William Basinski and Richard Chartier


Aurora Liminalis cover

With about 60 releases since 2000, the LINE (L-NE) IMPRINT label has built a firm reputation as “a programmatic sound platform with a strong inclination towards the visual arts and multimedia, born from the desire to take the tactile qualities of audio installations from the gallery space to listeners’ living rooms.”

Curated by Richard Chartier, LINE not only releases impressive sound art CD’s, but also DVD’s and Artwork Prints.

With its focus on audio/multimedia installations, mostly electronic by nature, LINE aims at the more ‘serious’ –  investigative – listener: this is definitely no ‘pop-ambient’ label. If you insist on comparisions, the label may be best compared to Raster-Noton, in style and artistic approach.  

At the start of 2013, LINE announced an impressive series of new releases, of which the new collaboration by William Basinski and Richard Chartier may obtain the most attention.
But in fact, the other releases deserve your attention as much. I’ve combined the four latest releases in these two posts, demonstrating the versatile output of the LINE label.

AGF, Simon Whetham


Source Voices

AGF – Source Voice
The LINE SEGMENT series is a series of releases on the LINE label “which will highlight some, perhaps, very non-LINE-like works. Works that stray from the norm…(The LINEnorm, that is, because most music on Line itself definitely strays from ‘the’ norm, too!).
AGF’s “Source Voice“ is the second release in this Line Segment series.

AGF (Antye Greie-Ripatti, born in East-Germany but now living in Finland) has worked for more than a decade “releasing experiments connecting voice, deconstruction of language, perception, and sound processing”.
If her name is new to you, you may have some interesting research to do: she has been working together with artists like Vladislav Delay, Ellen Alien, Gudrun Gut and Eliane Radigue (amongst others),

Pinkcourtesyphone; Inventors of Aircraft; Julien Demoulin; An Moku; Esa Ruoho

In the Shortlist sections, I will mention some of the albums that I enjoyed listening to, but couldn’t find the time (or the right words) for a “full” review for. Still, I think they deserve your attention: use the links to find more info and hear previews.

Elegant & Detached

Spotify

Pinkcourtesyphone – Elegant & Detached
I had not realised until now that Pinkcourtesyphone is actually Richard Chartier – sound artist and curator of the LINE-label (more about that later).
This is the second full release from Pinkcourtesyphone in 2012, together with “Foley Folly Folio”. Compared to the works he releases under his own name, the Pinkcourtesyphone obviously gives room for some more playful, associative and humorous soundscapes, or “much more open to accident, failure, surprise and emotional/ironic juxtaposition of things” as he stated in the Headphone Commute interview. But that does not mean these soundscapes should not be taken seriously: they are very adventurous and cinematic, so this 70 minute album is a delightful pleasure to listen to.
“The callers voice whispers a wistful yet false love-letter to the cinema of aesthetics from a distant place concerning the things you did… and things you need to have done.”

Krill.Minima – Sekundenschlaf

Sekundenschlaf

Krill.Minima is one of the aliases of Martin Juhls ,who is also releasing as Marsen Jules and Falter, (not to mention his Wildach Sonnerkraut alias.)

From all these aliases, Marsen Jules is obviously the most well-known.
The Krill.Minima music is of a somewhat different kind, but also very dear to Juhls’ heart – especially for live performances.

Philippe Lamy + Pleq (3 Titles)


SlowFast

Philippe Lamy (France) is an artist combining various art-forms. He’s a painter, but also teaches ‘plastic arts’ at the School of Architecture in Toulouse. He started creating music about ten years ago, “feeling that his paintings and music resonate together”.
His soundscapes indeed resemble paintings: they are incredibly detailed, almost organic, including a wide dynamic range of sounds.

His latest solo album,“SlowFast“, is recently released, following up two recent collaboration projects with well-known Polish artist Pleq.

Bionulor – Erik


Bionulor

Creating music based on well-known originals is not without risk, especially when the original is a part of our ‘collective memory’.

It is even riskier to create a full album based on a single composition, one that almost everyone will immediately recognise: Erik Satie’s “Gymnopédies No.1″.

Gluid – Metamorphosis; Arpatle – The Day After

Can this be a coincidence?

In the same week I have received two new albums with a remarkable resemblance: both are from Dutch artists, both have a bright ‘lightweight’, almost ‘poppy’, feeling yet are experimental in their creative use of sound samples. Also, both are defying contemporary genres. They’re not ambient, not too experimental, not strictly electronic, not improvised, but definitely not ‘mainstream pop’ either.

Could it be we’re defining a new genre here?


Gluid

Steve Roach & Byron Metcalf – Tales from the Ultra Tribe


Tales from the Ultra-Tribe

Born in 1955 and making music since he was 20 years old (inspired by Tangerine Dream, Klaus Schulze and Vangelis), Steve Roach has personally helped shape ambient music to become what it is now. He’s one of those extremely prolific artists: his discography boasts about 100 albums at the moment.
He has worked together with many well-known musicians, and though his style may vary on each different release it is also very personal and immediately recognisable.

With 40 years of musical experience, percussionist Byron Metcalf is not exactly a newcomer, either. 

“Tales from the Ultra Tribe” is their latest collaboration (released in conjunction with Steve Roach’s drone album “Soul Tones” , which showcases quite a different side of his music).

The tense and suspenseful rhythms from these seamlessly mixed eight tracks immediately catch hold of the listener and don’t let go until the end, 74 minutes later.