Jash - Guitar Days (Feat. Preston) Video

Jash - Guitar Days (Feat. Preston)
Uploaded by WeirdFields

Solipsism

Free Downloads At Archive.Org

http://www.archive.org/details/Ch.pm-AlienGenomeProject

ch.pm - Alien Genome Project

The material's galaxial feel and trippy ambiance intensify when distorted voices echo across the limitless expanses of deep space, and nowhere is that epic pitch achieved more intensively than during the title piece which unspools over ten trance-inducing minutes (the sound is so huge, it reduces the voices that occasionally surface to indecipherable mumbles—but the work can be experienced just as easily on purely musical terms as an engrossing exercise in synthetic dronescaping. If anything, its unapologetically pure synth-based sound has more in common with '70s-styled ambient recordings (early Tangerine Dream, say) than a more current release where granular static and other noise might accompany the drones. That Alien Genome Project leaves such a strong impression is due in part to the forceful intensity of its presentation. Textura

The album consists of drones, cosmic synth chords, and disembodied, distorted vocal samples. It has echoes of Kosmische Musik acts like (early) Tangerine Dream and Klaus Schulze as well as their spiritual descendants such as Pete Namlook. But there are equally nods to Stars of the Lid, Brian Eno's Apollo and Murcof's Cosmos projects. The eight tracks unfold slowly. Some are short and fragile; others, like the title track, have a suitably cosmic grandeur. "Hybrid", the closing section, has a slowed down echoing voice that has the rhythm of whale song, and sounds like the last, fading sounds of a dying civilization. It's quite a spooky end to a seriously trippy suite of music. Music, Musings & Miscellany

ch.pm is the solo project of Craig Murphy, perhaps better known as one half of electro-psychedelic outfit Shoosh. 'Alien Genome Project', however, is like listening to an old-school ambient record, where melodies shift extremely slowly. Indeed, Tangerine Dream and Brian Eno would certainly approve of Murphy's work. Leonard's Lair

http://www.archive.org/details/WeirdFields-DestructScience

Weird Fields - Destruct Science

http://www.archive.org/details/Solipsism-Solarism

Solipsism - Solarism EP

"Crystalism" is the most direct track, coming across like an aggressive, no nonsense Boards of Canada. Those distant synths that hallmark previous releases are intact here, layering themselves almost out of sync with the programmed beats, yet remaining cohesive. "Exit Strategy" is different again, employing thick mid-90's beats over dripping melodies that slightly recall Wendy Carlos' "Clockwork Orange" phase. Angry Ape

this five track EP is Solipsism's most unified effort thus far. The album pivots with the beautifully arranged epilogue "Sun Up", an ambient and emotional sprawl that leaves you with a warm sense of tranquility and profound motivation to hit the Solarism replay button. Sonic Frontiers

http://www.archive.org/details/EdDruryCraigMurphy

Ed Drury & Craig Murphy - A Tree On The Tundra

The adjectives sweeping, cinematic and symphonic come to the fore. This is music suited to the closing credits of a cathartic, two and a half hour movie epic. Doleful piano lines, dramatic synth washes and grandiose crescendos are the order of the day: like Eno's Music For Films given the Cecil B DeMille treatment. The tracks have their individual flavours – the synthetic birds, church bells and crickets of "Dark Sun Rising", for example – but the album works best as a kind of symphony in five movements. It's music designed for looking from a hilltop and watching the shadows of clouds dancing across lush, rolling fields. Stirring and somehow reassuring at the same time. Music, Musings & Miscellany

http://www.archive.org/details/WeirdFields-APlaceToCallHome

Weird Fields - A Place To Call Home

Delicate, lonesome and hitherto monolithic these somnambulant drone-scapes swirl in frosted pirouette formations applying a stately courtship (none more so than 'distant star').....Amid the showcase of glacial tides and sparsely drawn and effecting minimalist washes of lilting electronic symphonies we suggest you stop by at your first opportunity to sample the warming radiance of the playfully orbiting oscillations of the melting 'so long good friend' - bit of a peach by our reckoning appealing to 'magnetic fields' era Jean-Michel Jarre and Vangelis fans alike. Losing Today

http://www.archive.org/details/Solipsism-Crystalism

Solipsism - Crystalism EP

http://www.archive.org/details/Solipsism-Huxley

Solipsism - Huxley Video

http://www.archive.org/details/Kingbastard-Exit

Kingbastard - Exit Video

http://www.archive.org/details/Kingbastard-DownUp

Kingbastard - Down Up Video

I remember the good old minimalist days of electronic music videos where all you'd see was an amorphous digital blob spinning across a swiftly tilting background. Kingbastard's latest video seems to recall those abstract times, even though there's something much more complex with what Chris Weeks and Weird Fields are doing with [ downup ]. The flashing, subtle cues have a message tied somehow to the words explore, exploit, explode, before somewhere along the way you find yourself saying, "I love Big Brother." Ogbetty

http://www.archive.org/details/Solipsism-ExitStrategy

Solipsism - Exit Strategy

http://www.archive.org/details/Solipsism-FreeEp_707

Free EP

Solipsism

Huxley Video - High Quality Playback

hi everyone,

the good folks at www.dailymotion.com have put my new video in their "creative content" category, which means it can be viewed at a much higher quality.

