Artiklar

Bevor die Sonne ganz durch die Wolkendecke bricht und Sommerlaune verbreitet, möchten wir euch einen Konzertabend präsentieren, der euch in düstere und melancholische Klangwelten entführt, die unter die Haut gehen. Der “Experimental Evening V” konzentriert sich diesmal ganz auf den europäischen Kontinent und zieht einen Bogen von England über Deutschland bis in die Schweiz, denn am 26. Mai erwarten euch Sum Of R aus der Schweiz, Simon Scott aus England und [ B O L T ] aus Deutschland in der Christuskirche Bochum.

last.fm event: Experimental Evening V

facebook event: https://www.facebook.com/events/431693580174698/

26. Mai 2012
Christuskirche Bochum
Einlass: 19:00 Uhr
Beginn: 20:00 Uhr
Tickets: http://www.christuskirche-bochum.de/tickets/

download sampler: http://soundcloud.com/thepostrock-de/experimental-evening-v-sampler

weitere Infos: thepostrock.de

Field Recordings ist der Überbegriff für Audioaufnahmen, die nicht in einem Studio mit Hilfe von Instrumenten, sondern beispielsweise in der freien Natur durch das Aufnehmen vom Umgebungsgeräuschen entstehen. Mittlerweile haben sich Field Recordings zu einer eigenen Stilrichtung entwickelt und sind als atmosphärische Beigabe aus Ambient- und Dronesongs nicht mehr wegzudenken. Der italienische Soundtüftler und Experimentalmusiker Fabio Orsi hat eine ganz eigene Art entwickelt, aufgenommene Field Recordings am Rechner zu bearbeiten, um letztendlich ein Musikstück daraus zu kreieren. Das möchte er jetzt in einem Workshop weitergeben.

Info und Anmeldung auf thepostrock.de

Auch im neuen Jahr soll experimentelle Musik live erlebt werden und daher präsentieren wir euch am 17. Februar einen Konzertabend in der Christuskirche Bochum mit Aidan Baker aus Kanada und A-Sun Amissa aus England.

Alle Infos findet ihr hier!

Ihr habt sicherlich schon mitbekommen, dass es das kleine feine Vinyl-Label Droehnhaus nicht mehr gibt. Zum Abschied verlosen wir zusammen mit Droehnhaus zwei Pakete mit diversen 7inch und 12inch Vinyls, die noch zuletzt über das Label beziehbar waren.

Die Teilnahmebedingungen findet ihr auf thepostrock.de

Gangs by And So I Watch You From Afar.



Burst Apart by The Antlers.



Gloss Drop by Battles.



The Rip Tide by Beirut.



Apocalypse by Bill Callahan.



El Camino by The Black Keys.



Bon Iver by Bon Iver.



Take Care, Take Care, Take Care by Explosions in the Sky.



Helplessness Blues by Fleet Foxes.



The Harrow & The Harvest by Gillian Welch.



Hisingen Blues by Graveyard.



Kiss Each Other Clean by Iron & Wine.



Last Of The Country Gentlemen by Josh T. Pearson.



Salvador by Lo-Pan.



C'mon by Low.



Smart Flesh by The Low Anthem.



The Hunter by Mastodon.



Hardcore Will Never Die, But You Will by Mogwai.



Tamer Animals by Other Lives.



The King of Limbs by Radiohead.



Inni by Sigur Rós.



Funny Looking Angels by Smith & Burrows.



Bad as Me by Tom Waits.



ATMA by Yob.



The Inside Room by 40 Watt Sun.

--> DOWNLOAD <--

Das Jahr geht so langsam zu Ende und wir wollen uns bei euch Lesern mit einer Download Compilation für das Besuchen unserer Seite bedanken. Auf “Home” haben wir die verschiedensten Künstler aus Deutschland vereint, über die wir an dieser Stelle berichtet haben. Neben bereits veröffentlichten Songs findet ihr sowohl Livetracks von Veranstaltungen, die wir euch präsentiert haben, als auch bisher unveröffentlichte Tracks auf der Compilation.

Wir freuen uns auf euren Besuch im nächsten Jahr und wünschen euch einen guten Start in 2012. Und denkt daran, die hier präsentierte Musik zu fördern: Kauft Musik und Merch bei den Musikern und bei den Labels direkt und besucht die Konzerte dieser Künstler, egal bei welchem Wetter und bei welcher Laune. Label, Veranstalter und Künstler werden euch sehr dankbar dafür sein.

