https://metronrecords.com Métron Records Mon, 10 Aug 2020 09:02:56 +0000 https://metronrecords.com en https://metronrecords.com/About Fri, 12 Oct 2018 11:56:04 +0000 Métron Records https://metronrecords.com/About /* About page only. 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We run Pink Oyster Records, a new label created in collaboration with our press partner Goodchild Promotions. The name &amp; identity The name Métron was inspired by the ancient Greek word μέτρου — a word associated with the concept of measurement — specifically as a way to measure distance in music, poetry, design and geometry. The Métron visual identity was created by the incredible Ventral is Golden. Métron Records · The New Forest, UK Distribution Métron Records is distributed worldwide by Rubadub (Glasgow, UK) and in the US by In Sheeps Clothing (Los Angeles). Find our records Some of the wonderful places where you can buy our records: UKNorman, Boomkat, Phonica EUHHV, Rush Hour, Juno JapanKankyo Records, Disk Union (Tokyo), Newtone, Meditations (Osaka) USIn Sheeps Clothing (LA), Finer Sounds (NY) Get in touch Please submit demos, label enquiries and love letters tojack@metronrecords.com Keep in touch Subscribe to our Substack newsletter. Bandcamp Instagram SoundCloud YouTube Facebook With thanks Special thanks to Séance Centre and to Brandon Hocura for his guidance, and for helping get the label off the ground. Plus a huge thank you to all of the artists who have contributed music, time and conversation to this project over the years. https://metronrecords.com/066-Nailah-Hunter Mon, 10 Aug 2020 09:02:56 +0000 Métron Records https://metronrecords.com/066-Nailah-Hunter 066 - Nailah Hunter Métron ·&nbsp; Métron Mixtape - 066 - Nailah Hunter Nailah Hunter is a harpist, producer and composer from Los Angeles making gorgeously immersive and meditative music. Built upon glistening synths and the delicate strings of her magnificent harp playing, her brilliant 2020 EP Spells has been one of the years musical highlights, The 6-track release, for local label Leaving Records, is a short, but incredibly sweet affair with each track created as it’s own spell, a singular magical world. For her Métron mixtape Nailah has created a playlist of healing songs each representing one of the four original elements, earth, air, fire and water. These are tracks she listens to regularly whilst practicing yoga and meditation and, as such, the mix is instilled with a deep sense of calm and clarity. Better still, the mix opens with a brand new piece from Nailah herself - one that she describes as ‘a sonic plea to the universe’. It’s wonderful to hear this new work and leaves me ever more excited to hear what Nailah offers up next, as she works on her debut full length. In the meantime I can’t recommend Spells highly enough. Head over to Bandcamp to purchase and support a talented artist and an excellent label. You can read a short Q&amp;A between myself and Nailah below: <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/771015f1c1d0a589f425c817bca9aece18e41a26725262fedcf3128dafe172a5/066-Artwork-TINY.jpg" data-mid="79503686" border="0" src="https://freight.cargo.site/w/1000/i/771015f1c1d0a589f425c817bca9aece18e41a26725262fedcf3128dafe172a5/066-Artwork-TINY.jpg" /> Artwork by Jack Hardwicke. Thanks so much for this wonderful mix, can you tell us a little about the selections here?Thank you for having me on! All of the songs on this playlist are elemental * see list above. They are healing, not only in their frequencies, but also in the beautiful imagery that they provide my mind with. What role does music play in your own practices of meditation?Like a lot of music fans would say, music helps me to find my center. I've only begun to focus into more consistent meditation practice in the last 3 years. So I still find it hard to just drop into the zone. Music guides me there. You open the mix with a new creation of your own - what inspired this incredible intro?The intro was kind of like a sonic plea to the universe to drop me in / beam me up into the creative space where one does not even have to think. Where one simply is. It's a hard place to access if you let your brain get in the way. So I explored sounds that reminded me of hyperspace travel by interacting with my synths intuitively and just listening. Your debut EP 'Spells' came out earlier this year, it's a magical release that seems to have gained great momentum - how has the response been and how have you felt sharing your music with the world?I've been so delighted by the response to the EP. It's very specific in vibe, so it's fun to know that there are people out there who resonate with the very particular place I was coming from with this music. It feels wonderful to have this project out because it's probably the first musical project I've ever released that I felt 100% proud of and invested in. It's also really nerdy and perhaps even indulgent for a first release maybe hahah.&nbsp; Really glad to know that some musicians I've always respected are getting into it. Feeling the love. When did you first start playing the harp and what is it about the instrument that connects with you?I first started playing harp about 8 years ago after someone gifted me a baby folk harp. I'd always wanted to own one ever since I was 16 and sang in Benjamin Britten's Ceremony of Carols (which is a choral Chrismas piece that has a lot of beautiful harp moments in it). I think the harp allows whoever is playing it access into another realm. I've always been attracted to that aspect. Do you have a dream musical project, something you would love to be involved with or create?My dream musical project is to score a fantasy movie or television show! What do you have planned for the rest of 2020?I plan on getting rest, getting better at harp, and writing the rest of my full length LP. Tracklist Nailah Hunter - Intro LEYA - INTP&nbsp; [fire] Geotic - Troperens&nbsp; [water] Nagamo - Pillar of Light&nbsp; [air] Mart Lattimore &amp; Paul Sukeena - Dreaming of the Kelly Pool&nbsp; [water] Punka - Ephemaurora&nbsp; [air] Bing &amp; Ruth -&nbsp;Blood Harmony&nbsp; [earth]Green House - Soft Meadow&nbsp; [earth] https://metronrecords.com/065-Sign-Libra Mon, 26 Aug 2019 10:46:33 +0000 Métron Records https://metronrecords.com/065-Sign-Libra 065 - Sign Libra Métron · Métron Mixtape - 065 - Sign Libra Sign Libra is the performing alias of Agata Melnikova, a composer and artist from Latvia. Inspired by the exploration of nature, the cosmos and their influence on human imagination, she creates sonic universes that feel simultaneously intimate and celestial. Following her debut album under the Sign Libra moniker in 2018, composed for a contemporary ballet, she joined the incredible New York label RVNG Intl. in 2020 for her sophomore LP Sea to Sea. That album was my first run-in with Agata's wonderful work and one that I keep going back to. It’s a gorgeously playful, sonically rich and imaginative project that explores the mythical ''seas'' of the Moon, known collectively as Lunar Maria. Here, for her mixtape, Agata has once again drawn inspiration from aquatic themes, putting together a collection of tracks to soundtrack an 'imaginary underwater discotheque'. Her selections mirror the joyous and kinetic feeling of 'Sea to Sea' creating a mix packed full of serotonin hits.Give it a spin and go check out Agata's two full lengths here and here. Both come highly recommended and Sea to Sea is a personal favourite from this year. I can't wait to see what she does next.