In case New Yorkers need help shaking off lingering turkey-day excesses, Matthew Dear slips into NYC this Saturday, amidst his international Hetacomb tour under the hard-charging Audion alias.
And just what is the Hecatomb tour? In ancient Greek, “Hecatomb” is the word for “large-scale sacrifice or slaughter”; in Audion’s universe, it’s a live audio/visual experience like no other. Audion spent the summer and fall bringing Hecatomb to Europe, the US, and Canada. AUDION.ME has a preview of the kind of sights and sounds that await at Le Poisson Rouge. Ghostly’s own Clark Warner lends DJ support.
Audion’s 2009 has introduced a dizzying array of new tracks, from “I Am the Car”’s barely-there dub crawl to the lose-your-mind edge of “It’s Full of Blinding Light” (and many more). The prolific producer is closing the year out on a high note: “Instant in You” (available now as a free download) and “That’s That” show Audion at his immersive best, with “Push” destined to drop on December 7th.
The fact that Matthew Dear’s second-ever release as Jabberjaw (and his first for Spectral Sound) is called The Garden of Eden is no mistake—the music reflects a back-to-basics approach, displaying bracingly minimal textures and primal repetition in a way that makes Dear’s Jabberjaw alias unique.
“A Goat on Fire in the Garden of Eden” opens the EP on an absurdist note, as a gently scuffed kick drum gets company from a barnyard’s worth of odd, rhythmic sounds, from a slowed-down glass harmonica to a monster with the hiccups. It gets noisy in there, but Jabberjaw keeps things loose and funky underneath the polyrhythmic melee. “The Connie Shake” is a shaggy-limbed take on soul, featuring a pared-down beat, some lite-jazz keys, and an eerie police siren. “Safety Flirt” is The Garden of Eden EP’s strangest and most compelling moment, dripping tiny squelches and snare hits into the spaces within a sly, slinky micro-beat. The song gains momentum as the off-beats accumulate, turning a simple minimal house beat into a hissing, burbling serpent of a track.
‘Tis the season for coming together with your fellow man to revel in warm melodies, crackling ambiance, and gentle rhythms at New York’s Le Poisson Rouge. The Ghostly International Holiday Concert is this Sunday evening (10pm), and with the help of our friends at Wordless Music and Moodgadget records, we aim to deliver the year’s most cheerful, non-denominational winter celebration (apologies to Santacon).
The lineup skews dreamy, with tweegaze outfit A Sunny Day in Glasgow, fuzzy electro-popster Casino Versus Japan performing as a duo, and Ghostly pride and joy Tycho, whose Coastal Brake single will be out just in time for the show. We can’t promise eggnog, but expect CD giveaways and ample good cheer. Tickets available now.
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‘That’s That,’ the sixth release in Audion ’s nonstop assault of singles, has dual personalities, comprising two discrete movements within its eight-and-a-half minutes—a theme-and-variation approach that makes for a brain-warping listen.
First, we get the main theme—a rapid-fire call and response between an acid-tinged bass groan and a two-toned “ping!”—repeated and modulated, riled up and cooled down ad infinitum. At the halfway point, Audion pulls out the rug from under us: mashing the samples up against one another, twisting the pings into mobius strips, folding the bass back over itself, and riding the beat, laughing devilishly, into the sunset.
Download Audion’s ‘That’s That’ at The Ghostly Store, and check out AUDION.ME for more info and media.
[To view the video above, click here.]
In ancient Greek, “Hecatomb” is the word for “large-scale sacrifice or slaughter”; in Audion ’s universe, it’s a live audio/visual experience like no other. Visually, Hecatomb is a dazzling, gorgeous assault of light that spins and twists into the ether. Musically, it’s the new live Audion—a relentless percussive onslaught that will leave you breathless. A whirlwind of light and sound, Hecatomb was created by longtime Audion art director Will Calcutt and renowned artist Eno Henze.
Audion spent the summer bringing Hecatomb to a series of European clubs and festivals—now, he’s finally transporting his spectacle to North America, making nine exclusive appearances in the US and Canada this month. Check out the dates here.
In Ylajali’s beautifully scorched sonic landscape, acres of drones run beneath Cecilia’s wordless sighs; Skott’s beats crunch like autumn leaves while synthesizers swell, flourish, and disappear. Songs either tramp through hazy forests until they fade into the dark (the Boards of Canada-esque “Love Camp 23”), or stack tone upon tone like translucent building blocks, building to forceful, near-operatic crescendos (the epic “She Moves in Colors”). Syntaks’ luminous Ylajali crackles with emotion and imagination, giving form to its creators’ vibrant inner lives.
As perhaps the most private member of the Ghostly family, The Sight Below has conjured some startling, abstract audio and video in recent years. Having just birthed a new collection of flittering, downcast ambient techno in the form of his Murmur EP, the avowed instrumentalist offers us some rare words—on collaborator/legend Simon Scott, the future, and of course, The Sight Below…
1. In exactly 13 words, how would you describe your music to someone who had never heard it?
Lonely is the new dance party. (Yeah, there, you said only 13 words.)
2. How did you become involved with Simon Scott? What do you feel he brings to the music?
Simon sent me an email shortly after my first solo album came out in 2007. We corresponded online and eventually began to write music together earlier this year. He has a lot of experience, even having worked with Brian Eno during his time with Slowdive. Simon has a very peculiar aesthetic, really similar to mine in many ways. We finally met in person in Barcelona at SONAR this year, as I invited him to join TSB live. It was an amazing experience and we continued touring in the EU for the rest of the summer.
It feels like coming full circle—never in my wildest dreams would I have guessed that I’d be working with a former member of a favorite band. I suppose stranger things have happened!
3. What are you doing at this exact moment, and what will you be doing one month from now?
Right now I’m recording and mixing a track with Sub Pop’s Tiny Vipers, which may end up in the second TSB album. Next month I’ll be playing with Fennesz and Lillevan at Plateaux Festival in Torun, Poland. I’ll also be doing video for Simon Scott and Lusine there the same weekend.
4. What’s the one record you can’t live without, and why?
I need all my vinyl—they are like my children, I do not love some more than others.
5. How about a piece of sage advice for the younger generation?
Lose the feeling, let it out somehow.