Eure Redaktion

Hi there! This is Incu Thursday. Every Thursday, 14:00h local time, we announce the musicians that were confirmed for the Incubate 2011 festival during the past week. Whether it’s one or twenty names, as long as we have things to confirm…

Another nine artists are confirmed for Incubate 2011 today: The Fall, Esben and the Witch, Natural Snow Buildings, Han Bennink, Alasdair Roberts,the joyous cosmology, Constitu Sound, Puzzle Muteson and Safari Park.

Read more information on our blog!

Count yourself in on the last.fm Incubate 2011 event! Here you can check out the whole line-up of Incubate 2011 and stay up to date with news about the festival.

Rose & Sandy - Play Cat's Cradle



Behind this name which suggests two ladies working together we find two of Scottish finest musicians: Ruaridh Law (TVO/The Village Orchestra, Accrual and more) and Dave Donnelly (The Production Unit and more). While they both have their feet in beat driven music for their project Rose &amp; Sandy they take a swing quite the opposite way. From improvised processing, like on their full-length debut they present here, to field-recordings and live video presentations.
Listen to an excerpt over at http://soundcloud.com/movingfurniturerecords/rose-and-sandy-play-cats-cradle-excerpt

The CD is available in 2 different versions:
The normal version is just the cd, but there will also be a special edition of 20 which comes with exclusive hand numbered pictures from the used zither taken by Dave Fyans (Erstlaub)
The artwork is designed by Michel van Henten

Prices (incl. shipping)
Normal version:
EU: 11 euro
ROW: 12 euro

Special edition (only available from this site, 1 per person):
EU: 16 euro
ROW: 17 euro

You can now order the album by sending an email to info@movingfurniturerecords.com

Some words by one of the two members:
I don't know exactly what the instrument is. It's probably a kind of zither; that's how my dad described it to me when he first told me about it.I was immediately fascinated by his description: a set of strings on the left side that was blocked into eleven chromatic 'chord banks', each adjustable between major, minor and suspended fourth via little levers at the front that literally tightened the string by a semitone; on the right, three octaves of notes backed by an image of a piano keyboard for guidance.When I finally set eyes on it, I was in love; it's a truly beautiful object, about three feet wide and two deep, with surprisingly detailed religious iconography inside each of the sound holes.And then there was the sound - like plucked piano strings, but with resonance that's amazing even for an acoustic instrument.A single note can hold for a couple of minutes if there's an adequate surfeit of background noise.
It came into my father's possession as a loan from some nuns he knew through his church work.I know.One older sister at the convent had played it at times of worship, but since she had passed away it wasn't used, so they wondered if he had a use for it. It was a kind of extended loan of the sort that often occurs in the weird system of quasi-ownership that persists in these circles.I hinted heavily until such time as the freehold drifted towards me.
I was told that the usual technique was to only pluck the melody on the right hand side and let the chords on the left thrum by themselves through vibration. It was a beguiling notion, and it does work, but there are so many other options, including prepared techniques, hitting notes in different ways, and adjusting which part of the string is struck, that I tended to run the whole gamut.
Every google search I've tried brings up similar-ish things, but nothing quite like this. It could be unique, but I doubt it; I'm guessing it's just a little obscure.
As soon as I heard it, I determined to collaborate with Rose on a project not dissimilar to his Accrual venture, whereby live instrumentation (guitar, in the case of Accrual) was used as the solitary sound source and processed live.All of the work you hear was created in two impromptu sessions where we agreed a key, hit record and just started playing.The only edits are start and end points, plus a splicing of each of the five pieces together to make a single track.
We've called it 'Cat's Cradle'.It represents a few different notions:Firstly, the many strings mirror the manifold web of twine used in the child's game of the same name; second, we've both become fathers in the recent past and I wanted to reflect the multitude of joy, worry and responsibility that "the cradle" brings; thirdly, there's the air of puzzle in much of my dealings with the instrument, be they of its origin or my (at times clumsy) playing. Imperfection and the sense of an ever-evolving process seemed to dominate its aura, so the naive complexity of the tactile folk game seemed to fit well.
I had originally done something vaguely along the lines of automatic writing for liner notes, whereby I just let me mind wonder as the music was played back in realtime, but it didn't chime too well. In the end, it could be summed up in one line:
"We pass the cradle back and forth.I hope I never make a mistake."
We hope that the sound could be recreated in a live environment, as that's essentially how it was created, but there's a drawback:somebody (i.e. me) will have to tune the 114 strings...

Sandy
Glasgow
2010


Last.fm: Moving Furniture Records
Online: http://www.movingfurniturerecords.com