X.Y.R ”Anciente” out September 3. PRE-ORDER today.
The Russian producer Vladimir Karpov is well on his way towards a lasting legacy as a modern synthesizer wizard in the grandiose vein of Vangelis and Jarre. With a propensity for concept albums he has built a sturdy discography during this past decade that echoes the progressive ideas of the psychedelic generation as it moved into adulthood with Moog in hand.
While equally a part of the postmodern generation; Karpov's ouvre also embraces the utopian daydreaming of the new age, the environmental concerns embodied in field recording, and the holistic approach of Jon Hassels 4th world concept.
While the esoteric fantasies of previous works linger on, the conceptual aspect of Anciente is rendered more abstract. And instead of dividing ideas into tracks that form an album, here Karpov is pushing the boundaries of his compositions further into longer forms. Like trails into humid forest landscapes, they run deep enough for one to get lost along the way.
Clocking in at a neat 20 minutes per side, the two tracks that make up Anciente weaves soft brushes of undefinable sounds and tropical field recordings that almost create ASMR-inducing vibrations in the minds of the listener. Eventually they might open a doorway to a twilight-lit wilderness and the possible secrets of the first civilised men. As Carlos Castaneda once wrote, relaying the wisdom of the Yaqui; "twilight is the crack between worlds. It is the door to the unknown". Or, as in this case, the door to the ancient.
Carefully navigating her way along the shifting horizon line of our present condition, Istanbul-based composer Ekin Fil never fails to find new pathways with the seemingly eternal nature of her reverb-saturated guitar sceneries.
Aquarius/Pisces, her latest creation on Possible Motive, uncovers two tracks of carefully alluring and ambient sonics. The release is available globally on selected digital outlets and as a strictly limited hand engraved 7" lathe-cut vinyl disc.
Carefully navigating her way along the shifting horizon line of our present condition, Istanbul-based composer Ekin Fil never fails to find new pathways with the seemingly eternal nature of her reverb-saturated guitar sceneries. Aquarius/Pisces, her latest creation on Possible Motive, uncovers two tracks of carefully alluring and ambient sonics. The release is available globally on selected digital outlets and as a strictly limited hand engraved 7" lathe-cut vinyl disc.
Expected to reach our shores no later than 11 June.
Tell us a bit about your creative work and the origin of your project 'Materializing Mourning'. Whats the context or idea behind it?
I am currently studying fashion design at the Royal Danish Academy of Fine Arts. Materializing mourning started out as a study of the Victorian mourning dress and how I could conceptualize complex feelings and ideas like sorrow and death and turn them into matter. It was an exploration of my own relationship with mourning through my work as a church singer singing at funerals as well as my own personal experience with it. The video explores this ghostly garment in different settings and what the body leaves behind.
How would you describe your creative process, do you have any particular method that you find relevant?
My creative process has always been kind of intuitive and all over the place but I definitely like to do a lot of research and reading. Usually my ideas spring from something I stumble upon - could be an odd word or concept or something I once saw somewhere many years ago. Starting fashion school last year has forced me to be more systematic and diligent in my process as to not get lost within it. It’s challenging but I can see myself improving this way.
Has the work 'Materializing Mourning' given you any new learnings or understandings?
Making Materializing Mourning, the first exam project, in lockdown was certainly challenging and eyeopening in a number of ways. Being confined within my small apartment and with limited resources forced me to sometimes compromise with my expectations but also find new and maybe more exciting solutions. Working so much away from campus I have had to refine my digital work as well as my visual language and really hone in on my visual identity. I think Materializing Mourning helped me do that.
You also compose and produce sounds, any recent artist, records or sounds that you want to recommend?
Currently I’m listening to a lot of Mort Garson and Mamman Sani who are both pioneers (in my book) of synth music. I have always been a huge fan of electronic and synth so when making the music for Materializing Mourning it came natural for it to only consist of synths with a simple baseline. I can also recommend Cybe, Ingus Baušķenieks, Holger Czukay and naran ratan (not all synth tho).
Possible Motive delivers the very first selection of its upcoming print collection. The first lineup features one heavy weight t-shirt (300gsm/10.5oz) and is made of 100% cotton with a perfectly fitted oversized silhouette. The shirt features embossed screen printed graphics on chest and is available in S, M, L and XL. Shipping worldwide. Shop now.
