Here are two live studio session tracks from the Danish jazz-punk quintet Pardans. They’ve been together since 2015 and draw equally from the jazz world of Ornette Coleman and the darker, knottier sounds of post-punk and Captain Beefheart. There’s a great intensity and drive in these songs – woozy, rambunctious and lurching, like Birthday Party falling down the stairs at a jazz joint.
‘Hookers (With Hidden Depths)’ is the single from their recently released album Spit & Image.
We get sent a ton of music submissions and there’s so much uninspiring music that when something of the quality and resonance of Sail Into Night hits your headphones it really stands out.
This is the first music we’ve featured from Dubai, U.A.E. and the group is essentially the project of Pakistani duo Nabil Qizilbash and Zara Mahmood who have been writing together for three years. ‘Glass’ is a wonderful slow-burn of a track, built on Velvets meets JAMC slow-core drums, guitars that draw from shoegaze and American indie jangle and tone, droning harmonium and the intertwining voices of Nabil and Zara that wind gently around each other like hazy wisps of incense.
Umfozi (Elias Araya) hails from Sweden and is the former drummer for indie band Junip. His solo project sees him channelling self-confessed influences such as Alice Coltrane, Neurosis and Sylvester and creating these hypnotic instrumental pieces that are built on percussive elements yet they possess floating, drifting avant-jazz and electronic qualities that take the pieces to quite interesting and subtle places.
You can listen to the rest of his EP Asterkross on Spotify.
Plenty of cosmic twists and turns in this track, the second taste of the solo work of Portuguese musician Niki Moss, who previously has worked with the band Savanna. ‘There Must Be Something In The Water’ drips with psychedelia and a kaleidoscopic quality that sound like a futuristic Doors if they were on different drugs.
Moss’ debut album Gooey is slated for release early 2019.
Joe McKee used to be the main guy in Snowman but now he’s based in Los Angeles and has recorded a new album, An Australian Alien, under his own name, alongside members of Ariel Pink, Drugdealer and The Pixies.
‘I’ll Be Your Host’ is a beautiful hazy, dream-like drift of avant-pop, complete with a heavenly sax solo. Check out the video and then hit the Bandcamp link to stream and buy the album in digital and vinyl formats.
The last decade has seen a rise in the popularity of modern classical music and its influence on other genres, particularly electronic music. One of the leading lights in the scene is German composer Nils Frahm and in a revealing conversation with Chris Familton he discusses his musical beginnings, his future and the constant flux of his live shows.
It’s 1:30am on an autumn morning in Berlin and Nils Frahm is ensconced in Saal 3, his studio in the iconic, Funkhaus, a 1950s building that previously housed world-class recording facilities and was home to GDR state radio. “I’m always a professional, always working when I’m not sleeping,” he laughs. “I like the night, it’s perfect for musicians. It’s quiet and inspiring. I’ve been in the studio for four hours and I’ve already unlearned how to speak and so it is civilising to talk a little bit.”
It’s been a big year for Frahm, with a heavy touring schedule on the back of his acclaimed All Melody album, He’s about to return to Australia for the first time in four years but don’t expect to immediately recognise songs from the album when he plays them on stage. “All the songs have changed already. I can’t go back to where I started them,” he says, with a note of satisfaction in his voice. “I deconstruct the compositions all the time and build them in a different way. I feel like the songs are ongoing compositions and when the task is to play them again, no-one could ask me to play them the same every time. I need to destroy what I did yesterday and redo it today. It needs to be a little bit different each time,” Frahm emphasises.
A hallmark of Frahm’s music is his ability to seamlessly blend electronic and acoustic instruments and still retain an organic, tactile and emotionally resonant quality in his work. “It doesn’t matter how something is played, just listen to the music,” Frahm responds, before tracing his fascination with both musical worlds back to the lounge room of his childhood home. “For me it was a natural connection to electronic music because it was always connected to my father’s hi-fi system. It was highly electronic so that connection between music and electricity was always there for me and wasn’t a separate thing. I was aware that a piano didn’t have a plug and other things did, but I thought a vinyl record player was as exciting as a piano. I liked anything that played music to my ears and made me feel amazing,” says Frahm.
“I was always curious about music and I like when I don’t really know how something is made. It can be made by an orchestra, it can be made by a synthesiser or even an algorithm. If it sounds good to my ears, and it all comes out of speakers in the end, I don’t worry. Here in my studio I’m looking at my patch bay and cables one to eight are all microphones and nine to 16 are all synthesisers. They are all the same cables. Even the acoustic piano goes through the same cable as my synthesiser and they come out of the same speakers,” explains Frahm, surveying the array of keyboards, pianos and synthesisers around him.
The conversation leads to where Frahm first had a strong emotional response to music. Not just hearing it as background music on the radio or in the endless hours of practising scales in piano lessons. “There were some songs that amazed me. ECM released John Surman, the saxophone player who played along to synthesisers and loops. It was something that burnt into my heart,” he recalls passionately. “I was crying to that song when I was a kid, and it had no lyrics or anything. It was just a harmonic motif and the timbre of the synthesiser, together with the saxophone. A truly amazing combination of a real instrument and something alien that I couldn’t understand. I heard many good examples of tasteful blends of those two worlds, even before I recorded anything, so I was very confident that it could be done and I was standing on the shoulders of heroes.”
Frahm still has All Melody tour dates stretching into 2019, but what then? He recently released Encores 1 – additionalmusic from the same album sessions, and he hints at but doesn’t confirm that there will be more in that series. For Frahm it seems like his future is something of a mystery at the moment. “I don’t tend to plan too far ahead. I just want to survive next year and then in 2020 who knows what I’m feeling like doing then. It’s a crazy time in life and I’m meeting a lot of people around me who talk about inspiration and what they want to do in life. I hope by 2020 I’ll be smarter and can imagine something a little wiser than what I’m doing now – being the pop icon who is traveling around the world with tons of equipment and lots of people and playing these silly festivals around each corner.”
It’s a revealing and remarkably candid insight into the decisions an artist has to make – the form, timing and responsibility of presenting their art. “I’m totally open for all of this to end, to be honest. I don’t want to be the person who just stops and takes something away from people. I can’t say I’m excited to just finish a tour in two years and then do the next album and then do a huge tour. I don’t know how many years we can go on like this. It’s really crazy man. I’m not dark about the future, I’m excited… but I’m absolutely puzzled.” says Frahm, before returning to the solitude of the early hours, the empty Funkhaus hallways and the cables and synths of his studio.
In my travels on ye internets I came across this intriguing track by Dom Tivadar from the UK. It’s got a warbly lo-fi wooze and shimmer about it. Primitive yet damn catchy and filled with little twists and intricate details that add up to a great slice of psychedelia. Part Chris Knox, part Jay Reatard. Dom has a 10″ lathe cut called Sings & Plays Vol. 2 available to order HERE and you can check out his earlier releases on Bandcamp and streaming services.
Here’s a nice track from the duo Midwife (Madeline Johnston (of Sister Grotto) and guitarist Tucker Theodore.) It’s a lovely unfurling drone-pop track that has shades of Cocteau Twins and the ambient, dreamier moments of Mogwai. The song creeps along at a funereal pace, shrouded in gauzy haze of distortion before the fog clears to reveal fragments of effected and intertwined guitars, like fading sonic memories.
‘Angel’ comes from the EP Prayer Hands, available on Bandcamp and major streaming platforms.