Suche:trans x

Santo Sangre is a project by San Francisco-based artist, producer and DJ Gonzo Manuel. On its first release, Quetzal, perhaps a reference to the central-American bird with bright, ornate plumage Gonzo taps into a Latin-accented, tribal feel that is ably carried on rolling, syncopated percussion with an organic essence, a birdsong-like chant, sporadic and light bursts of actual song and haunting string chords that cut across the sound spectrum, adding dark energy and urgency to the track. This one will sit nicely out on its own, bringing a hybrid organic/robotic essence to the dance or would work equally well rinsed around in the mix, with all its elements appearing and disappearing at just the right time as a transition ascends and peaks.
Oakland producer Indy Nyles remix builds on the tribal theme by enhancing the syncopated aspect of the percussion. He augments this further with a pretty and drifting melody line composed of glassy keyboard sounds. The sense of drama this creates is boosted further by a breathy and repetitive voice sample. This concoction drives along nicely until around the 5 minute mark when Nyles drops a menacing, snaking thread of 303 bass, stabs of icey strings and echo and delay effects that amplify the shadowy, seductive allure of his remix. Its a new sounding track but the acid line and syncopation bring to mind some of the psychedelic, breakbeat classics of San Franciscos halcyon, rave era.
Rounding things up is the Slope 114 Remix. Here Dmitri Ponce and partner
Elise Gargalikis take the track on a house journey that is, like Indys mix, brand new sounding but possessed by the spirits of the classics. Elises vocal flourishes bring to the mind the Latin house, tribalist dynamism of Louie Vega and Indias River Ocean numbers while Dmitri nudges the bassline from chunk and funk to acid and massive without sacrifcing the subtlety of the maneuver. The subtle aspect being that a techno, a tech-house and a straight up house heads will be able to bounce this one to the box without leaving her generic comfort zone: the true mark of a classic.
This release is a strong start for this new artist, look out for more fire from this Bay Area talent

Lost Futures is a new label that explores experimental and often radical approaches to dance music from the past. In a musical landscape that increasingly claims to seek and reward new forms and ideas, Lost Futures delves into the recent past to revisit forward-thinking, optimistic projects that, owing to the social, musical or outright political climate, perhaps struggled to find an audience. Allowing only time to re-contextualise these leftfield, sometimes misunderstood and ultimately human bodies of work, Lost Futures taps into the inherent idealism of rave.

LF001 trips back until the early nineties to revisit the alternative scene emerging from the Dutch city of Utrecht. Here, three young men - DJ Zero One (Sander Friedeman), TJ Tape TV (Arno Peeters) and DJ White Delight (Richard van der Giessen) - joined forces to form 'The Awax Foundation'. Inspired by the transcendent and revolutionary electronic music arriving on their shores imported from Chicago and Detroit, combining their knowledge, gear and ever-expanding vinyl collection allowed additional freedom in paying sincere tribute to these intoxicating sounds, while also developing their tastes in a more personal, eclectic direction.

The musical flavours of Awax initially leaned toward acid house and the roots of techno. However, with three different mindsets in the mix, their tastes were rarely fixed. One thing each shared in common was a devotion to collecting rare sounds, specifically more adventurous and international samples than those emanating from the increasingly-hard, masculine dance music emerging from the Netherlands during the period. Inspired by the cross-over global sound of bands like Suns of Arqa, or 'World Music', as it was perhaps patronisingly termed at the time, the trio became interested in the idea of making techno with 'ethnic instruments'.

Of course, this being 1992, none of The Awax Foundation had access to such instruments, instead, they had a vast, collective library of samples from all over the world. There were no collaborations and no clear plan. Instead, they set to work using a Yamaha TX16W sampler, the legendary Atari 1040ST computer, a cheap mixing desk and a couple of low-end synths and FX machines. When Richard mentioned the project to his friend, Akin Fernandez, the London DJ and owner of cult label Irdial Discs, Fernandez was intrigued enough to invite the trio to record a one-hour show for his 'Monster Music Radio' series on London's then-burgeoning Kiss FM.

Forced to come up with a name, 'CultureClash' seemed like the obvious choice, even if the members of Awax were only creatively sparring among themselves. Along with the term 'ethno-techno', slightly dubious to a hopefully more conscious Western audience in 2017, these were the only guiding principles to the quietly ambitious project that soon combined cutting-edge machine rhythms with samples sourced from everywhere from Bolivia to Togo, and inspired by everything from Ravi Shankar's epic soundtrack to the Oscar-winning movie Ghandi, to the technical limits of their own setup requiring a dazzling degree of cut-and-paste work. Some tracks even emerged out of academic studies within the ethnomusicology department at The University of Amsterdam.

