初来日も好評だった、現代のシティ・ポップ・ムーヴメントを牽引するロンドンの４人組、PREPの新作『Line by Line』が早くも完成！アーバン且つアダルティな趣きにポップさが絶妙に融合した極上のサウンド！
人気K-POPグループ、Monsta XのヴォーカルShownu（彼に取って人生初のフィーチャリング参加）と、先日Yogee New Wavesとのツーマン企画も大盛況をおさめ、坂本龍一も注目している韓国の新世代インディ・バンド、Se So NeonのSo!YoON!、LAの次世代のミニマル・ファンク・バンド、VulfpeckのCory Wongと、かつてはマイケル・ジャクソンやエルトン・ジョンなどのサポートもつとめ、「セッション王」とも称されるリビング・レジェンド、Paul Jackson Jr等が参加！ Read More →
“I think of myself as a naturalist no matter the palette,” says Lori Scacco, the New York multi-instrumentalist, composer, and electronic musician whose new album, ‘Desire Loop,’ is Mysteries of the Deep’s third full-length LP.
Natural indeed: Scacco’s music effuses warmth, enveloping listeners like a gentle embrace. Her first album, ‘Circles,’ was released in the early aughts on Eastern Developments, an imprint co-founded by Guillermo Scott Herren, aka Prefuse 73. She spent much of the interim period composing music for performance, film, and classical ballet, influences audible throughout ‘Desire Loop.’
Flush with incandescent scree, bubbly synthesizer, and easygoing dulcet tones, the album’s simplicity belies its emotional impact. At times — “Cosmographia” and “Other Flowers,” for instance — Scacco’s songwriting approaches a therapeutic purity that feels nearly virtuous, immaculate. This is by design: she wrote this album as counterpoint to today’s destructive political landscape. “I had to create an empathic means of access for myself, and in turn, for the listener, using the core of all that I value as my way into the music,” she explains.
“I wanted to provide a vehicle for the listener to impart their own emotional experience without imposing my own meaning. I found myself returning to that space over and over again.” After listening to ‘Desire Loop,’ we expect that you will, too.
1. Coloring Book 04:16
2. Strange Cities 04:48
3. Cosmographia 07:26
4. Interactivity in Plastic Space 05:14
5. Back to Electric 04:28
6. Tiger Song 04:53
7. Red Then Blue 03:25
8. Other Flowers 05:50
Oliver Coatesは王立音楽アカデミー、そして、ロンドン・コンテンポラリー・オーケストラ出身のチェロ奏者／コンポーザー／プロデューサー。RadioheadやActress、Laurel Halo等の作品や、Jonny Greenwoodが手がけたサントラへの参加、HerbertやDemdike Stareも絶賛のMica Leviとコラボ作をリリースするなど、気鋭のモダン・クラシカル・チェリストとして活動して来た。その一方でAutechreなどのエレクトロニック・ミュージックの愛好家である彼は、IDM〜エレクトロニカにも精通し、クラシカルな素養と電子音楽を融合した実験的なトラックメイクを行っている。
その独創的なサウンドに目を付けたNYの最先鋭レーベルRVNG Intl.が契約を果たし、今年5〜6月に行われたThom Yorkeのヨーロッパ・ツアーのサポートアクトに大抜擢され、さらなる注目を集める中リリースされる新作が本作『Shelley’s on Zenn-La』。
AutechreやAphex Twin等を想起させるスリリングな展開からBoards of CanadaやFour Tetのような幻惑的で浮遊感に満ちた音像まで、チェロをひとつの音響として巧みに溶け込ませながら空間的なシンセと多彩なビートを見事にレイヤードしたサウンドは秀逸。哀愁のあるメロディやビートを弾ませるダンサブルな様相、実験的でクラシカルな様相もバランス良く、幅広いリスナーに受け入れられるであろう傑作。
For Shelley’s on Zenn-La, Oliver Coates designs a complex of bending truths and reverse walkways to vernal states. Open ears can peer down hidden aux channel corridors, while melodic patterns present two-way mirrors to rooms of other retinal colors. An endless euphoria is just beneath the dance floorboards of Shelley’s, and an inquisitiveness unencumbered by the institution of knowledge surrounding its frame and inhabitants.
Shelley’s on Zenn-La was made between the Elephant and Castle neighborhood of London and a future dreamscape. In this realm out of time and space, Shelley’s (Laserdome) – a once-legendary late 80s / early 90s nightclub in the industrial town of Stoke-on-Trent in the north of England – can simultaneously exist on the fictional planet of Zenn-La, and can house a devotional, alien ritual of early UK rave culture, pioneering IDM, and deep minimalism.
Much of the album’s construction extends from specific, self-imposed ambitions; particular palettes applied to individual creative ideas. These limitations become limitless manifestations of theme: two bass lines running in parallel (one cello, one synth), synthesized waveforms phasing with bowed acoustic drones and chords, synth sequences in nonstandard tuning sitting against folk melody in standard tuning. Coates made a lot of the music for Shelley’s in Renoise, composing drum sequences in hexadecimal numbers and pencil drawn waveforms and cementing specificity in the intricate, intelligent dance machinations.
