Tag Archives: cae-sur-a

[Preview 2.6.13]

Plenty of new stuff to play tonight on The Upstate Soundscape including tracks from Grouper, The North Sea, Hair Police,and Colin Stetson.

 

Also have new tapes from the cae-sur-a and House of Alchemy labels. Show starts at 8pm on 91.3FM WBNY. Stream at WBNY.org.

 

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[Preview: The Upstate Soundscape Returns]

Tonight, after taking a few weeks off, the Upstate Soundscape radio show returns. Tune in to hear new material from both the House of Alchemy and cae-sur-a labels, a new song from awesome Buffalo duo Chapels, and a boat load of new records that Needles picked up while on a trip in New Orleans.

The Weirdness will hit your airwaves at 8pm on 91.3FM WBNY. Stream at WBNY.org.


[2012 in Review: Needles Numark, host of the Upstate Soundscape]

Needles is the host The Upstate Soundscape radio show. Here are 10 releases that he dug from 2012.

 

 

Sax Tape, S/T 

 

This insane 60-minute romp came from Guelph’s Bry Webb. An unbelievable collage of looped beats, sonic twirls, and honking saxes. Funky, twisted, and psychedelic, this one hit all the right notes for me.

 

 

 

Alfred Brown, Music for Moving in Slow Motion (Asthmatic Kitty)

 

Probably one of the most graceful records of 2012. It could easily serve as the score for one of Terrence Malick’s majestic films.

 

 

 

Cinnamon Aluminum, We Ate the Wrong Crab Spirit (Level 4 Activated)

 

This Buffalo trio (now a four piece) perfectly straddles the line between experimental and pop. The songs on this album are as catchy as they are whacked out.

 

 

Venn Rain, Bioharmonics (House of Alchemy)

 

It’s hard to put my finger on what exactly I like about this cassette, but I just found it totally compelling. Four very simple recordings, all of which are mesmerizing.

 

 

M. Mucci, Days Blur Together

 

60 minutes of true drone bliss from Guelph-based M. Mucci. One of the most patient and refined pieces I have ever heard. Very few pieces present listeners with this type of challenge and subsequent reward for committing to it. Basinski-esque.

 

 

Phillips-Borden, System Vandross

 

A really discombobulating listen. Following the intersection of Borden’s crazed cello and Phillips’s turntable manipulation is like trying to walk on shifting ground in the dark.

 

 

Tony Conrad and HangedUp, Transit of Venus (Constellation)

 

Such a simple formula. Big sloppy drums combined with thick vibrating drones. The result is what I always imagined the Theater of Eternal Music would have sounded like. Great for both sitting in a chair and zoning out to or flailing around the room and breaking shit.

 

 

Damian Valles, Non-Parallel (in Four Movements) (Experimedia)

 

I am a sucker for any sample-based drone. Valles’s re-use of classical avant-garde sounds from the Nonesuch label is a fantastic example of the possible directions sample-based sounds might go in the future (even if they don’t sound at like sample-based works).

 

 

Thoughts on Air, Random Tandem (Old Frontiers)

 

I had the pleasure of hanging out with Scott Johnson (ToA) one night in Hamilton this past summer. We traded some tapes, and this was one he gave me. The art work immediately blew me away but it wasn’t until driving home the next day hung over with the window’s down and music blasting that I actually heard this amazing double cassette. The graceful tones poured out my windows down the QEW. Then I got stuck in traffic on top of the Rainbow bridge in 90 degree heat with no air conditioning. A faint mist from the falls blew over me ever so often. I just sat there listening in a sweat induced trance. This tape will always run through my mind whenever I cross that bridge.

 

 

Loud and Sad, Fales Intimacy (cae-sur-a)

 

At times, there is so little going on in this cassette, which is what I love about it. You can really only absorb this by listening with all your might.

 


[2012 in Review: Jen + Cory of cae-sur-a]

Jen Marquart and Cory E. Card run the //cae-sur-a// label and record as the duo Stone Baby. They are based in Rochester, NY. Below are 10 releases that they enjoyed from 2012.

Hexvessel, No Holier Temple (Svarte Records, 2LP/CD/DL)

 

Tuurd, I Wish my Wife was this Dirty LP/DL (Carbon Records, LP/DL)

 

Tidal/RambutanSplit (Aguirre, LP)

FWY!, Hesperia (Brave Mysteries, C40)

Wreathes, s/t (Peasanta, LP/ Brave Mysteries CD)

[youtube:http://www.youtube.com/watch?v=ZsFgZakHOVc%5D

Annette Peacock, I’m the One (Reissue, Future Days Recording/Light in the Attic LP/CD)

Tor Lundvall, The Shipyard (Dais Records LP)

Andy Stott, Luxury Problems  (Modern Love LP/CD)

