album "Inner Song" lässt die Techno-Produzentin und Sängerin/Songschreiberin tief in ihre eigene Psyche eintauchen - sie widmet sich den Kämpfen, die sie in den letzten Jahren durchlebt hat, und erforscht ihren persönlichen Schmerz, während sie gleichzeitig die Schönheit der Natur umarmt. "Inner Song" folgt ihrem selbstbetitelten Debüt aus dem Jahr 2017, einer Mischung aus körperbetonten Beats und introspektivem Songwriting, das von der Musikpresse mit zahlreichen Auszeichnungen bedacht wurde. Seither hat sie Björk & St. Vincent neu abgemischt, 2019 einen unauslöschlichen Club-Zwei-Tracker, "Let It Go" s/w "Omen", veröffentlicht und sich mit dem gleichgesinnten Autor Jon Hopkins für das Unikat "Luminous Spaces" zusammengetan. Ihr neues Album entstand auch aus den, wie Owens es beschreibt, "schwersten drei Jahren meines Lebens", einer emotional sehr belasteten Zeit, die, wie sie sagt "mein kreatives Leben und alles, wofür ich bis dahin gearbeitet hatte, definitiv beeinflusst hat." Während also das schöne Cover von Radioheads "Arpeggi" manchem als unkonventionelle Art und Weise erscheinen mag, ihr zweites Album zu eröffnen, repräsentiert Owens' gewundene Interpretation der klassischen Melodie - aufgenommen ein Jahr bevor die Arbeit an "Inner Song" richtig losging - die Art von klanglicher Wiedergeburt, die für die Aura von "Inner Song" so wesentlich ist. "Inner Song" wurde größtenteils über einen Monat im vergangenen Winter geschrieben und aufgenommen. Wie bei ihrem Debüt verschanzte sich Owens zusammen mit ihrem Koproduzenten James Greenwood im Studio - um dort loszulassen und offen zu sein für jede klangliche Laune. Der beschwörende Titel des Albums ist dem Opus von Free-Jazz-Maestro Alan Silva von 1972 entlehnt. Der Bass und die kitzelnden Texturen von "Inner Song" machen deutlich, dass Owens mehr denn je darauf bedacht ist, maximalen Klanggenuss zu bieten - wie die Entscheidung, die Vinyl-Veröffentlichung des Albums zu einem Sesqui-Album oder einem dreiseitigen Album zu machen, beweist: "Ich bin immer noch besessen von Frequenzen, die auf Vinyl nicht gut klingen, wenn sie den Platz dafür nicht haben". "Die Kraft, zu konzeptualisieren, wer du bist, hat dieses Album wirklich geprägt", sagt Owens über das Wesen von "Inner Song", und ihr zweites Album ist eine Entdeckung des Selbst - die jüngste Aussage einer faszinierenden Künstlerin, die weiterhin überrascht und auf eine reiche und vielfältige Karriere hinweist, die noch vor uns liegt.

LTD. WHITE VINYL

Kelly Lee Owens' meisterhaftes zweites Album "Inner Song" lässt die Techno-Produzentin und Sängerin/Songschreiberin tief in ihre eigene Psyche eintauchen - sie widmet sich den Kämpfen, die sie in den letzten Jahren durchlebt hat, und erforscht ihren persönlichen Schmerz, während sie gleichzeitig die Schönheit der Natur umarmt. "Inner Song" folgt ihrem selbstbetitelten Debüt aus dem Jahr 2017, einer Mischung aus körperbetonten Beats und introspektivem Songwriting, das von der Musikpresse mit zahlreichen Auszeichnungen bedacht wurde. Seither hat sie Björk & St. Vincent neu abgemischt, 2019 einen unauslöschlichen Club-Zwei-Tracker, "Let It Go" s/w "Omen", veröffentlicht und sich mit dem gleichgesinnten Autor Jon Hopkins für das Unikat "Luminous Spaces" zusammengetan. Ihr neues Album entstand auch aus den, wie Owens es beschreibt, "schwersten drei Jahren meines Lebens", einer emotional sehr belasteten Zeit, die, wie sie sagt "mein kreatives Leben und alles, wofür ich bis dahin gearbeitet hatte, definitiv beeinflusst hat." Während also das schöne Cover von Radioheads "Arpeggi" manchem als unkonventionelle Art und Weise erscheinen mag, ihr zweites Album zu eröffnen, repräsentiert Owens' gewundene Interpretation der klassischen Melodie - aufgenommen ein Jahr bevor die Arbeit an "Inner Song" richtig losging - die Art von klanglicher Wiedergeburt, die für die Aura von "Inner Song" so wesentlich ist. "Inner Song" wurde größtenteils über einen Monat im vergangenen Winter geschrieben und aufgenommen. Wie bei ihrem Debüt verschanzte sich Owens zusammen mit ihrem Koproduzenten James Greenwood im Studio - um dort loszulassen und offen zu sein für jede klangliche Laune. Der beschwörende Titel des Albums ist dem Opus von Free-Jazz-Maestro Alan Silva von 1972 entlehnt. Der Bass und die kitzelnden Texturen von "Inner Song" machen deutlich, dass Owens mehr denn je darauf bedacht ist, maximalen Klanggenuss zu bieten - wie die Entscheidung, die Vinyl-Veröffentlichung des Albums zu einem Sesqui-Album oder einem dreiseitigen Album zu machen, beweist: "Ich bin immer noch besessen von Frequenzen, die auf Vinyl nicht gut klingen, wenn sie den Platz dafür nicht haben". "Die Kraft, zu konzeptualisieren, wer du bist, hat dieses Album wirklich geprägt", sagt Owens über das Wesen von "Inner Song", und ihr zweites Album ist eine Entdeckung des Selbst - die jüngste Aussage einer faszinierenden Künstlerin, die weiterhin überrascht und auf eine reiche und vielfältige Karriere hinweist, die noch vor uns liegt.