&nbsp; You can read a short Q&amp;A between myself and Agata below: <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/3895d1432c4d9a3e5bd2d77bac96e572c942206d80069bab9b7d4e1296cd9b60/065---Sign-Libra-TINY.jpg" data-mid="77814562" border="0" src="https://freight.cargo.site/w/1000/i/3895d1432c4d9a3e5bd2d77bac96e572c942206d80069bab9b7d4e1296cd9b60/065---Sign-Libra-TINY.jpg" /> Artwork by Jack Hardwicke. Can you tell us a bit about this mixtape, what was the inspiration behind it?This is just kind of imaginary underwater discotheque where plays breezy, bouncy and a little bit of bubbly-experimental music!We have to talk about one of the tracks you selected because 'Analogue Bubblebath' is one of my all time favourite pieces of music - what do you think makes this track so great?I think it’s because the music perfectly transmits a given title of the track – it sounds really fresh and with a funny dose of synth “soapiness”. Appearing lovely motive by the end of the track makes a listener even more happy!Your incredible album 'Sea to Sea' was released earlier this year on RVNG. How has the reception been to the new work?From a professional point of view, it would be nice to get a bit more public interest and thoughtfulness in some reviews on the album, but I am truly happy there are listeners, who are digging my artistic work and are expressing love for “Sea to Sea”!How are you coping without the prospect of live touring during the pandemic?No doubt, live shows would be necessary right now for the album promotion and some material support, but I am using this time for a further development of the project as well.Can you tell us a bit about the traditional musical cultures/sounds of Latvia?Traditionally Latvia is known as “singing country” because of its melodic folk song and choral music heritage. Speaking of more contemporary sounds, I would say, it is something between Eurovision song cliches and experimental salad.What's next for Sign Libra?Something “fluffy”!&nbsp; Tracklist Hiroshi Satoh – Aqua Double Fantasy – Endless Running Seahawks – Glass World The Grid – Floatation (Subsonic Grid Mix) Perishing Thirst – Morning Light Aphex Twin – Analogue Bubblebath Genuine – Playground Sign Libra – Sea of Cleverness Inner Harmony – Da Lub Club Dreamscape – New Age Seydinah – A La Folie (Club Mix) James Ferraro – Adventures In Green Foot Printing Fiedler, Eitner, Schlott – Unit II https://metronrecords.com/064-Jefre-Cantu-Ledesma Tue, 13 Aug 2019 12:07:41 +0000 Métron Records https://metronrecords.com/064-Jefre-Cantu-Ledesma 064 - Jefre Cantu-Ledesma I've been a fan of our latest guest, California based multi-instrumentalist Jefre Cantu-Ledesma ever since my introduction to his work back in 2014. That first experience was with the glorious two track solo release Songs of Forgiveness, a magnificent and meditative record I continue to go back to over and over again - but I've since enjoyed exploring almost everything in his extensive and storied discography. Having started out in experimental rock band Tarentel in the early 90's, before going on to start Root Strata, his own label in 2007 - he has since gone on to forge a solo career of serious weight, as well as appearing on many wonderful collaborative releases over the past decade. It is his recent run of solo records that has upped the stakes dramatically and his career has, in my opinion, shifted gears. The wonderful experimental hazy pop of 'On The Echoing Green' to the wall of sound shoegaze of 'In Summer' are excellent - and his latest full length for Mexican Summer, his third for the label, might be his best and most powerful work yet. Where dense walls of sound have often been his way, Tracing Back The Radiance, which dropped in July, strips it's component parts down to the essential. Those component parts were acquired from a super-group-dream-team of collaborators including (recent Métron guest) Chuck Johnson on Pedal steel guitar, Gregg Kowalsky on synths, Mary Lattimore on Harp and Christopher Tignor on violin, among many others. The record was meticulously crafted together over the course of a couple of years to find the perfect arrangement for the rich source recordings. The results are spectacularly beautiful and one of he finest 'ambient' releases this year. And it's really within this more considered and calming approach that his Métron mix exists - this time allowing lengthy stretches of gorgeous ambient sound to drift into one another. Organic sounds, bird song, flowing water, frogs and crickets break through the deep clouds of drone and gongs, eerie strings and ASMR like spoken w spring from the quiet spaces that fill the hour long mix. There's a dreamlike, mysterious and often wistful energy throughout, one that evokes strange feelings of loss, isolation and also beauty - a sonic portrayal not dissimilar to an Apichatpong Weerasethakul film. It should come as no surprise that in the midst of a prolific 30 year musical career, and coming off the back of an excellent new record, Cantu-Ledesma showcases what a wonderful ear for sound he has acquired. <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/c135d725e902d8eb66462ea80ec1cabdd0f4660b19e7c46b36532d24b171690d/MM64-Jefre-Cantu-Ledesma-1500.jpg" data-mid="48488440" border="0" src="https://freight.cargo.site/w/1000/i/c135d725e902d8eb66462ea80ec1cabdd0f4660b19e7c46b36532d24b171690d/MM64-Jefre-Cantu-Ledesma-1500.jpg" />Artwork by Jack Hardwicke. Tracklist Simone Forti- Molimo Rip Hayman - Dreams of India &amp; China (Part 1 edit) Mary Jane Leach - Dowlands Tears Louise Landes Levi - Butterfly Graveyard Sarah Davachi - Perfumes III Moniek Darge - Frogs, Balinese Rice FieldsMatthew Sullivan - Dying Woman On The Plane Tashi Wada with Yoshi Wada and Friends - Litany https://metronrecords.com/063-Chuck-Johnson Mon, 24 Jun 2019 09:11:03 +0000 Métron Records https://metronrecords.com/063-Chuck-Johnson 063 - Chuck Johnson I always loved the fantastic youtube easter egg of Justin Bieber's 'U Smile' slowed down 800%. The effect is mesmerising, creating a vast, epic, chamber-like expression of a pop song that would otherwise not appeal to my musical sensibilities. So it perhaps comes as no surprise that I love, Chuck Johnson's record Balsams, my personal introduction to the veteran American guitarist. It's a record built almost exclusively around the pedal steel guitar, an instrument synonymous with country music, but Johnson uses these familiar tones and open tuning to create a completely unique musical world, one that sounds like quaint country jams slowed down and stretched out into oblivion. Whilst 'U Smile' is a glorious accident, Balsams is the product of a refined technique and Johnson's incredible feel for emotional resonance. It's a truly sublime record and one that I have gone back to again and again since first hearing it upon release in 2017 to soak up its soothing frequencies. In our discussion about his mix (see below), Chuck talks about the healing power of music and how this record in many ways was a literal attempt to soothe an ailing canine companion of his. When listening to the music he has created with this set up, it is hard to come away not feeling a sense of quiet restoration.