Solipsism - Huxley
Uploaded by WeirdFields

Solipsism

Huxley Video

hello,

here's the new video i've done for my techno track Huxley.



Solipsism

New Releases At i-Tunes

AMB008 ch.pm
- Alien Genome Project

AMB002 Weird
Fields - Destruct Science

AMB005 Weird Fields - A
Place To Call Home

Solipsism

Craig Murphy Flash Music Player

Solipsism

Kingbastard - Exit Video

hello,

here's the new video i've done for Kingbastard. This will be the last video for a wee while as i go back to concentrating on my new album.

Kingbastard - [ e x i t ]
Uploaded by WeirdFields

Solipsism

Kingbastard - [ E x ! t ]

Hi,

here's the video i've did for Kingbastard. This will be the last video for a wee while as I need to get back to the new album i'm working on titled Alien Genome Project.

Kingbastard - [ e x i t ]
Uploaded by WeirdFields

Solipsism

2 Short Review Of The New Kingbastard Video

hello,

here's 2 short reviews i found of the [ d o w n u p ] video randomly on google. For those of you who haven't seen the vid, here it is again.

I remember the good old minimalist days of electronic music videos where all you'd see was an amorphous digital blob spinning across a swiftly tilting background. Kingbastard's latest video seems to recall those abstract times, even though there's something much more complex with what Chris Weeks and Weird Fields are doing with [ downup ]. The flashing, subtle cues have a message tied somehow to the words explore, exploit, explode, before somewhere along the way you find yourself saying, "I love Big Brother."

http://ogbetty.blogspot.com/

This time Herb Recordings' Kingbastard is the subject: the track used is '[ d o w n u p ]' and the video has a series of flashing pictures, cryptic symbols and phrases. Weird Fields has probably filled the whole thing with subliminal messages too, so who knows what he's brainwashed us into...

http://angryape.com/media/2008/05/14/kingbastard--d-o-w-n-u-p-

Kingbastard - [downup]
Uploaded by WeirdFields

Solipsism

Kingbastard Video

Hello,

here's a new video i did for Kingbastard.

Zoon Van Snook Video

Hello,

here's the new video i did for Zoon Van Snook. It's actually a remix of his track The Gloaming by an American artist called Diego Chavez.



cheers
craig

Important Changes

Hi,

I am no longer running the solipsism page on myspace exclusively for solipsism material. I have a number of different projects and it made sense to have them focalised on the one page.

The new material on the page will now be taken from my 6 difference projects, namely shoosh (band), solipsism, weird fields (audio-visual), Alien Genome Project, The Partisan and my soundtrack project with ed drury, ed drury & craig murphy.

cheers
craig

Interview With Craig Murphy At Sonic Frontiers

Sonic Frontiers Interview

Craig Murphy
Interview by Sean Butze
--------------------------------------------------------------------------------

For those who don’t know, Craig Murphy is a British composer of ambient electronica and IDM, as well as the founder of Herb Recordings and Ambidextrous Records. He records under two different projects, Weird Fields and Solipsism, and is also a member of the experimental folk band Shoosh. While preparing to release his next album, Craig was kind enough to take time out of his busy schedule to fill us in on his roles as a composer and record label operator.

----

SF: As a music artist, you’re involved in several different projects. Could you talk a little bit about your role in each, as well as what significance they hold for you?

Craig Murphy: The three main projects that I’m involved with are Solipsism, Shoosh and Weird Fields. Solipsism was always my main project, but over the past 6 months or so, I’ve been slowly winding it down as I don’t plan on doing any new Solipsism material for the foreseeable future. However, I won’t rule it out permanently. Weird Fields and Shoosh both grew out of the Solipsism project in many ways. I always did ambient tracks as Solipsism, usually between one and three on each release. However as time went on, I felt more and more that these tracks didn’t really flow with the main solipsism material and despite the fact that I often preferred these tracks personally, I couldn’t see where they fitted on the Solipsism project any longer. Therefore, Weird Fields in the first instance was simply my outlet for doing more ambient material.