Jon Hopkins knüpft mit neuer Single, in Zusammenarbeit mit Kelly Lee Owens, an das 2018er Meisterwerk „Singularity“ an und kommt 2020 auf Tour nach Europa.

The New Yorker feiert Jon Hopkins nach seinem 2018er Meisterwerk „Singularity“ als “one of the most celebrated electronic musicians of his generation” und auch wir kriegen gar nicht genug Multitalent aus London.
Zum Glück gibt es tolle Neuigkeiten für alle Jon Hopkins Fans für 2020. Zuerst veröffentlicht er zusammen mit Kelly Lee Owens eine neue 12‘‘ namens „Luminous Spaces“, ein herrlicher Track der Hopkins‘ elektronische Klänge perfekt mit der spirituellen Stimme von Owens verbindet. Dann geht es auf große Europatour im Frühjahr mit zwei Konzerten in Deutschland

- Schwarzes Vinyl inkl. MP3 Downloadkarte

OVERVIEW:
Kelly Lee Owens releases a 12” featuring Let It Go, a track made for her DJ set at Fabric earlier this year and now made available through the Adult Swim Single Series. Let It Go & accompanying track Omen will be released on pyhysical through Smalltown Supersound on July 5th.

Björk has released three remixes of the track 'Arisen my senses', one by Kelly Lee Owens, another by Jlin and a final by Lanark Artefax, each taking the original track to a new place with their trademark production sounds.

Available digitally and on a limited 12' EP. The vinyl colour is no other than that of 'slug genitalia'.

Max Richter presents SLEEP: Tranquility Base, a thirty-minute EP of new SLEEP music alongside remixes from electronic musician Kelly Lee Owens and German sound artist Alva Noto. Richter returns to his celebrated eight-hour magnum opus SLEEP with this new EP which offers a glimpse into the original material from an electronic perspective. “Tranquility Base” is the site on the Moon where, in July 1969, humans landed and walked on a celestial body other than Earth for the first time. With this in mind, the EP functions as a vessel that disconnects and travels through the body of work, allowing art to provide something which resembles peace within ourselves.

„Dreamstate“ ist Kelly Lee Owens viertes Studioalbum, das am 18. Oktober erscheinen wird. Das neue
Album wird das erste sein, das sie bei ihrem neuen Label dh2 veröffentlicht - einem brandneuen Imprint für
elektronische Musik beim renommierten Independent-Label Dirty Hit, das von George Daniel von The 1975
geleitet wird. Kellys kommendes Album „Dreamstate“ vermittelt ein unglaubliches Gefühl von Freiheit und
Eskapismus, das aus der Erfahrung der inneren Entwicklung nach einer Trennung entstanden ist. Es ist
der Sound einer Person, die loslässt und alle anderen dazu ermutigt, das Gleiche zu tun. „Dreamstate“
basiert auf der Zusammenarbeit mit Bicep, Tom Rowlands von The Chemical Brothers und George Daniel
als Produzenten und Autoren.

