Gate’s new industrial layered, noise music world: Sekai

Gate is an experiment in improvised music by Lajos Ishibashi-Brons, a Dutch philosopher and musician living in Japan. The name of the project, ‘Gate’, summarizes its intended nature: a gate is in between, in between inside and outside, between here and there, between now and then; and a gate is a passageway, both an entrance and an exit, and a point where paths cross. The symbol |˟˟| is a simplification of the ‘broken gate radical’ 鬥, which (on its own) is a Chinese character meaning ‘struggle’, representing another core theme of the project: dissonance, discomfort, distress.

We have asked Lajos his thoughts about his new album on Fluttery Records:

“Bury your romantic proclivities for harmony, for order, for purpose. All of that is illusion, paint. Look at the world, listen. There is beauty in discord, dissonance, disorder, destruction, decay, corruption, contrast, arbitrariness. Life is discord, life is destruction, randomness, change. Look at the world, look at the power- lines, open-pit mines, rivers and lakes, factories and power plants, mountains and roads, buildings and forests, trash dumps and oceans. Look at them clash, interpenetrate, infest, defile. Look at the transformation of landscapes. Look at the haphazard collections of streets and buildings, and at the people living in them. Look at the dirt, the mess, the disharmony. Just look: it’s beautiful. And listen. Open your eyes and ears. Listen to the sounds of the world, to the crashing, grinding, and banging. Embrace the dissonance, the discomfort, the randomness. Those are our sounds, our world. Listen. And travel in sound.”

The new album by Gate, “Sekai” (世界, ‘world’), is a mix of four layers of solo improvisation on multiple instruments, one of those layers being a mix itself. The four layers resulted from four recording sessions. The first and longest of these was focused on creating loops, drones, and background noise. Selected material from this session was arranged on the four audio tracks that together form layer 1. Layers 2 to 4 were added one after the other by means of improvisation while listening to the previously recorded layers. These sessions were exactly as long as the finished recording (i.e. 69 minutes and 2 seconds), and no edits or changes to the session recordings were made other than volume adjustments (and a bit of reverb in case of layers 2 and 3). For layers 2 and 3, only acoustic instruments were used (and thus no effects or other electronics). Session 4 made use of electric instruments and a number of effects.

Instruments used include Bassanxi, a four-string instrument (tuned like a bass) combining design elements from both the guzheng (古箏) and huqin (胡琴) families of instruments; Chaĭlaazkhuur, a tea can with a neck, fingerboard, and one string; Hichiriki (篳篥), a traditional Japanese double reed instrument used mainly in Gagaku (雅楽), Japanese classical music; Sousen, an electric string instrument used for sound effects and noises; and Zarazara, a small box with short pieces of bass B-string attached on one end for creating crackling and other noises. Except Hichiriki, all of these instruments were designed and built especially for this project.

“Sekai” comes in two editions. The Orginal (White) Edition is the original 69 minutes, four-layered session, as it was created and as it was and is intended to be heared. The Black Edition is a remix, cutting up the original in 5 parts each between 12 and 17 minutes. The Black Edition is only available as a download.

Listen to new Gate album: Sekai

A new release comes from Remora : The Heart That Kills

Fluttery Records is honored to host Brian John Mitchell and his project Remora. Brian is owner of Silber Records, a painter, comic book creator and experimental musician. His music, recorded and released under the name Remora, uses guitar effects to build ambient dreamscapes and noisy terrors.

Remora has been around since 1996 bringing out post-apocalyptic pop songs to the masses. Dominated by often sole member Brian John Mitchell, Remora is often a sonic surprise – sometimes making walls of guitar noise & sometimes singing a capella while somehow maintaining the aesthetic that is Remora.

The 1990s saw Remora as a single guitar making ambient walls of tranquility & aggression. The 2000s saw Remora doing everything from a capella (Songs I Sing) & acoustic guitar releases (The Alcohol EPs) to robotic rhythms (Mecha) & a full band structure (Scars Bring Hope) & occassionally delving back to the guitar noise roots (Reversion, Derivative). Within the context of all these styles, the music remains recognizable as Remora in a genre of its own that Michell calls “post-apocalyptic pop” with equal influences from Joy Division, Jandek, Godflesh, lovesliescrushing, & Brian Eno.

On The Heart That Kills, Remora drifts away from the sci-fi-survival themes often prevalent in the lyrics & instead deals with the emotional apocalypse of the death of a loved one. In 2008 Mitchell pulled his grandmother out of a nursing home & quit his job to take care of her at home doing everything from making her meals to bathing her, by her side more or less 24 hours a day. In October 2011 she had a fall that caused an inner cranial bleed & after a week in a coma with Mitchell lying on the bed next to her holding her hand she died. Recorded within the following month in Mitchell’s bedroom, The Heart That Kills is a direct response to the feelings of anger, remorse, guilt, joy, hope, despair, & loneliness associated with the death of a loved one.