&nbsp; And it is within the world of Balsams that Johnson's contribution to the Métron series lives - recorded in September 2018 whilst preparing for his most recent European tour - he presents a 40-minute live recording that feels like one long improvised meditation on the music of Balsams. Johnson himself describes it as “a document of a time when I was trying out new ideas and a new setup, while figuring out how to integrate them with music from Balsams”. Chuck has been making music for many years, and his finger-picked acoustic works are also well worth exploring, as well as the work he has done creating music for TV and film. However, for me, Balsams is a blissful masterpiece, and as such, I was thrilled that he chose to share an additional part of that world with us for his Métron Mixtape. I cannot wait to hear the follow up that is already in the works. I spoke to Chuck about taking up the pedal steel guitar, collaborations and his upcoming plans. You can read the full interview beneath the artwork below. <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/ccbbde394a1ff5e07142c09624933bedcc9b2fca9378a978443ddf065b88baca/063---Chuck-Johnson-Full.jpg" data-mid="45321842" border="0" src="https://freight.cargo.site/w/1000/i/ccbbde394a1ff5e07142c09624933bedcc9b2fca9378a978443ddf065b88baca/063---Chuck-Johnson-Full.jpg" />Artwork by Jack Hardwicke. It's such a peaceful and light recording, that feels like an improvisation or meditation on the works in Balsams. How did you approach playing this record live during that tour? Thank you! Performing the Balsams material live initially presented a challenge because the album is very much a studio creation and has many layers. When I first started to perform the material I used an analog synth and sequencer to play the basslines and some backing textures, and then did live looping and processing with the pedal steel on top of the synth. That turned out to be a cumbersome setup for touring - the pedal steel guitar is already a heavy and complicated piece of gear to travel with - so I moved the basslines and other sounds to backing tracks triggered on an ipad. Now I have moved to using Ableton Live on a computer so that I can run the backing tracks in a more fluid and improvisational manner, and also have a lot more options for adding effects to the pedal steel without having to travel with so many pedals and other gear. When did you start playing pedal steel and what drew you towards using it as the base for your recent works? I’ve been playing pedal steel for about seven years so I am still relatively new to the instrument, although I have played other styles of slide guitar for a long time. I’ve always been drawn to the sound of the pedal steel, having grown up around country music, but in recent years I’ve been made aware of the pedal steel’s potential outside of the country idiom, thanks to inventive players like Susan Alcorn, Heather Leigh and BJ Cole. Daniel Lanois’ steel playing in the context of Brian Eno and Harold Budd’s music has been an important touchstone, of course. And I have been enamored with the “Sacred Steel” style of players like the Campbell Brothers and Joseph Randall for a long time. I initially started playing pedal steel as an accompanying voice on my own solo records Blood Moon Boulder and Velvet Arc. Then Steve Lowenthal from VDSQ sort of challenged me to use it as the primary voice for an album on his label, which eventually became Balsams. Once I started approaching it as a solo instrument I began to realize that I can use it like a string trio or quartet, with simultaneous notes moving in different directions and in different registers, and I was hooked! It's interesting to me that the origins of this record were in part a product of trying not to upset your dog Bubbles during a time of her healing following a traumatic incident. They say one of the reasons cats purr for instance is to create healing and restorative frequencies, hence they often purr when injured - I wonder if you feel that music can create a similar effect on humans and non-human animals, and if this in some way informs the way you create? Balsams for me personally is such a blissful record that I cannot help but feel calmer when listening. I am happy to hear you experience Balsams in the way! I absolutely believe music and sound can be conducive to restorative mental and physical states. I think we are just scratching the surface on a scientific understanding how it works, but it seems like common sense that if a person needs to heal psychologically or physically, then being able to relax and to have enough sleep are necessary to that process. Music has certainly been a healing force in my life. How is Bubbles doing now and is she still editing your work? Haha Bubbles is fully recovered, but she definitely still serves as producer for music I make and curator for what is listened to on the hifi. She has very particular tastes and is very good at expressing them. You just played on the new Jefre Cantu-Ledesma record which I love (coincidentally Jefre will be the featured artists for our next mixtape release) - how did that come about and do you enjoy collaboration? Jefre and I have known each other for years because he used to live in San Francisco and we are part of a pretty tight-knit community here. He reached out to me early last year about playing on a new piece. The piece evolved and morphed quite a bit since I contributed parts - I will let him describe the process to you - and I couldn’t be happier with the results. The album is sublime. I do enjoy collaboration and, after many years of working almost exclusively in my little solo world, I’ve recently set an intention to invest more time and energy in working with other people. So there are several projects in the works right now. One I am particularly excited about is Saariselka - my duo with Marielle V. Jakobsons. Who would you love to collaborate with but have yet to find the opportunity - musicians or otherwise? Too many musicians to list! I compose for TV and film as my main gig, and