The soundscape work Substance (Ambient Megamix) is a continuation of the previous album released in early 2020 by Moisture. This album (bearing the title Substance) was largely inspired by Burroughs 1959 novel Naked Lunch, and in particular his first impression of the city of Malmö from a short trip in 1953 which he details briefly in the book. His bleak encounter describes "'(... ) averted eyes and the cemetery in the middle of town (every town in Sweden seems to be built around a cemetery), and nothing to do in the afternoon (...)".
While the album Substance was thematically based around the book and its link to Malmö this so-called "Ambient Megamix" is a product of the cut-up technique often associated with Burroughs and his collaborator Brion Gysin. Fragments of the eleven tracks that make up the album have been cut out and repurposed into a separate work in order to reveal its true meaning, a form of divination ritual as Burroughs thought of it. "When you cut into the present the future leaks out" he stated once in regards to the practice. By cutting into his own work the artist Moisture is attempting a distillation of its substance, opening a new pathway to possible narratives.
March 26, 2021
Recorded and Produced by Moisture. Mastered by Antony Ryan at RedRedPaw. Artwork by Henrik Stelzer.
The duo behind the name Tillmanns is a quiet yet persistent presence at the fringe of the Gothenburg pop scene. Unconcerned with both the poseur appeal of being in a pop group and the market standard of keeping up with new releases, they seem content with popping up now and then to reveal a tiny new masterpiece. Like this for instance, a perfect summer anthem to escape into. Like a dash of saltwater and a hot breeze in the face of hardship. And it seems justifiable in these times to cast a longing look toward simpler and more positive visions of nature and love, preferably with hooks borrowed from the realm of New Order and The Cure.
The track in question happens to share its title with a German new age track from 1982 that somehow ended up a DJ favourite of the Italian cosmic scene as well as part of the balearic canon of Ibiza. Coincidence or not, this short leap from the dancefloor to the beach is an attitude that prevails on this single release: a kind of open door policy with its roots in the convergence of pop and dance music of the mid 80’s. An attitude that is also shared with the two remixers chosen for this release, two fellow Gothenburg locals with equal footing in club as well as pop music.
Dan Lissvik should need no introduction, either as solo artist or remix mastermind. Usually you can expect him to transform any kind of track into a balearic jaw drop, often adding his own distinct guitar and percussion palette. Here, however, he doesn’t need to mold the original too hard, just subtly softening the edges to submerge the whole track in a haze of grooviness.
Mythologen on the other hand steers the track into a whole different direction; slowing things down with a heavy thumping beat dragging along like an anchor on a seabed of psychedelic sludge, getting caught in phaser filters along the way. The guitars at the centre of the original have here caught a backwards wind and sails along like a mournful farewell.
To warm-up the algorithms for the upcoming 'Naturiche Liebe' release from stellar duo Tillmanns, we asked them to compile some audio that has inspired them throughout the years. The Durutti Column, The Wake, Brian Eno, Erlend Krauser and some other famous and infamous hedonistic finds. Please enjoy!
For this day before weekend we've asked Moisture to reference some of his more inspirational finds when in need of insights during the creation of Substance.
'On the opening “The Marketplace” we are teleported to Bergsgatan at night (the track title a subtle nod towards Eden Ahbez 1960 song of the same name).'
This mix of short dramatized excerpts, performance art from Nigel Rolfe, abstract and experimental electronica and hallucination scenes from the more obscure stages of Hollywood may very well be deciphered as '[...] an appendix or bibliography to the liner notes.'
Substance has been out for some time and to celebrate this we had a brief chat with Simon Eliasson, a.k.a. as Moisture. We spoke with him about Klaus Kinski, sampling and manipulating sounds from old x-rental VHS cassettes, abandoned items found in an attic in an old apartment complex in Malmö and the mysteries of life in general.
Tell us a bit about the recording process. Do you have any procedures that you rely on?
To begin with, I work with an extensive library of loops that I’ve built up over the years. I consider sampling to be a serious and meaningful creative method, as well as a helpful shortcut. My approach to sampling is that of respect for the source material, I never use a looped sample unless I feel that the looping itself taps into and reveals something that lies hidden in the realm of repetition.
Often I layer these loops in twos or threes as the base of a track before adding instrumentation. For Substance, many of the final tracks incorporate live takes, either in the recording of loop layers or improvised overdubs played by hand.