Predominantly The Heart That Kills is a drone record. It clocks in around 72 minutes with all but three of those minutes using two guitars & two bass guitars feeding back as the only sounds. At times the feedback is a somewhat passive presence & at other times it is an aggressive one, rising & falling like hope between labored breaths. Clearly this is not something meant for everyone. The remaining three minutes are split four ways between two a capella tracks (“Live Forever” & “Let Me Carry Her Body Through The Gates”), a glockenspiel track (“Chimes”), & the only traditional song structure on the album (the half funeral dirge/half anthem “Bring You Back”). This is not a fun record, this is not the “post rock party show” that Mitchell toured with five years ago, but it is perhaps the most important record of Remora’s discography.

Recommended if you like Earth, Sunn O))), Stars of the Lid, Boris, The Angelic Process, Tim Hecker, Nadja, Boris, Grouper, Have a Nice Life Have a Nice Life, Oneohtrix Point Never, Menace Ruine Menace Ruine, William Basinski, Fuck Buttons, Aarktica, Aube, Jesu, Swans, Joy Division, Sun O))), Jandek, Flying Saucer Attack, Lycia, Brian Eno, Khanate, Emeralds, Belong, Peaking Lights, Loscil, Asva, Windy & Carl,Barn Owl, The Dead Texan, Oren Ambarchi.

Listen or Buy This Album

Clint Listing Collaborates Noise, Ambient, Drone and Industrial Artists In His New Release “In The Minds Of Madness

Clint Listings’s latest album “In The Minds of Madness” brings together 9 noise drone artists including himself.

 Clint Listing creates music as a solo artist in post industrial landscape mix elements of noise, ambient, drone and avant sounds. He has been producing music for twenty-three years. He also writes about music on his website called “Absolute Zero Media

“That’s how we know each other” tells the label owner Taner Torun who also made the artworks and the graphic design of the album. “We send our press letters to Clint as well. He sometimes reviews them. One day, he asked us if we could release his upcoming work. After listening to the album and reading about the people who collaborated, I definitely said yes.”

Clint Listing’s In The Minds Of Madness is a collaboration with some of the favorite artists he has performed with on tour, live events or just impressed him. Projects like Terrorfakt, Dream into Dust, Steel Hook Prostheses, Murderous Visions, Encomiast & Lopeholt. This album spans many genres of the post industrial and experimental landscapes from harsh noise, electronica to post-rock.

The Collaborations:

The opening track, The Dawn of Sorrow is a collaboration with Stephen Petrus of “Murderous Visions“. Murderous Vision’s style ranges from dark ambient to death industrial to martial industrial and neoclassical music. The Cleveland project was founded in 2004 as a duo, later became Petrus’ solo action.

Track 2, Love is Pain is a collaboration with “Lopeholt” which is a industrial & experimental project from Scotland.

The third one, Under the Frozen Moon of Tomorrow is a collaboration with John Stillings of “Steel Hook Prostheses” which was founded in 1999 by John Stillings then L. Kerr was soon recruited into the project and the project became a duo. Stillings says “I can best describe our sound as heavy electronics, a combination of power electronics, death industrial, dark ambient, and harsh noise.”

The fourth child, Your God is So Proud is credited as “4yrs of Suffering” which is a project between Clint Listing and Aries both ex As All Die. They released several works together in which Clint Listing does the vocals, guitar, synthesizer, bass, electronics, samples; and Aries on vocals, samples, percussion.

The fifth track is Passion Through Conflict and it’s a collaboration with Dana Duffey of “Demonic Christ” which is a black / death metal band formed in 1992.

Riders of the Final Dawn (the sixth track) is a collaboration with DJ Hell Raver of “Terrorfakt” which is an industrial / power noise project from New York City. Having been influenced by bands such as Controlled Bleeding, Monolith, Neurosis, Merzbow, Manufactura and Synascape, Terrorfakt describes their sound as ranging from “powerful dancefloor anthems to ambient sound-scapes and pure experimental noise structures.”

The seventh track is We’ve Been Forgotten, which is created with Derek Rush who is known from the projects like “Dream into Dust” “A Murderer of Angels” The projects are between Derek Rush and Bryin Dall whose music is called “ambient and electronic art-fusion is laced with inspiring and intuitive musical pieces designed to create an atmosphere and experience” by Smother.

Peace Breeds War, the final track is a collaboration with Ross Hagen of “Encomiast” which is a dark ambient / noise project came into being around 1999 in Colorado, USA.

“In The Minds Of Madness” has taken two years of blood , sweat and creativity for the people involved in this project. Clint Listing tells that this is the most expansive release of his twenty-three year music career.

