Resident Advisor Review - Lorna Dune - Miamisphere

Dance music’s growing interest in new-agey sounds has had some pretty fascinating results—think of Steve Moore or Xander Harris for examples of this kind of trance-not-trance.

Lorna Dune remixes Pulitzer Prize winning "Partita" by Caroline Shaw

 

Today only stream Lorna Dune’s remix of “Partita”

Eight Artists Remix Caroline Shaw

An 8-Week Series of World Premiere Remixes of Shaw’s Pulitzer Prize-Winning ‘Partita’

Last April, composer Caroline Shaw became the youngest recipient of the Pulitzer Prize for her Partita – ana cappella composition written for the vocal octet Roomful of Teeth. Drawing on Baroque dance forms, contemporary vocal music and the drawings of artist Sol LeWitt, the music illuminates a powerful new voice of independent and contemporary classical music.

Lorna Dune ‘Miamisphere (Terekke remix)’

(via music4thebasshead)

BOILER ROOM TV DEBUT: Terekke putting his signature stamp on ‘Miamisphere’ by Lorna Dune, from the excellent new EP forthcoming on Lo Bit Landscapes..

Miamisphere EP, by Lorna Dune

MIAMISPHERE EP released TODAY!!!

Artists: Lorna Dune, remixer Terekke (L.I.E.S.)

Available on vinyl & digital

Stream: JD Samson & MEN, “Making Art (Lorna Dune Remix)”

Tomorrow, Lorna Dune—the Brooklyn keyboardist maybe best known for the classical quintet Victoire, and with ties to Steve Reich and Philip Glass—releases her gorgeous instrumental synth pop EP Miamisphere. First, though, is this stomping, The Knife-y remix of JD Samson & MEN’s “Making Art,” sounding nothing like the actual single from the band’s sophomore album, LABOR, itself out October 22nd.Pretty amazing on all fronts.

Read more: http://www.thefader.com/2013/10/02/stream-jd-samson-men-making-art-lorna-dune-remix/#ixzz2gauQ8Rpx

Lorna Dune - Miamisphere EP on Lo Bit Landscapes:: Music Reviews with Pre listening Mp3 player included :: I Voice Hype, Lies & Gossip

First sneak peak at the upcoming Lorna Dune “Miamisphere” album. Straight to Ibiza.

Lorna Dune - Train Wreck Mix (Red Bull Music Academy Radio)

Liable to surprise you at any turn, Lorna Dune is a rather uncategorisable creature. As a virtuoso pianist, she’s the founder of several chamber and new music ensembles in New York, and contributes to the wider and weirder community of electronic artists making sound together with her synthesist sensiblities. On one hand you might find Lorna Dune playing with the Philip Glass Ensemble, or performing with Steve Reich, or even composing new music with Missy Mazzoli in the ensemble Victoire, and her minimal aesthetic has been informed by the best in the world. On the flipside, her take on weighty techno and dreamy synthscapes, both solo and in the trio Love Like Deloreans, displays an intuitive grasp of the kind of structure and arrangements that can send a dance floor into fits of ecstasy. An experimental keyboardist who is happy to go wherever her heart and ears tell her, redefining genres along the way, Lorna Dune inhabits a world of her own, and it’s a glorious thing to behold.

Lorna Dune’s journey through sound - and arrival at the music on the"Miamisphere" EP - has been a rather unique one, and not one you’d expect to culminate in one of the most interstellar cosmic techno 12“s in recent memory.

Lorna Dune is the stage name of Lorna Krier, a virtuosic performer of “New Music” (think: classical music that is still being written), particularly in the Minimalist tradition, serving as a founder of several chamber style ensembles and a keyboardist/synthesist in numerous Brooklyn-based electronic music bands/collectives/groups of people making sound together.

