#brett naucke
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Brett Naucke – Seed.
2014 : Spectrum Spools.
! acquire the album ★ attach a coffee !
#electronic music#ambient music#minimal music#experimental music#brett naucke#2014#spectrum spools#2010s#2010s electronic
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Dust Volume 9, Number 3
Emergency Group
As AI takes over the creative professions, it may seem pointless for actual, struggling human beings to sit down to listen to music made by other human beings, to think about what they hear and to string together sentences about how they felt about that music and what it means. But, in a sense, Dusted has always been a bit pointless, as have many of the under-heard, under-loved musics we follow. Still, since there’s no money in it, we can’t be starved out. We may not win an us-against-the-machines battle, but there’s no reason to surrender. And so, this month, we gather our low-tech resources to consider another batch of excellent, under-the-radar releases from folk artists and metal thrashers, jazz improvisers and pop craftspeople. Contributors include Bill Meyer, Ian Mathers, Jennifer Kelly, Justin Cober-Lake, Jonathan Shaw, Tim Clarke, Bryon Hayes, Margaret Welsh and Andrew Forell—not a robot in the bunch.
Joseph Allred — What Strange Flowers In The Shade (Feeding Tube)
What Strange Flowers In The Shade by Joseph Allred
We’ll be dealing with the pandemic’s fallout for years to come, but some consequences are lined with silver. Locked up in a grad school apartment, Joseph Allred spent a lot of time getting acquainted with the less-handled items in their sizable collection of instruments. Best known as a mystical acoustic guitarist of the Takoma school and a spiritually astute singer, they also have a lengthy, if less documented, history of appreciating and performing plugged-in music. What Strange Flowers Grown In The Shade arose from Allred’s deep dive into the delights of effects pedals and a Fender Jaguar guitar. Bolstered by remote contributions by the Rolin-Powers Duo, Magic Tuber Stringband, and others, Allred set the sound-mixer for slow stir and the spotlight for the center of the resulting thick swirl. The outcome sounds a bit like Mike Cooper might if you packed him off to a cold, damp clime with nothing to play but choral recordings, and he embraced the circumstances (don’t try this at home, folks; Cooper would be more likely to embrace your neck with an asphyxiating grip if you did him such a disservice).
Bill Meyer
John Atkinson — Energy Fields (AKP Recordings)
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It may have taken John Atkinson just two weeks on a residency in Wyoming (surrounded by the sounds of coal mines, wind farms, oil refineries, and hydropower plants) to get all of the field recordings he microedited into the four tracks that make up Energy Fields, but it took him another two years to figure out how to stitch them together. In that time, his longstanding interest in both the manipulation of found/sourced sound and in climate issues haven’t exactly dated. On the industrial rumble of “Black Thunder” and the galvanizing drones of “Spiritual Electricity” you can practically see the extractive machinery Atkinson was surrounded with, whereas the record’s second half moves to a calmer, more meditative and even hopeful place. The results are evocative and sometimes troubling soundscapes deeply rooted in our current ecological moment.
Ian Mathers
Emergency Group — Inspection of Cruelty (Island House)
Inspection Of Cruelty by Emergency Group
Two side-long slabs of fusion-y free improvisation are led by long-time Dusted favorite Jonathan Byerley (Plates of Cake and Anti-Westerns), with seasoned jazz players Robert Boston and Andreas Brade in tow. WFMU DJ, writer and bassist Dave Mandl rounds out the foursome. A 1970s futuristic cool hangs over the whole enterprise, in its chugging rhythms, its radiant runs of electric keyboards, its motorific jams. You are meant to sniff out hash-scented whiffs of Silent Way into Jack Johnson-era Miles Davis (despite the lack of brass) in all this, but Return to Forever is a closer match, and maybe CAN, too. There’s an underpinning of jazz, but it wigs way the fuck out from there. I’d give the edge to urgent, driving “Part 1,” nearly half an hour long but constantly evolving, ever fascinating. “Part 2” is shorter, but not by much, but also less visceral, more of a head piece. It dozes deep into a psychedelic dream, where fairy dust keyboard notes drift down from pastel skies, sparkling all the way, and deep pulses of bass power the machinery that makes the illusion work. I’ve never loved keyboard-heavy fusion but I like this, go figure.
