Carya Amara’s 2001 release Vestigial Digital is now a free download via Bandcamp. It is still also available on CD.
The music on Vestigial Digital was made using software to transform natural and unnatural sounds. No conventional synthesisers (hardware or software) were used.
“as atmospheric as hell… pioneering stuff indeed” – Modern Dance magazine
“a secret harmony, a reckless boldness and unconcern for established order” –Erebus magazine.
Evematic was a solo project by Eve Thacker, who sadly passed away in January 2013. Eve’s solo release on Earthrid, Bisonogram, was recorded according to her typical methods, which used a unique combination of exotic analogue and bargain-basement digital audio units, wired together in her home studio. The results are not to be missed for anyone with an ear for unique electronic music that is by turns joyful and suspenseful.
This album was originally released by Earthrid on CD in 2004 and is now made available again as a free download.
We have a new release for you. The exceptional debut album by Norah Lorway is a unique blend of ambience and glitch. Norah says:-
“Most of the sounds you will hear on this album were synthesised using the music programming language SuperCollider, with some custom-made performance interfaces created in Max/MSP.
The music was informed by many genres, including ambient, drone, algorithmic and glitch but it is not constrained to just these. The music is a hybrid of many traditions and I hope it will speak for itself”.
i’ve had dreams like this is available on CD and as a free download.
We were sorry to hear of the recent passing away of Eve Thacker, a very talented sound and graphic artist.
I got to know Eve when I saw a review of one of her home-made cassette albums in the early ’90s. We struck up a correspondence and when I moved closer to her part of the UK I had the pleasure of meeting her and her husband Vince on several occasions. We should have met more, but such is the pace of life.
Eve was a passionate maker of electronic music who never forgot that music should be fun. I had the pleasure of visiting her and recording with her in her quirky home studio, which was a conglomeration of analogue and digital synths, lo-fi effects boxes and lots of patch panels. Some of the tools Eve used may have been knob-twiddlers’ fantasy machines, but much of it was badly designed boxes which were obtained cheaply and coaxed into half-performing only through Eve’s perseverance and determination to make her music in her own unique way.
Eve’s solo release on Earthrid, Bisonogram, was recorded quite typically according to her methods. She had no multitrack recorder and no sophisticated sequencing systems, so she would set up her sound sources and effects and then improvise, recording to cassette. Her cassette recorder was not of top quality and I learned a lot about polishing up audio from mastering Bisonogram! I was pleased when she said that hearing the resulting album was like hearing it for the first time since she had recorded it. Sadly, many of the other recordings I was passed could not be rescued, and some were mysteriously incomplete, companion recordings having been saved to another mislaid cassette…
Cassette was also the master medium for the two sessions we recorded together as Audio Space Research. One noted master of electroacoustic music noted the disclaimer with an incredulous exclamation of “cassette?” before putting the CD aside, much to Eve’s amusement when she heard about it. It is easy for some in privileged positions to forget that making music at home is a labour of love for many of the most devoted musical experimenters, who sometimes achieve wonders with meagre means at their disposal and plenty of real-life problems and challenges to contend with in the meantime. Eve had no snobbery about music, and enjoyed electronic music of all styles, regardless of its supposed genre or “seriousness”. She found a particular empathy though with the work of Bernard Parmegiani: she joked that when she finally heard his work, her reaction was “Daddy!”. The division of composition into noises made in studios in bedrooms and “serious” music made in academic studios was of no concern to Eve. Noises In Bedrooms (as she styled it) were as valid as those made by the elite, and she classed the dichotomy as “NIBs versus knobs”… If that makes you smile, I would say that you probably have some of the same unaffected love for music that Eve had.
Vince has put together a little taster of the album ‘Bisonogram’. It’s the title track, accompanied by some very rare shots of the elusive Eve.
I’ve been meaning for some time to make Bisonogram available for download (free, of course) and that must now happen soon.
Thank you for the music, Eve.
– Kevin Busby
Here’s a link to some mischievously composed photographs from UK political party conferences: Party conferences – three decades through a lens.
The first photograph in the set seems somehow familiar.
Above left: a photograph from the article. Above right: They Live.
Clandestine, the third album by Abominations of Yondo follows swiftly after the release of its precursor, That Remote and Awful Twilight, but reveals very different aspects of this duo’s explorations of mysterious realms.
From the vibrant opening of ‘A Million Mouths at Dawn’, through the growing danger of ‘The Airborne Plague’ to the comforting sojourn ‘At Home with Drax Plunkett’, the album unfolds an ever-changing set of moods to fuel the listener’s imagination.
The second release by Abominations of Yondo is available at last, on CDR and as a free download.
That Remote and Awful Twilight has among its influences the penultimate chapter of ‘The Time Machine’ by H.G. Wells. However, the listener is of course free to associate other scenarios, memories or febrile imaginings with the assembled sounds.
The moment of ‘Escape Velocity’ owes a stylistic debt to the work of the master synthesist and producer Isao Tomita, to whom the track is dedicated. The album as a whole is dedicated to all people who feel obliged to space-time.
Abominations of Yondo is a collaboration between Cousin Silas (releases on numerous netlabels including Earthrid) and Kevin Busby (of Carya Amara, Audio Space Research etc.). The first album, Abominations of Yondo, was released in 2007. We’re confident that anyone who enjoyed that album will excuse the wait once they have heard That Remote and Awful Twilight…
A new netlabel, We Are All Ghosts, has just launched. Its first release is The Path Between the Trees by the prolific electronic musician and Earthrid collaborator Cousin Silas. It’s a free download which reflects Cousin Silas’s increasingly wide musical reach, from gentle ambience to dark moods and beyond to guitar melodies! Get the album via the We Are All Ghosts Web site.