there is so much new and innovative talent in that world. A dream soundtrack job would be composing for Katja Blichfeld, Alex Garland, Ava DuVernay, Brit Marling... When did you first realise that you wanted to play guitar and make music? I studied piano when I was a kid, and was usually more interested in banging out my own ideas than learning my lessons. But I didn’t start playing guitar until I was in college, and that’s when I finally felt empowered to make my own music. You're working on a follow up to Balsams right? How's that coming? It has been a slow process, but it’s going well and I am happy with how it is taking shape. I am deep in the mixing stage now! What else do you have planned this coming year? Saariselka have our first full length coming out later this year! My next solo record and a couple other collaborations will be on the horizon for 2020. And I expect there will be digital releases like this one here and there. We always ask for a couple of recommendations for listening - any suggestions? Lately I have been fascinated by Claire M. Singer’s organ music. It has totally changed how I conceive of the possibilities of that instrument! I’m also spending a lot of time with recent music by R Beny, Wizard Apprentice, Jake Xerxes Fussell, Sarah Louise, Dax Pierson… So much good music happening right now, and it seems like every week there is a new stack of releases that I worry I will never find time to listen to! https://metronrecords.com/062-Atariame Wed, 20 Mar 2019 09:27:55 +0000 Métron Records https://metronrecords.com/062-Atariame 062 - Atariame Originally from Izhevsk, Russia, Natalia Salmina is currently in year six of an ongoing travelling adventure that has taken her to many parts of the world. Connecting with local artists and scenes, borrowing whatever equipment she can find at each stop, playing shows and DJing at parties along the way, it's a lifestyle that continues to manifest in her creative output under her recording alias Atariame. Following her graduation from the Red Bull Music Academy in 2018, guest mixes for NTS and her recent album for Constellation Tatsu, Natalia continues to develop her artistic identity - one that is built more on intuition and guesswork rather than traditional musical mechanics and taught process. It's this approach that gives her music such loose structures and a charmingly DIY aesthetic.She takes cues from wide range of sources, from fragile folk, to ghostly ambience and dreamlike electronica, often placed alongside her aching vocal drones. All those assets are featured across the 30+ minutes of new original music on her wonderful Métron Mixtape. Loosely strummed guitar gives way to shimmering synths and her reverberating spoken word. Natalia approached the creation of this set like a DJ mix, each track glides into the next to form one long-form piece of story telling.With an upcoming cassette release lined up for later this year it'll be fun to see where her travels take her sound next. I spoke to Natalia about travelling, her inspirations and her plans for 2019. You can read the full interview beneath the artwork below. <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/9204d1490f74a8dedd796070fd15f265753bd3c9247d1b03f137d285e9a761b9/062-atariame.jpg" data-mid="38076272" border="0" src="https://freight.cargo.site/w/1000/i/9204d1490f74a8dedd796070fd15f265753bd3c9247d1b03f137d285e9a761b9/062-atariame.jpg" /> Love the mix Natalia, thanks so much for putting it together. What was the process of making this new music?Thanks! Well, the whole idea of blending the styles of ambient, downtempo, noise, folk and pop music came to me when I started DJing. I didn’t realise that I can DJ and that it’s fun before I actually tried it just out of a curiosity on a female music producers meetup in Berlin — which I also joined out of curiosity because a Russian artist Rosemary Loves a Blackberry was playing there, and I had had no better idea about how to make connections than just joining the lineup. During that set I was actually just putting some of my favourite underground tracks in a VLC player and was glad about the way people reacted and asked me what was that I was playing. Basically, when I DJ, I want my set to be a journey with many different moods and spaces. For me it’s not a story of mixing, it’s a story of contrasting, but still in my own manner.&nbsp; I want people to feel anxious and then blissful in a short time. Too little excitement these days, I guess? Then I applied the same idea to my mix of my own original music. I recorded synth lines with my synthesiser Waldordf Blofeld, which I’m really comfortable with, and I can just play it as if I play a piano. It’s very user friendly, and I can easily improvise with knobs and filters, but still it has some surprises, and then I’m too lazy to read a manual anyway, so sometimes this synthesiser takes me to a musical space where I’ve never been before. Then I mixed the records with my demos of folk songs, and then just played all over with different records I had. I say “just”, but it actually took some time re-recording stuff and getting rid of resonances. Nina Kravitz frequently tells about this beauty of &nbsp;spontaneous records, but when it comes to my case, my actual spontaneous records don’t sound as exciting as I want them to be.&nbsp; What I really work with my music on is about making those spontaneous records perfect. &nbsp;When did you start making music in general - was this always something you wanted to do?Making music was quite natural for me all the time, since nobody&nbsp; ever told me how to do it the right way since I was a kid.&nbsp; Sometimes people say to me “I want to make music, but I don’t know how”, and I’d be like: “Oh, do you really need to know _how_ to make it?”. But I guess, the same applies to me if we talk about other fields with which I’m not comfortable personally, as I feel totally lost in programming, for example. However, this very thing about not having to know _how_ to make music actually has led to that I’ve been constantly re-inventing the wheel, and I still feel that I need to learn more about the technical stuff. For some years I’ve been happy recording songs on my dictaphone and mixing it with reversed Nurse with Wound tracks in Audacity. I didn't use any other tools because I just didn't know about them. The good thing was that since I wasn't advanced, I had no other way than to invent my own music without copying anyone. Ah, okay, I tried to copy Kim Gordon's way of singing, but I couldn't and had to stick to my own, lol.On the other hand, then I had that very big FOMO about music production, as it seemed that &nbsp;other people are much more professional in it and that they do some magic work I can’t understand. Actually staying in Red Bull Music Academy last year in Berlin has helped me a lot, as I saw how other people work &nbsp;and worked with sound engineers on my songs. I saw that