Jennifer Kelly
Tomas Fujiwara's Triple Double — March On (self-released)
March On by Tomas Fujiwara's Triple Double
When percussionist Tomas Fujiwara convened his odd sextet a few years ago for their second album (2020's March), he had them record some extra material intended as segues between tracks. He decided the session warranted its own album, and new digital-only release March On centers on the 30-minute titular improv. The freedom of the set should suit fans of the artists involved (including Gerald Cleaver, Mary Halvorson, Brandon Seabrook, Taylor Ho Bynum and Ralph Alessi). Each of those musicians write and perform surprising, free-sounding music, but with careful composition structuring the adventures more carefully than might be expected. “March On” puts them in full improv mode, a task that succeeds largely because they've learned to interact so well with each other in a variety of ensembles over the past decade or so.
The Triple Double structure still holds, offering surprises in one level simply by changing configurations. The band's name suggests basketball, and the group plays a never-stagnating motion offense. We move from a horn duet to a guitar battle to a drum-guitar-trumpet trio with ease. Given the crowded space, each musician stays out of the others' way while still finding moments to become a focal point. The album closes with Halvorson and Seabrook briefly partnering for “Silhouettes,” 45 seconds of weird tone an unsettling conversation. It closes the album well, hinting at more mysteries within an ongoing conversation.
Justin Cober-Lake
Full of Hell and Primitive Man — Suffocating Hallucination (Closed Casket Activities)
Suffocating Hallucination by Full of Hell & Primitive Man
A glib assessment of this collaboration between noisy grind band Full of Hell and the doomy monster that is Primitive Man might note: it’s 26 seconds of Full of Hell and 34 minutes of Primitive Man. For sure Suffocating Hallucination is dominated by the agonizing assaults of volume associated with Primitive Man’s excoriating, magma-paced music. But folks should recall just how adventurous the last few Full of Hell records have been, replete with excursions into hair-raising harsh noise and muscular hardcore. Open your ears to the textures of the record’s first two tracks (the sublimely titled “Trepanation for Future Joys” and the aptly titled “Rubble Home”) and you’ll hear both bands at work, responding to each other’s force and fury. Is that good? Depends on your appetite for unhappiness. This reviewer is compelled by the record’s final 18 minutes, in which the haunted factory sounds of “Dwindling Will” leach into the perversely magisterial “Tunnels to God.” As novelist Stephen Wright once observed, “If you can’t ascend, you might as well descend.” This music will get you there.
Jonathan Shaw
Drew Gardner — The Return (Astral Spirits)
The Return by Drew Gardner
Folks following American “don’t call it primitive” guitar music have likely noted Drew Gardner’s redoubtably picking in Elkhorn, where he handles the usually-electric, six-string side of their bases-covered attack. Most folks don’t get to sound so sure in a minute, and it turns out that Gardner is a man with a past. He has been multi-instrumentalist since the 1980s, and during the mid-1990s he was an active participant in San Francisco’s free jazz scene. Around the same time, saxophonist John Tchicai had a teaching gig in Davis CA; he retained Gardner as a drummer, and when Gardner had a chance to record at Guerilla Euphonics in 1995, he returned the favor. Also on board were Church of John Coltrane alto saxophonist Roberto de Haven and, on one track, Marco Eneidi, also on alto. Gardner and bassist Vytas Nagisetty stoke the furnace, alternating a full head of steam with more judiciously applied rumblings, and the twinned reeds give Gardner’s themes a distinctly pre-electric Ornette feel. No doubt there’s a good reason why this music didn’t come out at the time, but it wasn’t on account of the music’s quality.
Bill Meyer
Hourlope — Three Nights in the Wawayanda (self-released / Tymbal Tapes)
Three Nights in the Wawayanda by Hourloupe
Hourlope is a collaboration between Anar Badalov and Frank Menchaca, and Three Nights in the Wawayanda is the third part of an ambitious trilogy that began with Future Deserts, continued on Sleepwalker, and reaches its fantastical culmination here. Hourlope pair elusive electronic backing with Mechaca’s measured spoken word delivery, and the results are frequently beguiling. It feels like music from another time, both harking back to the origins of ambient electronica in the 1990s and reaching forward to imagine fresh new musical forms. The album’s finest moments are the more abstract, beatless pieces, such as the Fennesz-esque “Thumper,” and centerpiece “Green Navy/Rain,” a stunningly evocative two minutes in which Menchaca’s words perfectly complement the eerie atmosphere of the music.