Some of Shelley’s tracks veer into and across FM synthesis. “I like hearing how one tone is enriched by another tone modulating the first, resulting in gleaming sets of new harmonics,” says Coates, “I started thinking about placing live cello playing into a chain of antagonism resulting in sounds I found beautiful.” This instinct to poetically process sounds in real life (“sitting on the tube, thinking: I’d remove the low end on that, compress that, add reverb to that”) give Shelley’s an exploratory feel, both guided and unbound, autodidactic by undoing.
Shelley’s opens with “Faraday Monument,” matching the enigmatic precedent of the Brutalist box in London the track is named after. chrysanthemum bear’s vocals oscillate over “A Church” singing lyrics to melt metal and minds. Large spaces adjacent to small enclosed ones house the voice of Malibu reading poetry within “Norrin Radd Dreaming.” “Cello Renoise” is built upon the image of two drummers playing to one click track as if in different booths. The great flautist, Kathryn Williams, recreated midi parts to end Shelley’s as a “Perfect Apple With Silver Mark.”
Cellist, composer, and producer Oliver Coates has been an artist in residency at London’s Southbank Centre, and received the Royal Philharmonic Society Young Artist Award. Coates has contributed to the recordings of Radiohead, and collaborated with Laurie Spiegel and John Luther Adams. He has also been commissioned for string and electronic arrangements by visual artist Lawrence Lek, recorded with composer Jonny Greenwood on the scores for Paul Thomas Anderson’s The Master and Phantom Thread and collaborated with musician Mica Levi on the 2016 album Remain Calm.
01. Faraday Monument
02. A Church
05. Norrin Radd Dreaming
06. Cello Renoise
08. Perfect Apple With Silver Mark
09. Swollen Spiraling Face feat. Malibu (Bonus Track)
10. Sirius viol (Bonus Track)
Moscow is mythologized for its grandeur and gravity but its parable pleasures offer splendor and even absurdity. Over the ten, symmetrical pieces of для FOR, Kate NV scores her native urban environment with just enough whimsy to gurgle through the city cracks and grow psychotropic foliage. Each sound assumes its own personality, moving through the album metropolis like miniature, mutating molecules viewed from NV’s apartment window.
Alternately a guitar-wielding, post-punker and one within the multitude of Moscow Scratch Orchestra’s avant-garde, NV is a versatile artist that maneuvers instinctively in whatever musical environs she finds herself. NV’s second solo album is an even more abstract endeavor than the hybrid pop of 2016’s Binasu. Inspired by casual moments of ephemeral sound from within and beyond her apartment walls, the record has a clarity arrived altogether and from right under her nose. Recorded at home, NV says it was as if the music was not written by herself, but her chair.
для FOR inhabits a stage that Piero Milesi & Daniel Bacalov, Ann Southam, or Hiroshi Yoshimura may have written music for and dresses it with Viktor Pivovarov’s psychedelic depictions of Moscow – contorting bodies, flying pencils, and multi-dimensional faces dance with subtle arpeggiations, conversational voice synthesis, and anthropomorphic MIDI. Animating objects is essential to the album. Like a surreal still life, each piece is an alien arrangement of common elements that extend the everyday ritual into an eternal landscape of unconscious activity. Somewhere along that landscape, Kate awaits and greets with apples for hands and fish for feet.
Like the album title, each composition contained within is represented as a three letter word, in Russian and English. The first half of для FOR was written in the spring. Starting with “YXO EAR,” previously released on the Peaceful Protest compilation cassette in 2017, melodies meander and lollygag. “двA TWO” incorporates human breath played like notes on a pump organ. “дуб OAK” offers a warm tune to tango. “как HOW” loops curious notes that bump into each other with a chirpy acknowledgement. “вас YOU,” the only track on для FOR with lyrics, sets a Wassily Kadinsky poem to song.
The second half of the album was written in the autumn. The feathery edges of “раз ONE” extend like watercolors bleeding off a rubber scroll. “зря SEE” is a subdued, shadowy variation of “как HOW”, as if the same song were played in different weather, dimmer light, or by Kate’s devious doppelganger. The electronics unravel and unwind on “пес DOG” until the final track, “кто WHO,” ends with vague solemnity and rattled metals.
A short online film series by Shura Kulak will accompany the release of для FOR. The films follow a solitary figure performing ordinary tasks through a slow, warped lens — each song enacting a daily habit: waking, dressing, reading, and so on. In her live performances around the album, Kate NV will play each song from memory, allowing for variation from the recorded tracks, and scenes from the films will be re-created and improvised in the moment.
Kate NV’s для FOR will be available from RVNG Intl. on June 22, 2018 in vinyl and digital forms. An exclusive CD version will be released in Japan on June 15 to celebrate Kate’s summer tour there.
01. YXO EAR
02. двA TWO
03. дуб OAK
04. как HOW
05. вас YOU
06. раз ONE
07. жук BUG
08. зря SEE
09. пес DOG
10. кто WHO
11. дуб OAK (食品まつり a.k.a foodman Remix) [Bonus Track for Japan]