The show aired on October 2nd, 1992, recorded in one blistering take and without any rehearsals, traversing a huge variety of tempos and styles. If the performance wasn't seamless, it was undeniably thrilling, fresh and ambitious. As such, several labels, including Fernandez's aforementioned Irdial Discs expressed an interesting in commercially releasing CultureClash, while another imprint proposed a series of twelve-inches and an album. But the sheer complexity of the project meant that it never saw the light of day, while the trio embarked on different journeys ahead, both creative and personal.

Twenty five years later, and the original CultureClash lineup and founding members of The Awax Foundation provide the sound of the first release from Lost Futures. An otherworldly, ambitious and optimistic compilation, accompanied by extensive sleeve notes from the trio, CultureClash is a timeless ode to experimentation in dance music's ever-overlapping culture.

THIS IS NOT A REISSUE. THIS IS THE FIRST TIME THIS AMAZING MINIMAL SCORE HAS BEEN ISSUED ON VINYL

This is the first time the complete score to The Conversation has been released on vinyl. The film itself was originally released in 1974 and a 7' demo of the theme was sent out as promotional material by Paramount (PAA-0305), but a USA stock edition was never issued. In Japan the same music was also issued on a 7' at about the same time (JET-2273), with a picture sleeve, but until now nothing else has ever been pressed on vinyl.

Jonny Trunk's little obsession with this music began after I'd caught the film, late night, sometime in the mid 1990s. Musically it's an exceptional example of the 'new minimalism' in film music of the period, marking a departure (for some) from big scores to smaller, more economic ensemble sounds.

The film was written, produced and directed by Francis Ford Coppola and is still a thrilling journey into sound, mind and murder. Heavily influenced by Antonioni's Blow-Up (and not, as some thought, by Watergate), Coppola wanted to fuse the concept of Blow-Up with 'the world of audio surveillance'. The story centres around Harry Caul (Gene Hackman), a mac-wearing professional wire-tapper and clandestine bugger who gets unusually consumed by a conversation he's been paid to record. Caul is a loner, an obsessive-compulsive character with numerous neuroses that play out brilliantly throughout the film. And as he slowly pieces together the conversation fragments and forms his own story around it, his world falls apart.

Sonically this movie - all about sound - is groundbreaking in many ways, with actual 'sound Design' Provided By The Legendary Walter Murch - The Man Who Actually Invented The Term In The First Place.

For The Music, Coppola Wisely Chose A Young David Shire, His Brother In Law. Shire's Deceptively Simple Piano Theme (composed Because Of No Budget For Big Orchestra) Is One Of Tragic Beauty, Brilliantly Capturing Caul's Loneliness, His Slightly Disturbed Nature And This Trip Into Darkness. The Melody Has Both Sweet And Sour Tones, Feeling A Little Like A Slow Ragtime, Which Both Develops And Retreats Throughout The Film; There Are Even Trips Into Avant-garde Territory With Electro-acoustic Flourishes And Concrète. The Solo, Agitated Figure Of Caul, Wearing His Distinctive Transparent Mac, Is Made All The More Raw And Poignant By The Score - The Sparse And Curiously Emotional Compositions Are Unlike Any Others I Can Think Of From The Period.

The Soundtrack For The Conversation Proved To Be A Major Break For Shire, His Career Really Taking Off From This Musical Point. His Next Score Was To Be The Underground Classic Taking Of Pelham 123, Followed Up Later Ironically By All The Presidents Men - A Thriller About The Watergate Scandal.

The Conversation Went On To Win Several Awards And Nominations, And Has Become A Classic Of The 'new Hollywood' Movement. Hopefully Now This Music May Become Part Of The Renewed Interest In Old Film Soundtracks.

* Following up from the immense Phil:osophy outputs, our resident soulster Phil Tangent returns to Integral with a new solo installment - the absolutely stunning and highly anticipated Universal Sigh EP. Comprising of four silken future cuts that showcase the newschool of liquid funk, these musical gems of intricate beats, bass-scapes and dreamlike musicality, push boundaries, encapsulate hearts and are certain to transport listeners to otherworldly places.