Mario Rusca is most probably the biggest living Italian jazzman. His major influences are Duke Ellingtons composing abilities and Hampton Hawes' brilliant sound. He immersed himself in the harmonic inventions of the incredible pianists of the 60s and 70s: from Bud Powell to Bobby Timmons, Wynton Kelly and Bill Evans. Mario Rusca has been the house pianist of Capolinea, the most important Italian jazz club of the 70s and 80s. He went on to perform in important national and international settings-representing Italy in the "Piano Solo'' category of the "International Festival of Varsavia" and participating with his quintet at the "International Festival of Montreal". He has collaborated with a multitude of prestigious names: Chet Baker, Tony Scott, Curtis Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Bob Berg, Lee Konitz, Dusko Gojkovic, Al Gray, Kay Winding, as well as Stefano Bagnoli, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Jimmy Owens, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy, Steve Grossman, Franco Ambrosetti, Woody Shaw, and Eddie "Lockjaw" Davis. With Gerry Mulligan, in particular, he toured in 1976 and with Lee Konitz, he recorded Wheres The Blues? at the end of the 90s. In this regard, Suspension in 1975 with Tullio De Piscopo and Recreations in 1976 with the phenomenal Larry Nocella playing saxophone are still very beautiful and modern recordings. As Mario says, "In jazz, you choose the companions that you can dialogue the most with.there needs to be an interplay, there needs a...a way of feeling, which is why you choose musicians because they feel like you, or, if nothing else, they follow you". The chemistry between the three of them is perfectly aligned, synergistic. Tonys drums and Riccardos bass create a soft and essential rhythmic tapestry that never hinder the creative prowess of the band leader. Here Mario Rusca is interpreting the most dynamic jazz standards. Blues for Gwen by McCoy Tyner, Blues Walk by Lou Donaldson, Blue Minor by Sonny Clark, Turnaround by Ornette Coleman, Bass Blues by John Coltrane or even Super Jet by Tadd Dameron. You cant help but imagine yourself on top of a convertible, smiling and carefree, while they travel through the soloist progressions of Turnaround and Super Jet. We need to underline the four originals included in this recording: Blue Dream (for Allerim), Tempo Blues, Double Horn e Monochrome Blues, extremely suggestive compositions, rich of intuitions and which well exhibit Mario Rusca composition skills and his ability to play the blues. MONOCHROME BLUES is a winning trio album which will deeply please the most demanding jazz hears. The musicians Mario Rusca (piano) Riccardo Fioravanti (bass) Tony Arco (drums)

White Vinyl

Der angesehene DJ und Producer Daniel Avery veröffentlicht sein bis dato ehrgeizigstes Studioalbum 'Ultra Truth' auf Erol Alkans Label Phantasy Sound. 'Ultra Truth' bietet ein völlig anderes Hörerlebnis als Averys frühere Alben, für das er mit der Hilfe einiger Freunde (u.a. HAAi, Kelly Lee Owens und Ghost Culture) in seinem Studio direkt an der Themse eine ganz eigene Klangwelt entwickelt hat.

Lasse Marhaug is one of those characters that operates at the nexus of so much stuff that’s important to us here - working as a producer (over the last couple of years alone he’s helped shape albums by Jenny Hval, Kelly Lee Owens, Okkyung Lee, Hillary Woods etc etc), a mastering engineer (far too many releases to mention), a prolific sleeve designer (likewise), publisher (his occasional Personal Best magazine is still going strong) and, perhaps most importantly - a recording artist in his own right. ‘Context’ is his most substantial release in years - a crushing assembly of bone-dry/darkside drone/machine malfunctions that’s bursting with a visceral, throbbing, mass of feeling. If yr into anything on the spectrum from Mika Vainio to Grouper to Kevin Drumm or Deathprod - this one’s as good as it gets

Over almost three decades of activity, Marhaug has carved out notoriety as a solo performer, a prolific collaborator (working with everyone from Sunn O))) to Jim O'Rourke) and as a busy producer, who's notched up credits on some of the most striking-sounding albums of the last few years. This new album was created as a swan song for the infamous Oslo studio that he's inhabited for 17 years, prior to his move back to the Arctic Circle where he originally came from. Recorded over a 14-month period and painstakingly edited from hours upon hours of material, it might just be the most impressive, moving record we’ve heard from him so far.

The interplay between piercing softness and deafening noise is the key to "Context", displaying a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug does it without grandstanding, it's music that sounds as simultaneously beautiful and as daunting as the Arctic landscape he's returning to. At any moment a sound can be alluring or treacherous, like the frozen sun reflecting on a snowy mountaintop. Marhaug's deftness with rhythm and bass emerges on 'Context 3', as he pairs Vainio-esque low-end pulses with crumpled noise and widescreen tones; as disquieting music-box chimes absorbed into the blasted soundscape on 'Context 5', while we're thrust into the freezing cold on 'Context 6', subjected to punctuating gusts of white noise and trapped string loops.

Trust it’s a rare and near-mythical beast, conjuring vast, treacherous soundscapes illuminated with pangs of sentiment that naturally weave strands of his non-musical practice in their psychosensual lustre and gritty attrition. As he steps into a new phase of his career, we're left with a concluding chapter that stands as a summation and open-ended post-credits reveal.

