Salisbury Plain 17 August 2019 The British Army first started to clear the settlements from Salisbury Plain after the First World War, but it was during the preparation for the D-Day landings in 1943 that they chose to evacuate all the residents from the little village of Imber, in the […]
Seth Cooke
20 posts
Hairdryer Excommunication Following up from the no-input field recordings reviewed here, Seth‘s either in a spirit of intrepidly obtuse field recording, or taking the piss (either’s good, frankly). The no-input field recording method, foolhardy though it is to compress it to something so asinine as a method, involves getting a […]
Newhaven Fort, East Sussex 13 September 2014 Wow! This place was superb!! A semi-ruin with a labyrinth of white-clad tunnels eating into the gloom, the natural reverb promoting plenty of pseudo monk fun. The weathered solidity and teasing signs of atrophy, the stonework full of weird apertures that once occupied […]
Organized Music From Thessaloniki Another tiny offering from Seth Cooke, the man behind Pneuma‘s panoramas. He certainly has a talent for pulling surprising stuff from unusual places — who’d have thought pneumatic drills could sound so exotic? This latest offering on the intriguingly-titled Organized Music From Thessaloniki label is no […]
Four releases from a shiny new label devoted to something like sound-art, but not as asceptic and dry as that genre has a habit of implying. Hopefully, label head Seth Cooke is already known to Freq readers, but if not his is a formidable CV – sometime Freq writer, engine, […]
LF This was conceived after a particularly arduous eighteen months whilst a basement flat beneath Seth Cooke‘s Leeds home was being renovated. Building noise, pneumatic drills, shouting, workmen urinating in the garden… you name it, and it was probably suffered. The sheer beauty etched into the metallics of this disc […]
Architects of Harmonic Rooms and Records There’s something tantalisingly unreal about these direct to DAT solo twelve-string guitar compositions, recorded between 2000 and 2006. Capturing almost exclusively the twang, scrape and buzz of the strings, the instrument sounds almost disembodied, a shimmering, glistening, glassy surface with barely any hint of […]
Mute Woman when I’ve raised hell, there won’t be a star left untouched in your sky When my lighting crashes across that night No shadows of doubt or of turnin’ in that questioning little mind Just a burnin’ rekindled truth and one single agonizin’ blinding white light The greatest protest […]
Mantile The packaging aesthetic of London-via-Nottingham based Johnny Scarr’s Mantile label suits Spoils & Relics to a tee; recycled card with grainy, degraded and indeterminate images of dubious provenance; hand-stamped titles evoking a production-line gone askew; and each release on cassette, that medium so beloved of bloody-minded advocates of the […]
The Remote Viewers What a difference a well deployed field recording can make. The Remote Viewers’ ninth album, To the North begins with what sounds like footsteps on gravel, an approach made on private land, a trespassing, intrusion or return home. It’s sufficient to throw the ensuing material off-kilter; what […]
Mark Sanders has been a professional drummer for almost thirty years. His diversity is unmatched, running the gamut between jazz, free improvisation, pop, avant-rock, modern classical, dance, new complexity, dub and folk. He’s one of the few free improvisers who integrates the learning that he accumulates from these broad activities: most improvising musicians’ approach rarely synthesises or overlaps their sets of experience from other styles. You would be hard pressed to find musicians currently working within free improvisation who he hasn’t worked with.
There are four main ways of making music that sounds different to anyone else: by devising your own conceptual framework; using rare or unique instruments and equipment; developing an unusual approach to your instrument; or by training until your technique is broader, faster or more specialised than that of other players. Depending on your level of insecurity you may reinforce these with deliberate obfuscation, whether that entails removing the labels from your vinyl, claiming that you don’t understand or aren’t interested in your own process or ability, hiding your equipment or simply not answering questions. It depends whether or not you’re afraid of the competition or you think you’re the kind of person who’s only going to have one decent idea in your lifetime...
Kranky “My hammer feels the urge to nail you to the ground / to smash one through your cheek.” Welcome back Boduf Songs, straight off the starting blocks with another ingeniously constructed threat of violence to the listener, with both the compulsion and responsibility for the act located outside of […]
Ad Hoc Every now and then you come across a product born of such radically alternative starting assumptions that it gets treated with near indifference by its potential audience, as though to even entertain the possibility of its existence could cause the tapestries of multiple musicotheologies to unravel. Infinity by […]
Samadhi Sound There are few musical instruments that are as conceptually pleasing as the no-input mixing board. It is part of a rich tradition in experimental music in which peripheral hardware and audio equipment are repositioned as musical instruments in their own right (turntables, effects pedals and tape recorders could […]
Family Vineyard While improvisation and social activity are natural bedfellows, improvisation and relationship can be a trickier proposition. It’s a reasonable – albeit vaguely fundamentalist – argument to say that familiarity is antithetical to improvisation; the former is about learned responses, primed expectations and prior awareness; whereas the latter is […]
Drag City The foundations of rock music are built on strata that have long eroded for all but the most credulous. It was initially fun, sexual and swaggering; angry, rebellious and irreverent; energetic, spontaneous and irrepressible; extrovert, engaged and innovative. Decades of mishandling by musicians, record labels, critics and musicologists […]
DIY/unsigned Recording studios are time machines, capable of layering conflicting alternate pasts, warping space into new configurations and building dreamlike gestalts from contrasting times and places. But we could be forgiven for thinking otherwise. Engineers and producers have worked diligently for decades to maintain the illusion they’re releasing records made […]
Editions Mego The problem with the notion of Hypnagogic Pop was never the music, and Oneohtrix Point Never‘s superb Returnal demonstrates that fact perfectly. Brooklyn’s Daniel Lopatin makes tried and tested emotive music with plenty of precedent. Tangerine Dream is the most frequently cited, but you could equally choose any […]
Sublime Frequencies The third compilation of Omar Souleyman’s Syrian party music to be released by Sublime Frequencies doesn’t require much in the way of context for new listeners. It’s a dance-pop album. All that really matters is whether it’s catchy and whether it makes you want to flail around making […]