there’s no magic to it, but you really need to listen good with your ears, and not with your phantasies. So about what I always wanted to do: I've always had inspiring music ideas, just can't get tired of them. But then maybe I'll dedicate my whole life to learning how to transform my music ideas into something listenable. Life worth living. Who are the people, or what are the things, that most inspire your creative output?Oh many other music, and many other people! I try to disconnect my sound perception from the cultural or any other background as much as possible. So I love random street musicians as much as I love other records.Right now I’m just listening to my playlist in which there’s everything from EBM and nostalgic hard rock to African house and outsider Russian trap tracks. I’m fond of melodies, and I suppose I physically cannot follow a track without any melody, but at the same time I developed a more sophisticated taste for unusual production, so listening to simple voice and a beat doesn’t feel exciting anymore. And then even listening to that same Aphex Twin’s “Xtal” beat in other tracks is not as exciting as it was for me for the first time. So I’m getting more picky, but still very open. You recorded this mix in Moscow but you travel quite a lot living in different places around the world - has this changed the way you make music?Well, travelling itself is not as fancy as people may think of it. When I travel, a lot of my energy and time goes into finding a decent and affordable place and way to live. So I actually have less time and energy for making music. However, I’m now staying in Thailand which is super comfy to live, so I’m just making it up for &nbsp;the music and I try to record &nbsp;all day through on my days off. What I really love among things that travel brings to my music is my music vision. I collect music from every part of the world, I frequently go to local gigs and hang out with local producers.&nbsp; I must say, it’s quite hard to find something unique anyway, but when I &nbsp;find it, it feels much more precious. Well, everything can be googled nowadays anyway, but then what’s this life for — googling? And then &nbsp;I actually hate googling. I could find what a loop station is from the internet and YouTube, but seeing it for the first time during my first trip to Berlin at a breathtaking live set of Lake Felix was much more exciting. What else have you got planned this year?I plan to put out a new record which is still a surprise, which has a breathtaking &nbsp;story to it, and which is quite different from all the stuff I’ve been releasing before. No, really. I’m also heading to South Korea soon, and still looking for ways to play or DJ there, please hit me up. And in the meantime I’m staying in Asia and finish up another record with folk songs and then I want to play with some dance tracks and rhythmic noise. Sounds like too many things, but actually it's just working on tracks in my own manner with different textures.Any musical recommendations for us, perhaps some other Russian artists we might not be familiar with?There are many talented producers in Russia. Much more than I know or can imagine.&nbsp; I try to listen to new music, and then it still feels like I live in a bubble &nbsp;of my friends and labels that I already like. Haven’t been listening to new stuff for last months though, and I probably missed a lot of other cool stuff.This label was among my favourite discoveries last year: https://120-130bpm.bandcamp.com/album/limitedThen my friends just put out a dark synth and shoegaze record: https://www.youtube.com/playlist?list=OLAK5uy_lWYo9mekL7g7fPtGgOz4y1IPsvK1JI40UAnd then yesterday I’ve been singing along to this track, and still can’t get it out of my head: https://soundcloud.com/masterskayalab/04-mustelide-zver https://metronrecords.com/061-Matchess Wed, 27 Feb 2019 08:57:36 +0000 Métron Records https://metronrecords.com/061-Matchess 061 - Matchess Whitney Johnson has been making up songs since she was a young child. In adulthood she's honed that craft into a fully formed musical vision recording under the name Matchess. Her most recent full length, and my entry into her musical world, was the wonderful Sacracorpa, the final part of a trilogy of releases that was recorded in an earth ship outside Abiquiú, New Mexico as well as in studios in Chicago &amp; New York. The former is where Whitney calls home and where she has become a staple of the underground music scene, not only with Matchess but also playing in both Verma and avant-folk band Circuit Des Yeux.That trilogy of solo records forms the basis of her Métron mixtape which mimics her set list from the summer release show held at the International Museum of Surgical Sciences in 2018. Packed with ethereal field recordings, magnetic tape hiss, drum machines, soaring strings and Johnson's Ace Tone organ, these deeply layered and textured pieces surround her fragile, and at times haunting, vocal work to create emotionally vibrant arrangements. The set ends with the final track from Sacracorpa and a personal favourite of mine, Of Freedom, a track that has something of early era Silver Mt. Zion in it's sprawling, heartfelt and delicate wonder. It's a perfect snapshot of the Matchess journey so far, and judging by the shift in direction on her latest offering, an extended minimalist piece for the excellent Australian project Longform Editions, it perhaps marks a turning of the page. I spoke briefly to Whitne about Chicago, her new release and her plans for 2019. You can read the full interview beneath the artwork below. <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/2bc243309e1e9f519040343fa21f9c7477fa8c1e9780c40ce10b843c2845b7f5/061-matchess.jpg" data-mid="36408172" border="0" src="https://freight.cargo.site/w/1000/i/2bc243309e1e9f519040343fa21f9c7477fa8c1e9780c40ce10b843c2845b7f5/061-matchess.jpg" /> Thanks so much for your mix - why these tracks in particular?This mix is the set list for the Trilogy release show that happened last summer. The show was held in the International Museum of Surgical Sciences, an exhibition of surgical artwork and artifacts in the Eleanor Robinson Countiss Mansion. I performed in the "Hall of Immortals," a white marble room containing twelve large stone statues of great figures in medicine and the allied sciences, including Andreas Vesalius holding a human skull. That night was a surreal culmination of the four records in the Trilogy. These tracks are some of my favorites, including all three versions of "The Greatest Wealth."How is Chicago? Chicago is the best music city in the world, but it's cold as hell! We're all trying to figure out how to leave the heat on while recording at the same time. When did you first realise you wanted to make music? I moved away from the small town of Curwensville, Pennsylvania in the Allegheny Mountains when I was 6 years old. When I came back to visit at age 8 or 9, a