Tim Clarke
Brett Naucke — Cast a Double Shadow (Ceremony of Seasons)
Cast A Double Shadow by Brett Naucke
Wine, beer and spirit clubs are not new, but the Asheville-based VISUALS winery is taking the concept beyond liquids with its Ritual of Senses club. It’s pairing rare, locally fermented products with components meant to delight the other senses. Packages are meant to arrive at the solstices and equinoxes and include a seasonally appropriate auditory component. Brett Naucke’s Cast a Double Shadow is included in the club’s winter solstice edition. Having spent most of his life near Chicago, the sound artist is now based in Asheville, hence his participation. Naucke blends a sonically diverse array of genetic material into a recombinant organism well-suited to survive the longest and coldest wintery night. Icy synths and brittle samples are bolstered by a lushness that carries a kernel of warmth inside of it. Bubbling arpeggios create the illusion of motion, and since a moving liquid cannot freeze, Naucke’s compositions remain lively amid the pervasive frostiness of the hibernal season. Those lucky enough to pair these ice-melting sounds with VISUALS’ liquid accompaniment will surely enjoy a synaesthetic intoxication. Imbibe responsibly, folks.
Bryon Hayes
The Natural Lines — S-T (Bella Union)
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Matt Pond may not be Matt Pond PA anymore, but he’s making the kind of clever, earnest indie rock as always, with some of the same people, notably Chris Hansen, his longtime guitarist and co-producer. This self-titled full length follows on the 2022 EP First Five, revisiting pensive, string-soothed “Spontaneous Skylights” and adding ten new warbly gems. “Monotony” feels like a COVID song, specifically a song about a musician’s experience of COVID, its clamped guitar stuttering as Pond sketches adapting to a smaller world. “When you start to think about the way you breathe, it doesn’t mean you believe in monotony,” he observes in a wavering voice that struggles to remain upbeat. But the music swells and with it, Pond finds his footing. “Climb the drums to feel the fall, stab the strings to feel anything,” he sings. Later, “A Scene That Will Never Die” turns moody introspection into bell-clear, chiming triumph. Pond’s voice is always bruised, rueful, real, but the music surges in waves of joy. If you’re still climbing out of the last couple of years, take heart. Matt Pond is, too, and he’s got a new band and an album to help.
Jennifer Kelly
No Cosmos — you iii everything else (Lighter Than Air)
You iii everything else by No Cosmos
Montrealean jazz trumpet player Scott Bevins inhabits a fluid convergence of jazz, electronics and R&B in this eight-song debut, drawing out languid, lucid melodies in brass and roughing them up with a battery of percussion from drummer Kyle Hutchins. Bright, reiterative bell-tones frame “kindergentlepatient” in Reichian pointillism, but the trumpet rings out a long-noted, clarion melody, a little echo clinging to it like a shadow, flickering underneath. “Almost Lost You,” an early single, slaps a slinky downtempo beat onto musing post-Miles cool, and floats traceries of soul vocals over its slouching groove. Less overtly accessible, but ultimately more rewarding, “0 to me to me to me,” ruptures its Rhodes-chilled serenity with continual explosions of drumming. I like it best when Bevins lets the chaos slips into his stylized precision.
Jennifer Kelly
Party of the Sun — Capsule III EP (Trailing Twelve)
Capsule III by Party of the Sun
Backwoods psychedelia springs up like mushrooms in the wilder parts of northern New England. Party of the Sun, an acid folk trio from the Monadnock Region (where yrs truly also resides), made these gently expansive tunes on a working sheep farm, following in the muck crusted footsteps of MV+EE, Sunburned and Akron/Family. Akron/Family, admittedly, hailed from New York, but the resonance is strong anyway, especially to that first slow-burning album, where the creak of rocking chairs, the rumble of thunder, seeped into translucent, transcendent melody. Here, “See Space” is all murmur-y, sunlit radiance, guitar and keyboards picking out glittering patterns under Ethan McBrien’s soft, considering tenor. “Forget Me Knot” coalesces out of a cloud of buzzing sonics, warm, widely spaced guitar chords emerging like the emerging light of morning. Harmonies swell, in a natural way, and drums thump up a climax, as the song balloons from quiet contemplation to something epic. “Smoke Bush,” with its subtle thread of female harmonies, eddies and swirls and lilts like a lost 1960s folk off-take. These tunes grow naturally out of reverie and solitude, but they don’t stay that way. They invite you in.
