"An arbitrary succession of more or less irritating sounds"

Saturday, 8 October 2016

Hidden burn

Drama - the sense of moment, event or even ritual - figures notably large in Touch’s recent output. It always has, of course (think Kiri No Oto or Without Sinking…). But ravishing new releases like Claire M Singer’s  Solas & Bethan Kellough’s Aven seem drenched in it - most obviously because of their string & organ parts, but more broadly because of their shade & light interplay of acoustic, electronic & field recording elements.

It also seems to reflect the imprint’s growing body of live releases this year. Aven is one; Floodlines by Simon Scott – whose gripping Insomni for Touch affiliate Ash International was part of LMYE’s 2015 Festive 33-1/3 - & Fennesz's Mahler Remix two more. All clearly gain great atmosphere & power from being captured in the moment... 

Touch’s US West Coast ‘conference’ in the summer amped up this emphasis on performance. Besides Aven, gripping shows by Philip Jeck, Daniel Menche and Mark Van Hoen were shared through Touch Radio – a wonderfully rich ‘platform for recordings from artists affiliated to or whose work appears on Touch’. 

To these ears at least, it connects too to drøne’s Reversing Into the Future. This thrilling piece – surely the most kinetic non-dancefloor record in an age ("sounds moan and sing, forming their own phonemes") – feels like an honorary part of Touch’s work even if formally a debut for Anna von Hausswolff’s Pomperipossa: a collaboration between Touch co-founder Mike Harding & Van Hoen (whose digital-only Artefacts I came out on the ‘audio-visual resource for ‘emerging artists’’ TOUCHLINE in October 2015). 

Much more Touch performance in tonight's 17th Spire ("organ works past present & future") at Organ Reframed - for which Singer is artistic director. Hope to see you there...

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Thursday, 6 October 2016

Wade Paddle Row Float

Yet another party that these ears are late to, granted - but Jeremy Young's The Chants Beneath 'project' ("There is no album, or record, and no distribution, this collection exists only here") is so rich & so replete with members of the LMYE pantheon that recognition is due all the same. 

The idea: "create 125 unique artist edition double-sided loop pieces towards developing sustainable audience engagement with the sonic arts, housing all the loops online in a freely streamable living archive and commissioning over 120 sound artists to create new work using each singular piece."

Fair enough, not least when the artists in question include (alphabetically, not in archival running order...) Astral Social Club, Jimmy Billingham, John Chantler, Chris Herbert, Giuseppi Ielasi, Julia Kent, Machinefabriek, Josh Mason, Daniel Menche, My Cat Is An Alien, Orphax, Stefano Pilia, pinkcourtesyphone, Nils Quak, Janek Schaefer, Mike Shiflet, thisquietarmy & Simon Whetham

The result: a glorious, defiantly non-commercial "living archive of cassette tape loops" based on 125 pairs of 7-second loops from Young's ravishing original chants beneath the bed of the furnace brook ("a descriptive reflection of movement and stillness"). 

Highlights are headed by Orphax's insistent, beautifully balanced 'remix'. Less than five minutes, it seems to embody the idea of a loop as something without beginning or end that could play on, satisfyingly, forever...

MCIAA's celestial/skittering/naif/bass smear brew also jumps out, along with compatriot Stefano Pilia's on-the-brink-of-collapsing workoutJanek Schaefer's equally intense Golden Gatesa hovering, gauzy take by Chris Herbert & Julia Kent's glowing gloop-meets-bow Round, Reversed   

Other compelling contributions include the unfurling, tendril-like Together at Wimshurst by Drew BarnettNils Quak's soothing, contemplative The Crying of Lot 32 & pcp's subtle, shaped Tape Chanting As We Speak

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Tuesday, 6 September 2016

Belgrade Farfisa

If the official 'retired Serbian steelworker turned self-taught electronic musician' line around Abul Mogard is in any way true, his is an extraordinary trajectory. But even if - as seems likely - it's just a confection to make 'his' music stand out from others', what really differentiates this work (a handful of tapes, remixes & a recent-ish compilation on Ecstatic) is its poise & - sorry - grandeur. 

It's been a year since the last original (ahem...) Mogard release, Circular Forms. These ears are primed for more of these affecting, swelling textures - their emotional heft belied by the banality of their self-description as "made using Farfisa organ, synthesisers and computer software"

Spotify playlist

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Tuesday, 14 June 2016

"may love prevail"

"June 12, 2016 — I have been working on this piece for a while but it always just felt so dark. Darkness is what I feel today. This work is dedicated to the victims of all violence against LGBTQ people.

100% of the profit from sales/downloads of this work will be donated to: 



may love prevail over hate in all its forms, 

richard chartier 

PS: please also consider donating directly to the links above to help the community as well as the victims' families."

Prompted by tragedy but also in support & celebration of its maker: darkness & a little light in an array of gripping, mostly recent work by Line-lord Chartier - largely in his "more emotional, dare one say musical" Pinkcourtesyphone guise...

NB: Photos from 3particles.com/pinkcourtesyphone.com. Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.

Tuesday, 24 May 2016


One of this year's more audacious & diverting 'remixes' (response or engagement might be a better way of putting it...), Marc Kate's Low blow brilliantly unleashes Bowie & Eno's inner drone: "All 11 tracks of 'Low' playing at the same time, stretched to three hours." 

That cover image (itself a manipulation of the The Man Who Fell to Earth-sourced Low cover, presumably) encapsulates this vast piece's inevitably sedimented, smeared feel. Even if its ochre strata are rather warmer...

Kate's Despairer is also delicious - especially the measured potency of I Would Do Anything For You. Except Listen (featured in the March edition of Lend Me Your Radio, LMYE's monthly SoundCloud playlist) & Abject-Oriented Ontology (another exercise in intense, stately gathering; balletic video below). 

Bonus (mastered by the great Lawrence English, no less...):

Bonus #2 (continuing the simultaneity theme):

Bonus #3:

NB: Kate is also the host of Why We Listen: a strikingly thoughtful podcast that recently featured Disquiet's Marc Weidenbaum, in whose online listening group of a few years ago LMYE's jl & al first 'met'...

Important: LMYE only makes music available that artists/labels have chosen to share freely. Let us know if something here shouldn't be.
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