* Dropping 7th December, this masterpiece will launch across all formats. Make sure you reserve your limited vinyl copy now to avoid disappointment!

Emotional Response is delighted to announce Foreign Affairs - a limited edition special remix 7-inch single featuring reworks from Alexis Georgopoulos & Jefre Cantu-Ledesma's "Fragments of A Season" album by Woo and Felicia Atkinson.

Last year's ""Fragments of A Season"" represented a unique chapter in both artist's canon. Georgopoulos, who released the Arp album "Zebra" in June this year and Cantu-Ledesma, who released "On The Echoing Green" in October 2017 - both on Mexican Summer and to critical acclaim - wanted to stretch out and create a discrete work. A peripheral listen to "Fragments" revealed a resonant album of delicate, ambient vignettes, suggesting a Balearic take on Vini Reilly, Young Marble Giants and other poetically-minded, minimalistic post-punk era bands.

The Brothers Ives aka Woo were a major influence on the album's makers and so AG and JCL are thrilled they've submitted a beautiful reworking of the album's "Marine". Whereas the original sounded like Marine Girls and The Gist getting together for a nice beach day jam, Woo's rework transforms it into pulsating track of glistening proportions. Percolating synths, some guitar and clarinet - the true classic, idiosyncratic Woo-ification - creates a woozy, romantic, impossible to categorize slice of Balearic meets dub atmospherics.

If "Marine" is all midday sun, intoxicating and potently optimistic, Atkinson's remake represents the literal and figurative flip, bringing out the overcast dreaminess to "Cleo". Sounding like an outtake from a Rohmer film, or perhaps Cocteau Twins and Broadcast having a picnic in Biarritz, the version veers between abstraction, celluloid ambiguity and suggested narrative. Atkinson's reworking adds poetry of the tune (quite literally!) with her soft vocal under-gliding to perfection. Representing a temporary idyll, a meeting point where cobblestone streets lead to the sea. At nightfall, a discotheque heard in the distance. The morning mist burns off. Only such memories remain.

Black Helicopters is Agnarkea (Keaton Transue); a 20 year old producer from Richmond, Virginia, whose debut album is forthcoming on Manchester-based label, Natural Sciences.

Originating out of the WaistDeep Clique (a cell of emerging hip-hop crews operating out of the Southern United States) and recorded on budget equipment, across it's near two hours and extended 23 tracks, the project seeks to un-package homegrown 'conspiracy theories' (MK Ultra, Black Helicopters, The Deep State, Black Sun, Waco Texas) and use this web of extended source material to make sense of day-to-day life in Trump's America, police oppression of black neighbourhoods and the systematic suppression of mind-enhancing drugs.

It has been bubbling for almost four years now inside the walls of a basement in the small-town idyll of Salzburg. Word gets around about ecstatic nights in an intimate atmosphere in the Heizkeller location of the cultural association FREAKADELLE. The monthly events held by the club culture collective, which formed in 2011, have long since become known beyond city and state borders, and so, national as well as international guest artists would frequently pay visits to Mozart town in the last years. Following the club members' wish to maintain relations to the artists beyond the fleeting transience of a night in the club, this release aims at strengthening and cementing these interpersonal ties. The compilation includes tracks by Hüseyin Evirgen aka MAGNA PIA (Cassegrain), Institut fuer Zukunft resident PERM, techno pioneer PATRICK PULSINGER and Pop theorist Didi Neidhart aka LOW PROFILER.
Limited hand-stamped 12'' edition. Comes in five different versions of screen printed sleeves.

100 copies only. Comes on yellow transparent vinyl. Mastered by Helmut Erler at Dubplates & Mastering, Berlin.

The next releases on Eotrax will round off a busy 2018 for the label and set out an exciting proposition for a future way of working and releasing music. In what will be an ongoing, curated collaboration series artists will be invited to make work together for the label, without restrictions on genre, style or aesthetics. An open environment of collaboration and experimentation which will then be released by the label.

To launch this series label head Eomac teams up with four different artists over four slabs of vinyl, to be released sequentially over four months. The collaborations are improvised and composed, wild and emotive, unexpected and expected and all of them resulting in music that would never have been made by either artist individually.

The final installment comes from the UK via Berlin sonic renegade Kamikaze Space Programme and Eomac. What started as an attempt to synthesise the heaviest reese bass possible turned into a session of futuristic, noisy soundscapes. 'Environment 1' takes inspiration from grime, dub, noise, jungle and techno to create a track that sounds like all of the above and none of the above. The more experimental 'Environment 2' on the flip utilises the very same sounds and processes but moves into abstract terrain with a dense, noisy take on feedback and drone.