Listen, Buy or Download here

Pre-orders start for Clint Listing’s In The Minds Of Madness

Clint Listing creates music as a solo artist in post industrial landscape mix elements of noise, ambient, drone and avant sounds. Clint Listing’s In The Minds Of Madness is a collaboration with some of the favorite artists he has performed with on tour, live events or just impressed him. Projects like Terrorfakt, Dream into Dust, Steel Hook Protheses, Murderous Visions, Encomiast  & Lopeholt. This album spans many genres of The Post Industrial and Experimental landscapes from harsh noise, electronica to post-rock.  “In the minds of madness” has taken two years of blood , sweat and creativity.  Clint Listing tells that this is the most expansive release of his twenty + year music career.

PRE_ORDER

Noise master Clint Listing signs with Fluttery Records

Clint ListingNoise master Clint Listing joins our family. He creates music as a solo artist in  post industrial landscape mix elements of noise, ambient, drone and avant sounds. Some of you may know him from Absolute Zero Media where he regularly reviews.

Clint says “I can officially announce that I have signed with Fluttery Records for the Collaborative Release ” In the Minds of Madness” for Physical and Digital formats. Taner Torun of Fluttery Records has been very supportive and truly wants to promote what I create to world.”

Clint has been producing music more than 23 long years and he came up with an amazing album where he collabrates with other artists in each track like Terrorfakt, Dream into Dust, Steel Hook Protheses, Murderous Visions, Encomiast  & Lopeholt… We will be releasing more harsh noise, dark ambient in the near future. Yes, we want to promote what he creates to world.

Let me know when the album gets released.

Noise master Gate release a new album: Deconstructed

Noise meets jazz one more time in Gate’s lastest release Deconstructed

Noise album DeconstructedGate is a noise project based in Tokyo, Japan and they have release their lastest album on Fluttery Records. The new album is called Deconstructed.

The music contains noise, free jazzdroneambientindustrial elements. Lets have look at a new review about the album. Jan Williem Broek (music writer / DJ) has written a review about the band and their lastest album:

Lajos creates improvisations with 7-string bass, guitar, sousen, electric morin khuur, zarazara, and various other effects and noise makers. Half a year after the project was founded, the Japanese wind instrument player Taka joined the project, and with his saxophones, flutes, ryuuteki (dragon flute), recorders, whistles, and didgeridoo, he adds an extra dimension to the project’s sound. Lajos’s philosophical background undoubtedly contributed to the way of making music, although one shouldn’t take the term ‘music’ too literally. He refers to Spinoza who said that freedom is illusion. Nevertheless, they create a free sound, albeit as free as the listener experiences it. What I mean is that the one will hear unstructured cacophony, while the other recognizes patterns and structure. To that extent freedom stays an illusion. Let me take the freedom to say that they manage to create immense tension between recognizable and undefinable sound. They open a ‘gate’ to your own interpretation. CDs ‘no exit’ (2009) and ‘iterations’ 2010 so fascinating. The sounds almost became secondary to their elaboration. The result is a kaleidoscopic whole of drones, noisejazzindustrial, doom, and Japanese traditional music, in which the sounds freely ‘wander’ through indescribable, capricious soundscapes. |˟˟| now released the CD ‘deconstructed’, which lets go of the founding principles. Philosophy also means time for reflection and seeing things in a different light.With this, Lajos moves into the territory of Aube, Merzbow, KK Null, Otomo Yoshihide, God and John Zorn. It is like looking at a 3D image and suddenly seeing depth. Between the gates of the different dimensions, the music of |˟˟⌡ moves in a wayward and most of all captivating way. Incomprehensibly good!”

The album is highly recommended for listeners of noisedroneambientindustrial music also for the people looking for new tastes in jazz.

Some similar artists might be Merzbow, Boris, Masonna, Government Alpha, John Zorn, The Gerogerigegege, Guilty Connector, Hijokaidan, Hanatarash, C.C.C.C., Prurient, Svarte Greiner, Alec Empire, Whitehouse, Wolf Eyes, Lustmord, Sutcliffe Jügend, John Wiese, Nurse With Wound, Daniel Menche, Boredoms, Sunn O))), Kevin Drumm, Machinefabriek, Burning Star Core, Peter Brötzmann Brighter Death Now, Ground Zero, Hair Police, Skullflower, Zloty Dawai, Melt-Banana, Genocide Organ, Ryoji Ikeda, Throbbing Gristle, Birchville Cat Motel, Pan Sonic.

The album is available on major music download stores like Itunes, Bandcamp, AmazonMP3, Napster and eMusic. The CD can be purchased from the Fluttery Records website (flutteryrecords.com).

Fluttery Records is an independent record label releasing Post-rockAmbientExperimentalElectronicModern Classical Music. All label releases can be streamed free on the label website.

Listen or Buy This Album