Polish alt-pop superstar Brodka announces new
album ‘BRUT’; a powerful examination of gender,
self-image and society.
Hot on the heels of her Speedy Wunderground 7”
‘Wrong Party’, ‘BRUT’ was recorded with Boxed
In’s Oli Bayston (Kelly Lee Owens, Loyle Carner)
and finds Brodka blurring the boundaries between
natural and synthetic sounds - post-punk riffs, icy
synths and the serrated, heavily-processed guitar
sounds that slice through glittering electro-pop to
bring an industrial edge to the brutalism-inspired
vision.
LP pressed on marbled vinyl.

Barbarossa, AKA British singer songwriter and producer
James Mathé, releases his new album ‘Love Here Listen’
via Memphis Industries.
For this latest batch of songs James Mathé collaborated
with producer du jour Ghost Culture (Daniel Avery, Kelly
Lee Owens, Falle Nioke) at his studio in Margate, Kent in
the South East of England. The pair worked with a
limited range of vintage synths - a Mono Poly, Korg MS-
20 a Roland SH-101 and a Juno 108 borrowed from the
local skate store Palm Bay Skates - with the recordings
bounced down to Mathé’s Fostex R8 reel to reel to give
it that undeniable warmth.
Mathé says of the recording process: “It was probably
the most stress-free record to date and so much fun just
messing around with synth arps. It’s easy with James as
we really understand each other and I trust him totally.
He lives five minutes’ walk along the seafront from me.
We even jumped in the sea a couple times after lunch.”
‘Love Here Listen’ is Mathé’s sixth album since his debut,
‘Sea Like Blood’, released on the Fence Collective back in
2006, since which time he’s joined the Jose Gonzales
live show, become a member of Junip, toured with
Poliça and This Is The Kit and morphed from acoustic
troubadoury to electronic song smithery all the while
seemingly searching for an elusive balance between
hopefulness and melancholy. On ‘Love Here Listen’,
thanks to a reconnecting with the visceral forces of nature, it feels like he’s found it.
Yellow vinyl LP.

On March 15th Erased Tapes presents the invigorating and powerful debut solo album Lines of Sight by Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne. Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles - effectively capturing what the birth (or death) of a planet might sound like.

In Daniel's own words, 'Thematically, this music was inspired by birds-eye aerial images and the idea of perspective - how something incredibly complex like a river or the surface of the ocean is reduced to a simple line or shape when viewed from the heavens. The line between natural and man-made becomes increasingly blurred.'

Every strand is fresh, vital and purposeful. The description 'seamless' might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical, a touch of jazz and traces of Wyatt-style contemporary folk come together, each occupying their own space while acquiescing with the whole.

'Several compositions are derived from ratios and processes, and are highly calculated, while others evolved in a much more organic way. I wanted to create music that blurred lines between acoustic and electronic, organic and synthetic, composition and improvisation.
I've long been a fan of studio-based composition, but have always found the infinite possibilities on offer daunting and, often, a stumbling block. To get around this I set myself a challenge of limiting myself to the physical instruments in my possession - a few different saxophones and a bass synth, with no more than four tracks to record them,' he adds.

Lines of Sight follows Thorne's work as artistic director of the acclaimed, collaboration-focussed group Immix Ensemble. Together with experimental electronic artist Vessel, he co-wrote Transition released on Erased Tapes in 2016, described by BBC Radio 6's Mary Anne Hobbs as 'a remarkable new piece of music'. More recently, he worked with acclaimed modular synth wizard Luke Abbott, to create a four-part suite, which was premiered live in June 2017. Immix Ensemble have also performed special live commissions with Kelly Lee Owens, Dialect, Jane Weaver and Bill Ryder-Jones, among others.

Prior to leaving Australia, Daniel was fortunate to work with some of the country's leading new music ensembles as both a composer and performer, receiving commissions from the TURA New Music Festival and the Australia Council, as well as being appointed as Composer in Residence at the Western Australian Academy of Performing Arts. In the UK he was the recipient of the prestigious Dankworth Prize for Jazz Composition, and also undertook a residency at Metal Liverpool, which provided him with the time and space to create Immix.

As the first track under Thorne's own name, 'Iroise' was recorded for the Erased Tapes 10th anniversary release 1+1=X, alongside works by Nils Frahm, Penguin Cafe, A Winged Victory For The Sullen and Rival Consoles. He also recently remixed Manu Delago, known as the live percussionist for Björk and Ólafur Arnalds. After a first solo performance at Sea Change Festival 2018, the new year will see Daniel tour across Europe, promoting the forthcoming release of Lines of Sight.