childhood friend asked me if I was still making up songs. You've been working with Longform Editions on a piece that's quite different from your other work - how did that project come about? After tracking Sacracorpa in the spring of 2017, I volunteered at La Monte Young and Marian Zazeela's Dream House in New York as part of my doctoral research. Spending a couple months installing artwork for their disciple, Jung Hee Choi, immersed me in a new world of frequency ratios, just intonation, and long-duration minimalism. I still don't understand a lot of it. That year was like turning a corner, and "Fundamental 256 Hz" is the first thing I came across on the other side. How do you feel when you are creating music as Matchess? Alternately free and lost. The vague sense of possibility walking around an unfamiliar place and then getting absorbed into hours of scoring flute arrangements for elevator muzak. What are your plans for 2019? Recording those flutes, touring and playing in Chicago, installing a sonic "sensorium" at a museum, teaching sound studies at an art school. Hiking in the Canadian Rockies with my sister. I want to learn more about the science of sound healing. Any lesser known recommendations for our readers? Today I listened to David Edren's Electronic Gamelan Music cassette on the Social Harmony label out of Belgium. https://metronrecords.com/060-Haron Wed, 16 Jan 2019 10:07:59 +0000 Métron Records https://metronrecords.com/060-Haron 060 - Haron One of my favourite experiences when exploring new art is the thrill of discovery without expectation. Priming information, through reading a review or watching a trailer, is an inevitability of the digital age, but there's still so much to be said for cold discovery, arriving at a project with no background information, no expectations and being a blank canvas for the artist's vision to fall upon. Often I will only read the first line or summary of a new album review, or watch the first 30 seconds of a movie trailer, before deciding if it is worth the investment of time. When this method pays off, the rewards are fantastic and in 2018 there were few greater examples of this for me than discovering the debut album Wandelaar from our latest featured artist, Dutch producer Haron. Originally from Afghanistan, Haron’s family relocated to the Netherlands when he was just four. Initially producing hip-hop in his teenage years, he now lives in Amsterdam and it is here that he shifted towards the ambient and classical sounds found on Wandelaar. From the gorgeously gentle piano opening of Lotuseter to the slow scuttling sounds of Selenieten (imagine Aphex Twin's Bucephalus Bouncing Ball played at quarter speed), it's a magical record all the way through to its cinematic conclusion, the brilliantly titled Music for Elbows. Wandelaar is so complete and fully formed that when eventually I read in further detail about the release, I was a little surprised that Haron had only recently begun producing in the ambient space, having previously worked broadly within techno. Often the album sounds timeless - piano compositions have that way about them - and yet in totality, it still feels overtly contemporary and innovative. Haron’s inspiration for his Métron mix was the transition of late nights as they shift into early mornings. Flicking between deeply ethereal, trippy cuts to beautifully sparse, mellow textures, TV music and field recordings, it's a fascinating plunge into the infinite possibilities of ambient sound. And frankly, with 35 tracks across 75 minutes, it's just a weird, wonderful and visceral journey that is probably best experienced without any forewarning. So stop reading and jump in. I spoke briefly to Haron about film, kids TV and what he’s up to at the moment. You can read the full interview beneath the artwork below. <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/acfc8288e45b0d7cb628092f125b9b207f211690c450f81e140819a2c1a1c86b/Haron-2.jpg" data-mid="32878306" border="0" src="https://freight.cargo.site/w/1000/i/acfc8288e45b0d7cb628092f125b9b207f211690c450f81e140819a2c1a1c86b/Haron-2.jpg" /> Hey buddy - loved the mix, really interesting. Can you tell us a bit about the selections you made?The mix is centered around late night movies &amp; early morning children's shows. Particularly that certain point at night&nbsp; when nighttime television programming switches to daytime programming. Have also been checking out lots of classic Japanese Horrors lately. That's the vibe, by and large. There's a number of excerpts from Boombah the kids TV show - I didn't know anything about this before so am intrigued as to how you came across the show?Boohbah is amazing, it's like the strange and bit disturbing cousin of Teletubbies. There was a time in Dutch television history that this was basically the only thing on at night, so there was no choice but to watch Boohbah after coming home from a night out. But I enjoyed it though. Made me have nice dreams. Great music and visuals also, wouldn't be out of character over at Adult Swim. I'm trying to get my little nephew into it, but don't think his parents and grandmama really approve.Towards the end of the mix there's a great selection from Apichatpong Weerasethakul's amazing film Uncle Boonmee Who Can Recall His Past Lives. Any films you've seen of late that you'd like to recommend or talk about?Ah yes, everybody should watch Tsigoineruwaizen by Seijun Suzuki. His second film after his ten-year sabbatical and the first of his Taishō Roman Trilogy. A departure from his earlier Yakuza-shenanigans (which are great btw) as he turns to an absurdist ghost story in this one. At times truly frightening like Kobayashi's Kwaidan, but executed in idiosyncratic Suzuki manner, eccentric and fairly erotic! Peculiar dance routines alternate with moments of suspense in phantasmagorical fashion. It's the most fun you can have watching a delirium unfold, basically. Sublime stuff. Another one would be Pather Panchali by Satyajit Rai, the first part of his Apu Trilogy. An Indian Neorealist classic. Had it on my watchlist for a long while but only recently found the right moment to give it a go. Takes its time to build, but delivers an overwhelming second hour and finale. Truly deep imagery, and a great soundtrack by a relatively young and unknown Ravi Shankar.&nbsp;Powerful movie, probably one of my all-time favourites.