Jennifer Kelly
Anastassis Philippakopoulos — piano1 piano2 piano3 (Edition Wandelweiser Records)
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2020 was a rotten time for too many things to count, but it was a great time to stop and settle into some new music. That opportunity could not have been on anyone’s mind when Elsewhere Music released Anastassis Philippakopoulos: piano works mere weeks before the lockdowns began, but it was a perfect response to the moment. The Greek composer’s compositions, as performed by Melaine Dalibert, were distillations of reflection and deliberate action. This album, which contains earlier works performed by a different pianist, exchanges pith for elongation, but in other respects it’s a continuation of Philippakopoulos’s poetic dialogue between profound silence and unassumingly beautiful sound. Each note bears the weight of consideration, as though the composer carried out a moral inventory before committing to its placement in moderate proximity to another one, and the restrained touch of Serbian pianist Teodora Stepančić honors the music’s austerity.
Bill Meyer
Sif — Darkstalker (Self-released)
Darkstalker by Sif
Nuthin’ fancy here, folks, just 25 minutes of satisfying blackened doom. Richard Murphy has been making records as Sif for a few years, and the project has gotten progressively heavier, shifting from bummer drone meditations to this current thumping and crunching incarnation. The tape’s opening track “Kingseeker” slowly morphs from a repetitive churn to a sludgy groove, which situates the sounds in Louisiana’s long metal tradition (just what goes on down there?). It’s beautifully paced and just recalcitrant enough to insist on returning to the opening riff, rather than seeking any sort of catharsis. The title track spends some time foregrounding Murphy’s chops on bass, with the sort of heaviosity-worship one associates with Conan. Tremolos and more varied textures eventually cut into the song, with some heroic intent. But mostly Murphy wants to wield tone like a mace to your forehead. Hit me again, man. It’s good.
Jonathan Shaw
Ultrabonus — El Gimnasio en Casa (Kitchen Leg)
EL GIMNASIO EN LA CASA VOL.1 by ¡ULTRABONUS!
Recorded a lifetime ago (well, in 2020, same difference) and released this past December, the unprocessed immediacy of El Gimnasio en Casa bears no left-in-the-can staleness. Berlin-based, multi-national four-piece Ultrabonus offers brief, melodic garage-punk tunes delivered with crisp, swaggery style by Argentina native Ignatz B. The title charmingly translates to “the home gym,” and the sunny lo-fi psychedelia is appropriately threaded through with calisthenic noodling. Nothing groundbreaking here, but Ultrabonus does what it does very well. Fun, cool stuff.
Margaret Welsh
99Letters — Makafushigi (Disciples)
Makafushigi by 99LETTERS
Japanese producer Takahiro Kinoshita’s companion piece to his 2022 Kaibou Zukan (Anatomy Picture Book) takes his concept of gagaku techno into a seamy, industrial and far darker direction. Makafushigi (Mystery Tape) is, like its predecessor, built on samples of traditional instruments and vocal styles used in Japanese Imperial Court music. Introduced from Chinese and Korean sources, Gagaku music has continued under Imperial patronage since the 10th century. As 99Letters, Kinoshita fuses these ancient sounds with modern electronic music in ways that are as malevolent as the demons of mythology and as sinister as the underbelly of organized crime and ultranationalism in contemporary Japan. The tracks on Makafushigi are washed in a seamy mix of grit and clamor, a grim, grimy world of back alleys, dingy bars and low-tech manufacturing. It’s a haunted netherworld as alienating as it’s compelling. Fans of Haxan Cloak & Demdike Stare will find much to like here.