With records already out from Paula Temple, Sean Carpio and Demian Licht this final collaboration is the one that started the whole concept and as such is a fitting close to a diverse and colourful series.

Anders Trentemøller's career is a travel-heavy one, with his touring schedule taking him pretty much all over the world. But it's his home port that's inspired his latest project, the sprawling, stunning compilation mix 'Harbour Boat Trips Vol. 02: Copenhagen'. Clocking in at just over an hour long, the compilation sees Trentemøller curate and craft sixteen songs into a heavy, hazy mix that ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller's own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young's classic 'Transformer Man'. The mix sees him pick up a thread he left off earlier in his career. In 2009 he put together 'Harbour Boat Trips - 01: Copenhagen', a compilation mix comprised of his favourite music, both Danish and international, from across four decades, loosely inspired by the motion and movement of Copenhagen's busy harbour. Closing in on a decade later, we're getting the second edition, with 'Harbour Boat Trips - 02' arriving this November.

Hotly Anticipated Album From The Acclaimed Australian
Duo.
The Album Consists Of Two Acts Across Seven
Movements That Represent The Different Facets Of The
Dionysus Myth And His Cult And Takes The Musical Form
Of An Oratorio, Which Has Informed Both Spiritual And
Secular Pieces Of Music As Far Back In History As The
Early 16th Century.
Two Years In The Making, Perry Has Amassed An Array
Of Folk Instrumentation And As Often Heard On Previous
Albums Takes Inspiration From Across The World, Tracks
Evolve Less Like Songs More Akin To Fragments Of The
Cohesive Whole.
Deluxe Lp Format Is Pressed On Heavyweight
Transparent Purple Vinyl Accompanied By A Copy Of The
Album On Cd Plus A Deluxe 16-page 12' X 12'
Hardback Picture Book With Padded Cover.
Standard Lp Format Is Heavyweight Black Vinyl In A
Gatefold Sleeve.
16 Date European Tour Next Year, Including Two
Headline Shows At London's Hammersmith Apollo

Bass transmissions from Lagos via London

Drama were the Canadian duo of Eric Simpson (Vocals, Bass Guitar, Guitar) and Don Stagg (Keyboards). Formed in in Mississauga, Ontario in 1978, the pair had previously played together in progressive psych bands Majik and VIIth Temple. Almost every Saturday, Eric and Don would record one song on a TEAC 4 track tape recorder after a couple of takes with very little over dubbing. The pair were influenced by what was playing on the radio during the recording sessions. Everyone else at that time was in a rock or pop band yet Drama were making electronic music. The pair released their debut LP 'Loneliness' on Psycho Records in 1979. There were 500 albums made and about 200 ended up in the garbage as band members shuffled from apartment to apartment. This was followed by a 4-track 7' later that year featuring live drums and additional guitar.
Seance Centre says it best, 'On Loneliness, the pair traded in their velvet and chord charts for thin ties and a cheap drum-machine. The LP still carries a whiff of patchouli, but the sound stings of solder and electricity, and inhabits a nascent zone somewhere between krautrock and new-wave. The vocal cuts are all clustered on the A-side, starting with an ode to the inefficiency of the Toronto Transit Commission - some things never change! The dystopian sci-fi themes are par for the League, and highlights are the love ballad 'Anna King' and the charming 'Feable'. The instrumentals on the B-side feel decidedly more Teutonic, and have a certain CBC charm that sounds like JP Decerf recording for Parry Music. It even opens with a slinky stoned Pink Panther.' For this first time vinyl reissue we've expanded to a double LP with a bonus album of the 4 songs from Old Hollywood 7' and 9 previously unreleased tracks and demo versions. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original photo by Don Stagg taken from his apartment rooftop overlooking Toronto of a young teenager sniffing glue and includes an insert with photos and liner notes by Drama.

Limited edition release of 500 in a black sleeve, each with a unique, experimental numbered screen print, 30 cm x 60 cm, in collaboration with Studio Heretic.

In support of the release Daniel Avery will be playing Drone's take over of Tresor on December the 1st, joined by Richard Fearless, Errorbeauty and Drowned performing live.