&nbsp; Recent favourites would be The Florida Project and The Rider. Is working on music for film and television something you would be interested in pursuing?I actually have worked on some shorts. Maangerij from the Wandelaar album is a rejected track for a TV-movie. All in all, It was a nice experience and I wouldn't mind another interesting project, but it's not an end goal. Wandeleer was a bit of a departure for you, moving from more electronic sounds to the organic ambient world you created for that record - what inspired the change in direction?The structures of dance music just didn't work out for me anymore, I found it too narrow and limiting. It was never really that much of a conscious choice, though. Just got interested in other stuff. Working on anything new at the moment?Yes, I am preparing a live show for Rewire in March. It's going to be new compositions and elements of Wandelaar, in either 5.1 or quadrophonic format, accompanied by a pianist. Also working on a collaboration with Cucina Povera for a new record on BAKK's Plafond series. Hope we can make that work, loved the album she put out last year! We always ask for a couple of out there recommendations of stuff you're enjoying at the moment that we might not know?Prambanan/Mabad by Wahono released on DIVISI62. Great label!日 月 by Chie Mukai &amp; Justin Simon. Terribly overlooked 12 inch. Heavy stuff though.Fellini's Casanova OST by Nino Rota has been getting a lot of rotation lately. Everything Mohamed Mounir made from the late 70's to early 90's &nbsp;The Sexual Loneliness of Jesus Christ by Jackie Leven. Great album also. Love his accordeon-voice on this one.Digging this mix by Kazuya Matsumoto:https://soundcloud.com/yarn-records/yarncast-024-kazuya-matsumotoI also can't stop listening to this mash-up:https://www.youtube.com/watch?v=vnuPYfTQybc Tracklist:Bruno Nicolai - FlessioneHåkon Stene - Prelude to HSLuc Ferrari - Feb 2nd, 1975Bjork - Aurora (Music Box)Tashi Wada With Yoshi Wada And Friends - Bottom Of The SkyEtelin - Vixen and KitsChris Watson - La AnuncianteBenedict Drew - Crawling Through Tory SlimeToru Takemitsu - DreamtimeChas Smith - October '68Boohbah S01E02 - Pearly ShellsHiroshi Yoshimura - Water PlanetAhnnu - ScalingUrsula Bogner - Winkel PongNuno Canavarro - O Fundo Escuro De AlseeRebecca - Dead SleepBoohbah S01E02 - Pearly Shells Tashi Wada With Yoshi Wada And Friends - OndineIppu-Do - In Time, Out Of TimeMeitei - MoryoAhnnu - InterceptVito Ricci - YoursMołr Drammaz - INGELO (U) IOHeejin Jang - RestlessFranco Nanni - Part 4 (Toccata II - Sogno II)Janek Schaefer - Tree At The End Of The WorldBoohbah S01E01 - Skipping Ropes Uwalmassa - Untitled 03Bernard Parmegiani - Accidents - HarmoniquesSenyawa - KayuO Yama O - IrohaTokihiko Morishita - 狸囃子Franco Nanni - Part 4 (Toccata II - Sogno II) Nuno Cannavaro - Untitled 4Akritchalerm Kalayanamitr - Dawn Of Boonmee (Uncle Boonmee Who Can Recall His Past Lives)Yoshio Ojima - Radio Star https://metronrecords.com/059-Tarotplane Wed, 12 Dec 2018 11:54:56 +0000 Métron Records https://metronrecords.com/059-Tarotplane 059 - Tarotplane I first head Tarotplane, the performing alias of Baltimore native PJ Dorsey, in late 2017 upon discovering his full length for the wonderful dutch label Lullabies for Insomniacs. 358 Oblique utilises a format I have always loved, with each side featuring a single extended track that showcases the guitarists ability to stretch the boundaries of his primary instrument within the confines of his own brand of ambient psychedelia. The format allows for wide open spaces, a looser structure and a complete lack of urgency that fits well with Dorsey’s ability to paint broad sonic vistas through drone, melody, samples and distorted guitar. In a sense it should come as no surprise that this is the output of a man who has spent much of his life exploring the world of psychoactive music, with influences including experimental European pop legend Franco Battiato, prog giants Pink Floyd and early era IDM. When I spoke to PJ about producing something for Métron he shared some unreleased works with me and we came to the conclusion that a mixtape of just his own works would be a fun option to explore and allow him to share some experiments and unpublished creations. With two excellent new records on there way, including the follow up to 358 Oblique it’s fun time to hear the work that PJ has been putting into developing his sound, exploring new techniques and further expanding his own sound. Though his guitar work shines through on many of the pieces here, It’s often hard to tell where the guitar starts and ends as Dorsey envelopes his strings in layers of distortion, effects, samples and synth work. Across this excellent and diverse hour of his own musical offerings we’re invited on a vast spacious trip towards the outer edges of the ever expanding universe of otherworldly guitar music. I spoke briefly to PJ about his musical influences and the use of spoken word samples in music. You can read the full interview beneath the artwork below. <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d55d4b10389e249baef9875655452812aa4ebacabe03084d108ed5e102b358a6/059-Tarotplane-1.jpg" data-mid="30469515" border="0" src="https://freight.cargo.site/w/1000/i/d55d4b10389e249baef9875655452812aa4ebacabe03084d108ed5e102b358a6/059-Tarotplane-1.jpg" /> PJ, thanks so much for your mixtape, absolutely love it! Can you tell us a bit about the works you've included here?Thanks very much! I really enjoyed making it. This is a hodgepodge of stuff that's either currently being worked on for future release, or things that I liked musically but had mistakes or had a lower recording quality that was unsuitable for vinyl release. There are also pieces that were milestones in terms of my recording/technical process that I found important.&nbsp; Almost all of this is guitar music and I try to push the envelope as far as I can when it comes to new technique or unusual processing. One of my favourite parts of the set involves a great interview sample/recording, I'm curious to where you picked this up and how you feel this kind of technique can enhance a piece of music? I was always drawn to things that used either field recordings, or snippets of film, radio or television. A record that blew my mind when I first heard it was by an American artist named Bill Holt under the name The Dreamies. It was acoustic guitar and electronics coupled with recording of news events during Watergate. I love the idea of making little sonic documentaries. I find that it adds something that is really engaging. There is a radio show on NTS London called "Time Is Away" that uses this idea to tremendous effect. One day i hope to make a whole LP in this style. I enjoy it tremendously When did you start making music and who were your biggest influences?I started making music when I was 15 or so. I never really got into recording anything . I became really frustrated with my playing so I stopped for over a decade. I only really started making music for people to hear 6 or 7 years ago. My biggest influences are Pink Floyd, Popol Vuh, Franco Battiato and Bourbonese Qualk. After listening to Tarotplane some of these would be more obvious than others but they all played a big role. Brian Eno is also very important. You've got a couple of records in the works (I've heard both and they're excellent) can you tell us a bit about these releases?I have a record coming out on the fantastic 12th Isle label from Glasgow.