Andrew Forell
#dust#dusted magazine#joseph allred#bill meyer#john atkinson#ian mathers#emergency group#jennifer kelly#tomas fujiwara#justin cober-lake#full of hell#primitive man#jonathan shaw#drew gardner#hourlope#tim clarke#brett naucke#bryon hayes#the natural lines#no cosmos#party of the sun#antastassis philippakopoulos#sif#ultrabonus#margaret welsh#99letters#andrew forell
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• brett naucke
• cast a double shadow
• brettnaucke.bandcamp.com/album/cast-a-double-shadow
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Cassie outside of interior and cover art
A collection of Cassie Sandsmarks outside of regular panels/covers I've collected lately, separated by eras/costumes (there’s a lot so brace yourselves):
1998-2003 Cassie (Young Justice era) -
All by Todd Nauck, all straight from his Tumblr over various years. ( @toddnauck ) Official artist, unofficial art.
Cassie by Francis Manapul, source unclear (if you know, please tell me). Official artist, unofficial art.
2003-2011 Cassie (Pre New 52 Teen Titans era) -
Cassie design(s) for Geoff Johns’ 2003′s Teen Titans book by Mike McKone, brought from Teen Titans by Geoff Johns Book 1 (2017). Official art and artist.
Future Cassie designs by Mike Mckone from Teen Titans by Geoff Johns Book 1. Official art and artist.
Cassie by Sean Galloway, source unclear (if you know, please tell me). Official artist , unofficial art.
Cassie by Jim Lee, a charity piece posted via Twitter @/Jimlee. Official artist, unofficial art.
Cassie by Jim Lee, brought from DC Comics - The Art of Jim Lee Volume 1. Official artist, unofficial art (published officially).
2011-2016 Cassie (New 52 Teen Titans era) -
Cassie designs by Brett Booth from Teen Titans Volume 1 (2011). Official art and artist.
Alternative Cassie designs by Jim Lee from Teen Titans Volume 1 (2011). Official art and artist.
Cassie by Cully Hamner from The New 52 10th anniversary Deluxe Edition. Official art and artist.
Silent Armor Cassie designs by Brett Booth from Teen Titans Volume 2 (2011). Official art and artist.
Cassie design/sketch by Eddy Barrows from Teen Titans Volume 3 (2011). Official art and artist.
Cassie designs by Johnboy Meyers via his Facebook page. Official artist, unofficial art.
2016-Now Cassie (Bendis Young Justice->Infinite Frontier->Dawn of DC era) -
Cassie design sketches by Patrick Gleason from Young Justice Volume 1 (2019). Official art and artist.
Cassie sketch by John Timms from Young Justice Volume 1 (2019). Official art and artist.
Cassie in promo art for Batman and Superman: Battle of The Super Sons (source unclear).
Cassie commission by Adriana Melo via her Instagram. Official artist, unofficial art.
Other -
Cassie design by Bruno Redondo for the Injustice 2 comics via his Instagram (?). Official art and artist.
Cassie designs by Andy McDonald from Teen Titans Earth One Volume 2. Official art and artist.
Wonder Girl Cassie designs by Terry Dodson from Bombshells - United volume 1. Official art and artist.
Wonder Woman Cassie sketch by Trevor Hairsine from DCeased - Dead Planet Trade Paperback.
Going to be adding on to this every time I find a new one (art at the beginning by Steve Rude).
#cassie sandsmark#Wonder Girl#young justice#Teen Titans#comic art#todd nauck#mike mckone#sean galloway#jim lee#brett booth#eddy barrows#johnboy meyers#patrick gleason#john timms#bruno redondo#francis manapul#adriana melo#new 52#new 52 teen titans#rebirth#dc rebirth#injustice#injustice 2#titans of tomorrow#teen titans earth one#dc bombshells#bombshells united#terry dodson#andy mcdonald#cully hamner
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Güncel drone/ambient kayıtlarından bir seçki // A selection of recent drone/ambient recordings. Download.
01 – loscil & Lawrence English – Yellow
02 – Zane Trow – Nott’s Rain
03 – Phill Niblock – Muna Torso (excerpt)
04 – Matt Rössner – Ripples On Time
05 – Simon Scott – Holme Fen Posts II
06 – Alaskan Tapes – Then
07 – Brett Naucke – A Glass Touch
08 – SUSS – Flagstaff, AZ
09 – Marine Eyes + IKSRE – You’ll Grow
10 – Harry Towell & Sven Laux – Ground Moraine
11 – Martina Bertoni – Inversion
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Omega Radio for February 26, 2022; #299.