PSSU are Richard Fearless and Daniel Avery. Long time friends, they first formed their relationship whilst working out of Andrew Weatherall's legendary 'Rotters Golf Club' where Fearless made 'Trans-Love Energies' and Avery did a lot of Drone Logic. The two are now studio neighbours in Leamouth on the River Thames. They were drawn to the collaboration by a mutual appreciation of the other's music.

'307309' is pure electro soul and, with 'Fabricated from Steel', PSSU deliver a techno monster. Both tracks were forged at the Metal Box, Drone's studio in East London

"This release is pure sundown pressure from the start. Just like the Waxing Gibbous moonrise the namesake EP transforms you ready for the descent into the dark night. A1 'Zero Gravity' launches into takeoff with a trajectory course aimed straight for the dancefloor. Sub bass and crisp percs put this track firmly in driving seat. A.2 'Tidal Wave' is flooded with 'Dub' influence. With a tape delay in full effect the low end modulates warm and easy from edge to edge. B1 'Lunar Blueprint' shifts gears and closed the EP in the Dub Techno arena. The hollow melody haunts the track and progresses through each section while spooky samples laced with reverb orbit a tepid bassline produced especially for
those dark hours.

Known for a broad swath of genre-obliterating club tracks on crucial labels including Critical, Exit, and 50Weapons, Sam Binga approached us earlier this year with a radically different kind of project, a collaboration with Welfare, true junglist and label boss at D&B bastion Rua Sound. The result of their team-up is Conamara Fieldworks. Its unique inspiration and patient process are best described by the duo themselves:

"In early November 2016, we set off through the bleakness of an Irish November into the wilderness that is Conamara, County Galway, Ireland, with about half an idea of what we wanted to do. Our friend Laney had been kind enough to allow us the use of a 300 year old cottage overlooking the sea, itself belonging to her family through generations which she was bit by bit restoring to its former glory. The isolation was perfect - very little in the way of creature comforts, no network coverage, but plenty of turf for the stove and Guinness for the belly.

Our routine for the next few days consisted of trudging the length of the rugged coastline in search of interesting sounds we could potentially process into usable elements for some kind of dub/dub techno-inspired composition...This took us inside tidal caves and abandoned ruins, across sheep fields, up and down mountains and winding country lanes, in and out of the odd pub, under upturned boats and (carefully) across huge washes of seaweed-covered shoreline. Using our handheld recorder (shouts Danny Scrilla for the lend) we assembled a palette of varied noises, constantly battling with the peaking and distortion created by the incessant Atlantic gusts.

Each evening, following some intense huddling around the stove and vital Irish home cuisine and stout, we'd examine and dissect what we had collected that day, sometimes discovering the most interesting material firmly planted in the background of the soundscapes. A certain amount of (but not too much) processing later we had the bones of a few short loops of each sound which made some kind of musical sense when played alongside each other.

Binga suggested staying true to the craft and keeping the rawness to the foreground by attempting to develop the loops into full compositions via live desk mixing, arrangement and effects. We said our goodbyes to Conamara and a month or two later said our hellos to the Dubkasm shedio. Following a crash course from the dynamic duo, we set to work for the day, learning as we went along and enjoying to the full the unpredictability, intuition and sheer vibes a dubbing session can bring, particularly in a studio kitted out with some fine analogue gear which undoubtedly helped us to keep that damp, saturated feeling that Conamara had sown."

The resulting collection of music speaks for itself, and does so in its own language. It is meditative, deeply textural, and richly saturated, with awesome sound design, generous bass weight, and dubwise finesse. Referencing ambient, concrete, and dub techno while never letting any genre dictate its path, Conamara Fieldworks is a deeply rewarding and intensely involving listen. A restrained yet transporting remix from the one Ossia completes the set.

Returning for his second full-length LP of 2018, DJ Bone steps up once more to his own Subject Detroit imprint to present 'Beyond', a full-length and physical rumination on his own emotive and psychedelic contribution to contemporary techno. Loaded with the dynamics, charisma and widescreen appeal of his finest work, 'Beyond' sees Bone enter a musical state that reflects it's ambitious title, celebrating underground ideals in a style that could only be his own.

The second in a trilogy of albums to be completed in early 2019, 'Beyond' is culled from a sequence of no less than fifty tracks completed by the esteemed Detroit DJ and producer upon returning to his home city in 2017. With it being "unfathomable" to release an LP of that length, Bone has nonetheless captured this wave of creativity and a reconnection with his home city, along with the cathartic sense of soul and energy at the heart of his attitude to dance music.