&nbsp; That record has a more varied approach and I am very lucky that one of label partners Fergus Clark took the time with me to help create something that may not have happened organically. One side has a more electronic feel than my previous work that veers towards ambient techno at times. I also have a split LP on Beyond Beyond is Beyond with the amazing Prana Crafter (William Sol). That should also be out sometime next year.&nbsp; Will and I are good friends and I played on a track for his last record "Enter The Stream". We have a side each. The BBisB release is more of a guitar heavy psych record that i made with my friend Jack Moore on synth. Jack is involved in all Tarotplane activities either as a musician or helping me to sculpt my tone and general overall sound. He is a great listener with excellent ears. I feel fortunate that I have 2 LPs in 2019 that show different sides of what Tarotplane can be. Psychedelic is a word often used to describe your music, what does that word mean to you and how you create sound? I have a broad definition of psychedelic. To me, Throbbing Gristle is as psychedelic as Ash Ra Tempel. Groups like Future Sound Of London or Boards Of Canada have played as much of a role in my sonic perspective as Hawkwind or Amon Duul 2.&nbsp; One of my goals is to fuse the various strains of "Head" music together. For me, i equally enjoy spending time playing loud through big amplifier, echo unit and fuzz box as I do learning about granular synthesis or new ways to use software to alter my guitar tone. I am always trying to find the sonic and aesthetic commonalities in "psychedelic" music and blend them into something that becomes Tarotplane. Any musical recommendations for us, something perhaps our readers might have overlooked?I have recently discovered the music of M.A.L who is a Belgian guitarist that made absolutely outstanding cosmic guitar music in the 70s that sits along side the works of Achim Reichel, Gunter Schickert, or Manuel Gottsching. He has a very interesting backstory. It is a amazing to me his work has been hidden for so long. I have also really gravitated back to the work of Suso Saiz. He is a great example of how to make the guitar compelling and interesting. He also inspires me because he continues to expand and experiment as he grows older. Tracklist:All music by Tarotplane. https://metronrecords.com/058-Michiru-Aoyama Fri, 19 Oct 2018 14:13:27 +0000 Métron Records https://metronrecords.com/058-Michiru-Aoyama 058 - Michiru Aoyama One of my most memorable and joyous listening experiences this past year came on a gloriously sunny late summer afternoon as I walked through Berlin’s Hasenheide Park. As my eyes bathed in the flickering light breaking through the canopy above, my ears were treated to the irresistible sounds of Japanese artist Michiru Aoyama’s aptly titled Brilliant Days. This combination of sensory experiences cut straight into the mainline of my happy place to create a moment of deep personal joy that left a lasting impression. It's one that has remained through further listening and what makes Brilliant Days such a special record. Michiru, who has been been creating music since childhood, was given great encouragement in 2006 when legendary composer Ryuichi Sakamoto selected his work for a Japanese radio audition. In 2008 he travelled to Berlin to study electronic music production and it was here that he began to develop an identity as an artist. Now back in his homeland and living in the tranquil city of Kyoto, Michiru has found the perfect environment and setting to focus on making the kind of ambient music that he loves. Will a string of full length releases on labels such as Mirae Arts, Organic Industries and Somehow Recordings, I am delighted to have Michiru Aoyama create a set of exclusive unreleased material for his Métron Mixtape. Through a kaleidoscopic and enchanting 35 minutes, the set leads us on a serene journey through his unique take on modern Japanese ambient. Brimming with deep swells of rich nostalgic drone, tinged with refracting chimes and glistening strings. I spoke briefly to Michiru about moving to Germany and how he started making music. You can read the full interview beneath the artwork below. <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/acb0e0e3d4da1e2c5703df28f7885345e2b7486693d2d0c44f249a0dd003d4c5/058-Michiru-Aoyama.jpg" data-mid="29349113" border="0" src="https://freight.cargo.site/w/1000/i/acb0e0e3d4da1e2c5703df28f7885345e2b7486693d2d0c44f249a0dd003d4c5/058-Michiru-Aoyama.jpg" /> Hey Michiru, what a wonderful collection of tracks - these are all new pieces right? What was the process in making these new works?Yes. These are new pieces.First of all, I write the melody as I play it on guitar. I play the melody a few times until I am happy with it. The music I create is based on my memories,both the good and the not-so-good ones as well. After that, I make some changes and polish it. I often use a software program called Max/MSP.Later on, I usually add some glitch noise.When did you start making music?I started playing the piano when I was 3. In junior high school, I started playing the guitar and dreamed of becoming a rock guitarist. In high school, I joined the school band, and I started creating music for our band. It was kind of like a mix between bossa nova and country music. When I was in university, I bought a laptop and used it to create movie soundtracks. When I was 23, I went to the live concert of the Austrian guitarist Christian Fennesz. I was so moved by his music. It was the starting point of my own music.In 2008 you moved to Germany to learn more about music, can you tell us a bit about your time here?In Berlin, the sound resonates differently depending on the structure of the buildings. The sound bounces off them quickly and clearly. In Japan, it is quite different. There were a lot of exciting clubs and the price of things was really reasonable in Berlin. Unfortunately, they do not have the kind of music I like, which is ambient music.You live in Kyoto at the moment, what about this place, if anything, do you think effects the music that you make? For me, Kyoto is the best place in Japan. There is harmony between nature and people and history. Shrines and temples are all over the town.I prefer to work in a quiet and serene place close to nature to create my music.As you know I absolutely loved Brilliant Days, it’s one of my favourite records of the year - it features two extended tracks, do you prefer writing longer musical pieces?No. I prefer shorter musical pieces. It just so happens that Brilliant Days is a long piece.Can you recommend some music for us that we might not have listened to yet?I highly recommend Marty Hicks. He is an Australian artist. He lives in Tokyo now. I am working on my new music label "Bull Flat 3.8", which will be released next year. His album is wonderful. Please listen to it! Tracklist:All music by Michiru Aoyama.