Kedr Livanskiy: “Fire & Water”
Fis: “Wise Man”
Nate Schieble: “Together Again”
Giant Swan: “The Rest Of His Voice”
Tapes: “Gold Love Riddim”
Filmmaker: “Data Sluts”
Spiritflesh: “Treachery”
Deep Blue: “Soho Code”
Crowning: “Vantablack”
Arushi Jain: “Richer Than Blood”
Brett Naucke: “Void Collection”
Catarine Barbieri: “Gravity That Binds”
Enrique: “In The Summer Of 2015”
Zigtrax: “B1”
Bandshell: “Perc”
Darren Ziesing: “Manndillay”
Employee: “B3”
Flame 2: “Dive”
Flying Lotus ft. David Lynch: “Fire Is Coming”
Rabit: “Satellite”
Phoenicia: “Don’t You Stop” (Solvent + Adult. RMX)
Terrence Dixon: “Rush Hour (Convextion)”
Final Winter ‘22 Omega broadcast; electronics, experimental, ambient.
#omega#music#playlists#mixtapes#electronic#ambient#experimental#Kedr Livanskiy#giant Swan#Tapes#Filmmaker#Arushi Jain#Catarine Barbieri#Fliyng Lotus#David Lynch#Rabit
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donnerstag, 27. oktober ‘22, 00.02 uhr
liste_261022
karat – über sieben brücken mußt du geh‘n
bronski beat – no more war
barton – take me up (kupper mix)
ty segall – feel
donna summer – i feel love (glenn underground remix)
brett naucke – pulse reader
neoverse – space light
joi cardwell – last chance to love (welcome mix edit)
amanda lepore – champagne
wideband network – armageddon (dj max portable 3 mix)
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Brett Naucke - Cumulative Index
Dassi
2021
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Brett Naucke - Mirror Ensemble - trio playing synths, violin, organ, piano & voice in a set inspired by Tarkovsky’s 1975 film The Mirror (American Dreams)
“I guess this is my indie rock record,” jokes Chicago electronic musician and composer Brett Naucke - he’s referring to his new LP Mirror Ensemble, created in conjunction with Windy City mainstays Natalie Chami (TALsounds) and Whitney Johnson (Matchess). The album is still leagues outside the confines of “indie rock,” and yet - with its embrace of other collaborators and robust instrumentation - it’s a major departure from his earlier, fully synth-based output, even if modular synthesizers still form its backbone. For one, the songs on Mirror Ensemble sound like...well, songs, often boasting melodic vocalization, strings, and lush layered synthesis. To curate such a cohesion, Naucke utilized scenes from Andrei Tarkovsky’s foundational 1975 film The Mirror as a signpost for mood and atmosphere. It paid off - Mirror Ensemble is bold and beautiful, demonstrating the peak possibilities of focused creation and trust in those closest to you. ....
Naucke’s vision for Mirror Ensemble is crystal clear, as are the record’s sonics. From the outset of “The Glass Shifting,” with its evocative viola, textural synth, and duet vocals from Johnson and Chami, it’s clear that Naucke is upping the sense of scale and narrative. Juxtaposing that relatively short piece with the next song, the longform “A Look That Tells Time,” Naucke takes the listener through a massive range of frequencies and timbres. “A Look That Tells Time” moves calmly from organ tones, plucky percussion, and gentle viola to lush, patient synthesizer that swells and stirs. Others like “Sleep With Your Windows Open” are naked, like you stumbled into a rehearsal you weren’t meant to see, but can’t stop watching. On it, Natalie Chami plays piano and sings softly. Room sounds impart a sense of the space, and synthesizer fades in and out, just enough to make its presence known, but never overstaying its welcome.
Mirror Ensemble is Naucke at his compositional and conceptual best. It’s a synthesizer record, an orchestral record, and in some ways even a soundtrack. While not quite indie rock, it’s a fierce burst into new territory, and with Naucke’s adventurous, ambitious writing and recording, there’s no telling where his attention will turn next.