Her work with composer Missy Mazzoli in the quintet Victoire on the record “Cathedral City” was named “One of the top 10 classical albums of 2010” by NPR and “one of 2010 most memorable albums” by The New Yorker magazine. She has worked extensively with composer & visual artist Tristan Perich, has performed Steve Reich‘s music for Steve Reich himself, has joined the Philip Glass Ensemble as a keyboardist in the past, as well as appearing on stage at the Whitney, MoMA, New Museum, Carnegie Hall, Millenium Park, and more throughout the US, Canada, and Europe.

While obviously rooted in the sound of techno (Lorna admits to a deep infatuation upon the discovery of the heavier side of the form—maybe particularly with the sounds of Stephan Bodzin and Andy Stott—in the years before this EP was written), Miamisphere manages to incorporate many of the structures and harmonic motivations that inform so much of the Minimalist tradition. On first listen, it sounds like a collection of amazing dancefloor anthems, but closer inspection reveals a depth of composition that is quite difficult to find in the interlocking worlds of techno, house, and other such forms. From the swooping synths and rapid arpeggiations of evolving chordal forms on the opener, “Plasmodium”, to the basically surefire hit of “Agnes Day” and the acid-influenced, lower-BPM, but perhaps even more complex tonal range of “Miamisphere”, the uplifting and emotional content of the music—not just sound—squeezes through.

Closing with a vintage “stoner house” remix by NYC‘s mysterious Terekke(L.I.E.S.) and issued on NIHITI‘s lo bit landscapes imprint, imbued with a sense of mystery that is equal parts “Dune” mythos and new Brooklyn scene, “Miamisphere” is not the kind of record you are likely to encounter often in your travels through electronic music.

LORNA DUNE- Miamisphere EP

Release date: October 3rd, 2013

Lorna Dune- Miamisphere EP

A1. Plasmodium

A2. Agnes Day

B1. Miamisphere

B2. Miamisphere (Terekke remix)

Release Date: 2013-10-03

Catalog: LBL006

Formats: 12” / MP3

nihiti - for ostland is aquarius records record of the week

We’ve long been fans of this mysterious NY outfit, whose past records found these guys brewing up a dizzying concoction of warped electro wave, haunting witch house-y minimalist creep, fuzzed out shoegazey ambience, and home brewed big beat crunch, all blurred and smeared into something way more abstract and psychedelic that its constituent parts. But here on their third and most recent, the band dial things way back, and craft a dark, gorgeous slab of introspective, electronic soundscapery, opening the proceedings with thick swaths of gristled, pixelated Tim Hecker like sonic haze. All washed out and dreamy and woozily lysergic, perfectly leading into a stunning Marissa Nadler cover, the already dark original transformed into an even darker lament, all swirling churns of mumblecore drift, heaving swells of black blurred fuzz, over skeletal rhythms, and moaned barely there vox, smeared and subtly processed, a plaintive whispery croon becomes a lush landscape of layered drones drifting dreamily and druggily, a ghostly and spectral electro-ambient threnody, that builds to a near squall of roiling riffs and tangled black melodies, the result still somehow warm and soft and utterly trancelike.

Elsewhere, the group unfurl smoldering cinematic soundscapes, strange slivers of shadowy sound, moaning fragmented melodies, all over a haunting heartbeat like pulse, a sort of slo-mo electronica, laced with strange hummed/sung vocals that remind us a bit of country weirdos the Reveries, who sing with cell phone speakers in their mouths, the same effect here, a wordless warble that ebbs and flows, slipping from near insectoid buzz to deep softly dramatic, barely there croon, and back again, all over slow swooping backwards guitars, and disembodied fragments of guitar melody.

Some tracks, like “Eisenbahnstrasse, January 1st 1946” shed some of the darkness, and blossom into dreamily prismatic swirls, all tinkling chimes, clean guitar jangle, soft psychedelic shimmer, all interwoven with random samples and brief blurts of FX heavy skree, but the sound always seems to drift back into the darkness.

