The Tape Label Report: November 2021

Source: Bandcamp Daily

.“The only criteria is my enthusiasm for the music,” says Paul Condon about his Dublin-based tape label, Fort Evil Fruit. “I operate under the assumption that if I’m really into something, it will resonate with at least a few other people.” Condon launched the imprint in 2011 with releases by his friends in the Irish underground, including a tape by his own group, United Bible Studies. But he soon expanded to include music from around the globe, such as the voice-and-piano songs of France’s Delphine Dora, the violin improvisations of St. Louis’ Alex Cunningham, and the haunting clatter of Argentinian trio ​​Úgjü Sectas.

Ensemble Dal Niente’s “confined. speak.” Reviewed

Source: I Care If You Listen.

Ensemble Dal Niente, a staunch Chicago-based purveyor of new music, is not like other groups. Since its inception in 2004, Dal Niente — “from nothing,” in Italian — has gravitated to largely atonal scores that fall within the orbit of the very challenging and even the cacophonous and bizarre. Their latest album, confined. speak. (New Focus Recordings), highlights the ensemble’s activities during the pandemic while documenting a period of uncertainty in the performing arts.

Raphael Weinroth-Browne Interview

Source: Everything Is Noise.

Today, or rather, over the past few weeks, I have picked the mind of Raphael Weinroth-Browne in regards to the music he is a part of, in varying degrees. Some of you may know him as a session/guest musician for Leprous, others may be acquainted with his solo work, but the truth is that his grasp extends well beyond these examples. The Canadian cellist is a veritable monument to what is a wholly free and modern approach to engaging with the world of music, as it will fully transpire below.

AMN Reviews: Væv – Drømmenes Spejl (2021; Winter-Light); Ajna & Onasander – Canidia (2021; Winter-Light)

Winter-Light is a dark ambient label from the Netherlands that is slowly building up a strong catalog in that and related styles. Below are a few words on its two most recent releases.

Drømmenes Spejl from Denmark’s Væv is a solid entry into the dark ambient space. Present are the expected drones and synth layers, as well as gently crackling electroacoustic elements. Much of this is in the form of melancholic and somber lilting of chords, though some tracks exhibit an airiness. The electroacoustics sound like pseudo-random machine noises heard from the end of a dark corridor. Add to this some slow-played guitar and piano, and you have a compelling, if not austere, mix.

Canidia is a haunting and cinematic excursion. The focus is on long background drones coupled with shifting sets of percussive noises in the foreground. The latter could be based on found objects, digital processing, or most likely some combination thereof. Regardless, there is little repetition or anything resembling a steady rhythm. Instead, the listener is taken into a cinematic soundscape in which dark winds from unknown sources blow debris through a windswept village at night. Other tracks focus on the drones, which remain claustrophobic and tense throughout. This is true horror-movie music, and quite a solid representative of that sub-genre.