Voice, Synthesizer, Organ, Piano - Natalie Chami
Viola, Violin, Organ - Whitney Johnson
Arrangement, Synthesizer, Organ, Piano - Brett Naucke
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In Memory of John Peel Show 210827 Podcast & Playlist
In Memory of John Peel Show 210827 Podcast & Playlist
Naaljos Ljom
“…often includes world exclusive releases and always some acts I’ve never even heard of that I love” Well there’s one from The Jeffrey Lewis & Peter Stampfel Band this week 😉
https://radiopublic.com/in-memory-of-john-peel-show-6nVPd6/
>> the best new music, independent of the industry system – back this show on patreon Paypal to [email protected] heard in over 90 countries via…
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#Bendik Giske#Brett Naucke#Christina Petrowska Quilico#Ephat Mujuru & The Spirit of the People#Guardian Singles#john peel#Kid Acne#Matchess#Naaljos Ljom#Natalie Chami#new music#R.Seiliog#Rupert Lally#Spaceland#TALsounds#Texture & Asthmatic Astronaut#The Jeffrey Lewis & Peter Stampfel Band#Tomasz Sroczynski#Tunng#Zaph Mann
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**** TRUST LOST MUSIC SERIES ***
SKIN CRAWL (Vadim Sprikut - Brett Naucke)
December 12, 2008
Enemy - Chicago
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Cloud Nothings – The Shadow
I Remember. 2021 : Carpark.
! acquire the album ★ attach a coffee !
#rock music#indie rock#post punk#garage rock#lo fi music#cloud nothings#2021#Carpark Records#brett naucke#steve albini#2020s#2020s rock
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Recorded remotely between Suffolk and Dublin, the violinist and recorder player Laura Cannell and the cellist Kate Ellis continue their series of monthly collaborations, tracing shared landscapes and finding connectivity through distance with the Renaissance crumhorn and Chinese hulusi providing an added twist. Lyra Pramuk offers a fractal take on the conventional remix record, Rachika Nayar seeks restoration through communal spaces and sketchy guitar, and Black Marble harkens to a bygone era of analogue bedroom pop. Plus Brett Naucke, Isaiah Rashad, John Glacier, Combo Chimbita, Grouper, Paraadiso, and Tink in the tracks of the week.
https://culturedarm.com/tracks-of-the-week-31-07-21/
#music#new music#lyra pramuk#combo chimbita#laura cannell#kate ellis#rachika nayar#tink#john glacier#brett naucke#natalie chami#whitney johnson#grouper#black marble#isaiah rashad#folk#contemporary classical#electronic#experimental#ambient#choral music#dance#synthpop#rap#r&b#culture#tracks of the week
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EP Review: Brett Naucke and Ryley Walker - I am Aware We Do Not Save One Another Very Often
In the battle of sound vs. music, the latter wins by a nose on Brett Naucke and Ryley Walker’s I am Aware We Do Not Save One Another Very Often.
The EP features electronics wizard Naucke and acoustic guitarist Walker creating four short tone paintings on which the former is the canvas to the latter’s colorings.
The opening “Vocorder Divorce II” is the most song-like of the bunch, sounding as if it were composed and performed with a strong sense of melody that finds Walker leaning on the Eastern stylings that serve him so well in his solo efforts.
By the time the closing title track rolls around, the pair appear to be winging it - the soundscape still pretty but basically formless. Rarely do artists travel so far afield in 16 short minutes.
The intervening tracks - “Clay Scored in Dizzy” and “On Maids and Revolutionaries” - split the difference, getting progressively out there as they go.
Grade card: Brett Naucke and Ryley Walker - I am Aware We Do Not Save One Another Very Often - B
7/13/20
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Artist: Joseph Heuermann
#flyer#flier#poster#iowa#iowa city#Trumpet Blossom Cafe#The Trumpet Blossom Cafe#middle of nowhere#Brett Naucke#phosphenes#collidiscope#purchase#purcha$e#Joseph Heuermann
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An evening of electronic electronics from the families of nostilevo & depravity label this Saturday night in Chicago. Plan for the appropriate psychedelics. Video courtesy of Jonah Lange.
More info: https://www.facebook.com/events/236165496829335/
Pre-sale tickets available now: http://m.bpt.me/event/2895086
#nostilevo#snakeland#depravity label#craow#pod blotz#siobhan#timeghost#granite mask#traag#the new me#rawaat#hogg#brett naucke#no dreams#church shuttle#bad user experience#gj coppola#industrial#noise#chicago#club rectum#electronic electronics#modern electronics#minimal synth#jonah lange
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