Simon Eliasson, also known as Moisture Photo: Private
What inspires you?
I find inspiration in certain contexts, like that of bedroom-produced and privately pressed music from the 80’s and 90’s. Art created in small carefree bubbles has a certain quality to it. These records often feel more intimate in a way. I try to emulate this confidence and self taught approach to music-making as I find it very liberating.
I am also inspired by the physicality of certain works of art, be it music literature or film. Before I started collecting records, I collected VHS tapes. I’m still enamoured by these films (I was mainly into sci-fi, horror and exploitation as a teenager) but not just the films in themselves but their entanglement with their medium. The hiss, grain and colour tone of a deteriorating plastic object adds another dimension to a work.
During the making of Substance I’ve been obsessing over William S. Burroughs and in particular his book Naked Lunch. In the book there is a connection to Malmö and an area which I frequent almost daily. These signs of synchronicity hold a great deal of importance to me, and I often rely on them as guidelines. I'm following the white rabbit so to speak.
What do you look for when researching new sounds or material for sampling? What’s the appeal?
I often look to film for audio to use as I find this to be a good digging spot off the beaten track when it comes to sampling. I tend to revisit certain scenes to try and manipulate the audio track into something usable. Sometimes the mood of either the story or the visual aspects help to inform the development of the entire track. Also, there is a lot of unintentional “music” to a film’s audio track; not just the musical score but sound effects and location sound.
I also use videos from my phone as sample material, or field recordings. The appeal is often connected to the concept or aesthetic I’m trying to explore.
Klaus Kinski from the Alain Fleischer film Zoo Zero, 1979.
There is a story about a lion and Klaus Kinski. What’s your relation to Klaus Kinski?
Well Kinski is of course a unique artist that transcended a lot of boundaries. I used him for the closing track of the album because of his appearance in a 1979 film called Zoo Zero by Alain Fleischer. In the film he plays a zoo manager whose voice for some reason sounds like a vocoder, yet he never opens his mouth to speak (he only smokes). Rumor has it Kinski himself had stolen the vocoder from Peter Frampton. I was inspired by this film in making Substance due to the utter depravity it reeks of. As a film it is a pathetic failure at avant-garde cinema that is too boring to be a fun B-movie and too trashy to hold any cinematic value. To endure it in its entirety is not something I would recommend. To that effect, I found it a perfect reference point to the theme of limit experiences that I wanted to explore with this album.
There is also a sample from a cassette tape you found in an attic, can you explain how you came about this? And did you find anything else there?
I had an apartment until last year in a mismanaged house built around the turn of the century. A common tradition in this house was to discard of unwanted stuff in the attic, yard or cellar for the landlord to deal with. I would peek around the empty storage rooms regularly to see what was left behind. On one of these expeditions I found this unmarked tape. It had nothing recorded on it except for this long passage of “silence” or what you might call it. Of course silence is never really silence. This reminded me of a novella by Heinrich Böll; Murke's Collected Silences, in which a radio technician whose job it is to edit out silent parts in interviews and lectures collects these scraps and creates a patchwork of silence for his own enjoyment. I guess this tape is the first scrap in my collection. As to the question whether I found anything else up there, I think that’s a story for another time.
Substance was released on vinyl and digital Friday 13 2020 and can be obtained here.
Very excited to announce Malmö based producer MOISTURE and the album SUBSTANCE. Out Friday March 13 on vinyl and digital. Pre-order available from Bandcamp. First single Dozo Mood is streaming now.
The word “dozo” in Japanese is a phrase of generosity, meaning go ahead, help yourself, indulge. Coincidentally, it is also a derogatory term in Aussie and New Zeelander slang for an idiot or an act of stupidity. On the third track from the album Substance; “Dozo Mood” offers a linguistic meltdown of these two definitions in the hands of artist Moisture. The loose percussive drive ricochets into cascades of echo pierced by cartoonish flashes of farmyard fun in a drunken ode to hedonism.
In times when social media seems to be the best practice in how to communicate your ideas or promote your work we are now trying to something else. We're embracing the blog again. Trying to slowly disconnect our selves and pull out from the mischievous web of social media. This feed will serve you with news, recommendations, things we like, culture that inspires us, new and old, sounds and visuals. No algorithms, no payed content. Stay in touch.