Least Carpet/Pretty Lightning/Jon Collin/KarnakTemples, Cycle of the Seasons 4-way split (SicSic, C56)

 

[youtube:http://www.youtube.com/watch?v=s_s1U_X7D_g%5D
Julian Cope, Psychedelic Revolution (Head Heritage CD)


[Preview: Ay Fast, Tony Conrad/Genesis P-Orridige Collab, New Scott Walker and more]

Ay Fast- Nice Arps

Tune in tonight to The Upstate Soundscape to hear lots of great experimental music and sound from Buffalo, the Upstate region, and beyond. Got new and semi-new stuff from Buffalo’s House of Alchemy and Rochester’s cae-sur-a labels, the Rust Belt’s resident electronic weirdo Ay Fast, and a collaboration that Tony Conrad did with Genesis Breyer P-Orridge.

Oh, yeah….and some new music from the one and only Scott Walker and his new album Bish Bosch. 

Tons of other good stuff on tap, too, so don’t miss it. Show starts at 8pm on 91.3FM WBNY. Stream at WBNY.org.


[Review: Loud & Sad, ‘False Intimacy’]

The liner notes found within Loud & Sad’s handmade, silk screened, numbered matchbox case cassette False Intimacy list the five slow unspooling sonic sketches as “Example 1-5.” Apparently, these aptly titled “examples” are nothing more than solo pieces of processed piano, which the liner notes seem to imply were created with only the use of the black keys. You probably wouldn’t assume as much after listening to False Intimacy, which was recorded by long-time collaborators Joe Hupert (Dust in the Light) and Nathan McLaughlin (the Blanket Fort) and released by the cae-sur-a label out of Rochester. There is a richness of sound here despite the minimal tones that the duo make use of. But the point being made seems to be that less is more. This stands in very stark contrast to the many noise/sound artists that self-consciously fill up space with unnecessary knob twiddling. Here, instead, patience is demonstrated with an austere reserve that seems determined to let sounds exist and morph through evolution, as opposed to intervention.

At times, in almost all of the pieces, there is a sense that the machines or software or whatever is creating or manipulating these sounds are just left on to breathe in and out of sync with one another, like two people lying asleep next to one another.

There is a particularly daring passage that comes at the midway point of Side A that lasts roughly five minutes (I believe its “Example 2,” but is hard to discern exactly when one track begins and one ends). Anyway, this passage consists of little more than a rhythmic buzzing sound that flickers along in the background. Eventually–and I mean eventually–a distant filtered noise begins to gently chip at the top of the audio panorama. A little clicking here, a little tape hiss there, and what you get is the sonic sweep of a desolate landscape cloaked in a nuclear winter. The piano motif is gone, while any tones or notes are also expelled. After multiple listens, this passage begins to stand out not as the barest, but as the starkest. It’s almost as ballsy as John Cage sitting at a piano doing nothing. Here the duo retreat from their instruments and simply leave them be, letting (or perhaps forcing) the listener to really sit with these sounds. It really is a compelling section for its starkness and refusal to compromise by adding even the simplest of flourishes that might hint to the listener that this seemingly static scene is in fact a movement that is slowly unfolding to something grander. No, instead the listener is given no other option but to take it as it is and deal with it.

Moving to Side B, both “Example 4” and “Example 5” contain stunning piano moments that sound as if they are reverberating while covered in analog dust (imagery reminiscent of the title of Hupert’s solo project, Dust in the Light). It is here, especially in “Example 5,”that the loneliness trope –discussed in the liner notes and explored in a more amelodic manner on Side A—really comes to the forefront.

Then for a moment, right toward the end of the cassette, the piano playing emerges uninhibited by processing and it dances gracefully as if it were the score to melancholy documentary compiled of lost footage from film’s most glorious era. The cassette then ends on a somber, but resolute note.

___________________________________________________________

Review by Taylor Waite


[Preview 11.7.12: Alfred Brown, Megrez, Cave and more]

Nite Lite – Megrez (Desire Path Recordings)

Lots of new stuff to get to tonight on The Upstate Soundscape, including a song from the upcoming album The Seagull – A Song Cycle by Buffalo artists Alfred Brown and a track from Nite Lite’s Megrez, which is due out soon on Buffalo label Desire Path Recordings.

New stuff as well from Buffalo’s Ay Fast, the cae-sur-a label out of Rochester, and a collaboration between Ithaca sax player Keir Neuringer and Toronto vocalist Paul Dutton.

We’ll also preview a couple of interesting shows going on in the region, including Rochester-born Lydia Lunch in Hamilton, nu-kraut band Cave in Buffalo, and Steven Severin’s live film score to Blood of the Poet  scheduled for this Sunday at the Market Arcade.

Show starts at 8pm. Tune in to 91.3FM WBNY or stream at WBNY.org