As the record progresses, heavy machine like industrial beat, lumber through fields of clang and clatter and thump, all constructed into a dense driving blast of junkyard groove, the whole thing swaddled in a distant buzz, and slowly building swells of layered static drones, a sort of ultra minimal hypno-hop, like something you migh have heard on an old DHR record, or on one of those Electric Ladyland comps alongside Techno Animal, Spectre and the like. Eventually, the sound slows to a crawl, still beat heavy, but this time a tar pit drag, a lurching, looped lumber, all downtuned thrum, and disembodied voices, and some buried shuffling skitter.

"Sun Shatterer" is a heady sprawl of minimal gloom pop, minor key guitars, chiming through a cloud of woozy sonic warble, weird clipped whispers, tense strings, keening high end tones, what sounds like Hermann Nitsch like brass, which resolve into soft whorls of crumbling distortion and lush waves of fuzzed out feedback, before unexpectedly exploding into something much more in keeping with their old sound, big beats, a sort of post industrial electro wave downer dirge, with clean, dramatic new wave vocals, big melodies, buzzing synths, but all still wreathed in the weird droned out sounds that started the track off, like a noiser, more abstact Interpol maybe…

After a couple brief tracks of creepy, psychedelic ambience, the 30 second “Campfire Ashes” way too short, sounding like it could have blossomed into some dark Demdike Stare style epic, which thankfully is in a way what happens, as that track leads directly into the closer, a nearly nine minute sprawl called “Hymn Division”. that lays down a simple pulsing beat, over which Nihiti lay thick swaths of black buzz, dense swirls of ribcage rattling low end reverberations, and finally deep, dramatic minor key melodies, that infuse the song with serious pathos, it’s not hard to imagine this as the sound track to the denouement of some twisted, modern, avant indie film, a dizzying expanse of moving, emotional, electronic minimalism, but here drifting towrd maximalism, the tones expanding and exploding in slow motion, the melodies, bright, and eventually blinding, the tones strecthed way out, tense and intense, the coda a sort of Hecker / Nadja dreamdronedrift, but more soft focus here, heady and heavenly.

link

lossmaker featured on juno plus

Lo Bit Landscapes are streaming a new EP from L.I.E.S. associate and video artist Luke Wyatt under the Lossmaker alias.

Perhaps best known for his work as Torn Hawk, which saw a white label release on L.I.E.S. last year, as well as a track on the label’s American Noise compilation, Wyatt’s music tends towards the fuzzed out, psychedlic end of the electronic music spectrum, often utilising heavily distorted guitars and swirling effects alongside synthetic textures. It’s an aesthetic that also spills over into his trippy, heavily saturated VHS video work, which has accompanied tracks from the likes of WT Records’ Ex-Vivian and Mock & Toof’s recent single “My Head”.

Wyatt recently revealed a new musical project, Lossmaker, which has seen a self-titled EP of material released on the US based Lo Bit Landscapes which can be streamed in its entirety below; although it shares some qualities with his Torn Hawk productions, Wyatt’s more psychedelic qualities are kept in check, with a more pensive sound delivered by its brighter synth sounds and more subdued sampling.

FACT Magazine Premiere of NIHITI - Ghosts and Lovers (Mark Verbos Sordid Future Mix)

The remix-of-a-cover provenance is a bit convoluted, but the end result is worth it.

Last year, New York band Nihiti explored the ambient intersection of techno, industrial, and drone on for ostland. The most affecting cut was ‘Ghost and Lovers’, a shoe-gazing cover of Marissa Nadler’s song of the same name.

On February 14, Nihiti will release Ghosts and Versions, a remix 12″ featuring new versions of the song by Mark Verbos, Zebrablood (Nathan from Excepter), Hrdvsion, National Park System, and Alienboy (La Big Vic) via Lo Bit Landscapes.

Stream the “Sordid Future Mix” by NYC techno veteran Mark Verbos below. True to its name, the remix layers the vocals of the Nihiti version with the futurism of a late-night cyberpunk rave.