Across 'Beyond' listeners can sink into an unrelenting sequence of tracks that speak from his experimental, musical and always unexpected mind. LP opener 'Dreamers 7' reaffirms his taste for offbeat electronics shot through with rigid dance floor dynamism; a theme reaffirmed quite literally on the forceful centrepiece, 'With A Vengeance'. Elsewhere, Bone delights in blurring the lines between exotic, futurist ambience on tracks such as 'Techno Aint Techno' and 'Ahhh Life', while further cementing his reputation as master of sheer, unrelenting rhythm on 'True Definition' and 'Rosedale Park'.

From the redwood forests of Big Sur and the industrial warehouses of downtown Los Angeles comes PFEIFFER, a label dedicated to quality and a diverse musical output. Pfeiffer has quickly built a name for itself by releasing a wide range of techno and house with a common thread of unique and unpredictable energy. Pfeiffer draws inspiration from the raw simplicity and effortless magnetism of its namesake location on the central coast of California.

Pfeiffer's fourth release brings a prolific U.K. producer to the fold, Manchester's own Jozef K. Following recent signings to some of the biggest labels in house and techno, we are excited to share this latest record from Jozef. A-Side 'Devotion' is a straight club killer, 90's house affair. You can definitely feel Mr. K's early acid house connection with Manchester institution the Hacienda in this jam. Already racking up support from Kim Ann Foxman on Boiler Room, this cut is sure to continue setting dancefloors alight across the globe. On the flip, 'Anti-Star System' (taken from Daft Punk's mistaken translation for the word 'underground') is true to Jozef's underground roots with jacking 909 drums and uplifting old school piano hits.

On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."

Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it's easy to hear the reverential quality of sacred music in her songs. "A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you're singing, it becomes really overwhelming," Tomberlin says. "I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn't know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind That's what's influenced how I write."

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.

a1 | Any Other Way
a2 | Untitled 1
a3 | Tornado
a4 | You Are Here
a5 | A Video Game
b1 | I'm Not Scared
b2 | Seventeen
b3 | Self Help
b4 | Untitled 2
b5 | February

For this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall's product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting its inscribed template.

The result is a true third act,in McDowall's career, that has seen him peregrinate from the late-70s art-punk of the trio Poems to his work with Psychic TV and Coil throughout the 80s and 90s, into his current home of New York City, where he has composed with CSD, Compound Eye, as well his solo work. That triangulation is central to The Third Helix, as it begins with his dive into the existence of a sensory toolkit unique to McDowall before twisting faculties and reconfiguring consciousness by honoring inherent power, cognizant of memory yet agnostic of context.

With the tenet that journey is rarely linear, but rather an omnipresent oscillation of matter, sound is stripped to salient and primal, propelled by McDowall's boring into the core of memory and impulse, suturing together the silent awareness of excogitating experience.

Featuring eight new tracks of McDowall's dark, experimental electronics, including the opener "Rhizome", The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process.

Unnerving, trancelike anthems for nervous meditation and anxious relaxation, fans of Coil will immediately connect and immerse, while the complex compositions welcome listen for drone and ambient enthusiasts.

Packaged within a thick sturdy matte sleeve jacket featuring artwork/design by artist J.S. Aurelius (Ascetic House/Marshstepper).

Cat.no.: DAIS 122 LP

Tracklisting

For this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall's product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting its inscribed template.

The result is a true third act,in McDowall's career, that has seen him peregrinate from the late-70s art-punk of the trio Poems to his work with Psychic TV and Coil throughout the 80s and 90s, into his current home of New York City, where he has composed with CSD, Compound Eye, as well his solo work. That triangulation is central to The Third Helix, as it begins with his dive into the existence of a sensory toolkit unique to McDowall before twisting faculties and reconfiguring consciousness by honoring inherent power, cognizant of memory yet agnostic of context.

With the tenet that journey is rarely linear, but rather an omnipresent oscillation of matter, sound is stripped to salient and primal, propelled by McDowall's boring into the core of memory and impulse, suturing together the silent awareness of excogitating experience.

Featuring eight new tracks of McDowall's dark, experimental electronics, including the opener "Rhizome", The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process.

Unnerving, trancelike anthems for nervous meditation and anxious relaxation, fans of Coil will immediately connect and immerse, while the complex compositions welcome listen for drone and ambient enthusiasts.