There was interest in Weird Fields quite early on and that inspired me really to expand the project beyond what was originally planned and give it more focus. My first Weird Fields EP “Destruct Science” was meant to be released on an American label, but things never worked out as planned and I decided to start Ambidextrous Records, simply to give it a platform. Both of the Weird Fields EPs are now being released on the American netlabel Zenapolae, www.zenapolae.com. Who incidentally are celebrating their 10th Anniversary this year or next, I’m not 100%. I’ve known the label since I first came online almost and I’m very pleased with the development.

Shoosh is what I consider the main project now, the band I’m in with multi-instrumentalist Ed Drury and singer/lyricist Neil Carlill. That’s mainly because we’re working on a new album right now which should hopefully be finished for around March 2009. For those of you unfamiliar with the Shoosh project, it could loosely be defined as psychedelic folk music and it’s probably the most experimental project I’ve been involved with. It’s also the project I’ve enjoyed working on the most. We’ve had mild success so far, with the release of the Split EP on 3” CD along with Boltfish Recordings’ Cheju, available now on Awkward Silence Recordings which received good press if that’s anything to go by. We’re hoping that our first album titled “Orpheum Circuit” will be released this year, but can’t make any promises.

SF: When did you first get involved in composing electronic music? What is it about electronic composition that you prefer over conventional instrumentation?

CM: I first started recording electronic music about 6 or 7 years ago now, though I’d flirted with it briefly in my late teens/early 20s. I was a massive fan of techno when I was younger and like many electronic artists, techno was my first conceived output. However, as my listening habits evolved, so did the style and it simply developed from that. I don’t prefer electronic composition over conventional instrumentation, ideally these days I prefer a blend of electro and acoustic, hence the direction of Shoosh. But both have their pros and cons and it’s really best to work with whatever you are most comfortable and importantly, have available at your disposal.

SF: As someone who records under multiple project names, how do you differentiate between the music you compose for each? Do you sit down and say “Okay, I’m going to write a track for Weird Fields, or for Solipsism” or do you just write what you want and worry about where it will fit later?

CM: Solipsism and Weird Fields were always interchangeable. Mainly because Weird Fields really started as an ambient extension of Solipsism. Though 9 times out of 10, I know which project I’m going to be working on when I start it. Shoosh isn’t interchangeable with the other projects though, simply because it’s so different.

For people who listen closely, they may have noticed that the tracks "Sun Up" from my Solipsism EP Solarism and "Over The Horizon" from my Weird Fields EP Destruct Science are essentially the same melody. I took the melody from "Sun Up" in midi format and slowed it down to 70bpm. I then changed the dynamics of the sound on it and did the Weird Fields track with it. It wasn’t a conscious decision to do this, it just happened. But there have been maybe 2 or 3 occasions when I’ve done similar.

SF: In addition to composing music, you’re a video artist as well. The videos you’ve done for your various projects all feature a very experimental and abstract visual approach. How you go about creating these videos? What inspires you to create visuals in this way?

CM: I honestly don’t see myself as a video artist as such, I enjoy working on videos for people from time to time and I get a great deal of satisfaction from them but it’s really just a hobby that allows me to promote myself and artists/bands I like through another medium. I’ve always been fascinated by abstract artists and I don’t just mean in a visual sense. I’ve been heavily inspired by people who had strong abstract and psychedelic themes in their work, be that visual, audio or literature and anything in between. People like Frank Zappa, Ken Kesey, Aldous Huxley, Salvador Dali & Pink Floyd have all been a huge influence, though I’m certain many more have filtered in throughout the years, many of which will be purely subliminal.

I try to make the videos look like abstract/impressionist paintings coming to life if that makes sense, or moving paintings more bluntly. I’ve always hated the stereotypical music video as they became so clichéd over the years and I simply wanted to try something that was slightly different and visually appealing, something that other people would like and appreciate too. I’ve been surprised with how popular they’ve been though, the video I did for the Glasgow Shoegaze band Ursula Minor even got a mention on the radio!

The process itself involves taking everyday mundane footage mostly, then processing it through repeatedly filtering, layering and overlapping, while continually adjusting the colour and contrast. I use what I would consider, very basic techniques to be honest. But try to deliver them in an original and eye-catching style that will hopefully resonate with the person watching it.

SF: You also run two record labels, Herb Recordings and Ambidextrous Records. Considering both labels release very similar music, what are the distinctions between the two? How do you go about deciding what to release on each label?

I actually co-run Herb today, all decisions are reached jointly between me and my partners Mark and Gordon, who are better known to most people probably as Rubens. I founded the label in 2006 and Mark and Gordon came on board not long after that and together we built the label up from a small digital only operation, to the point now where we have physical distribution in Europe, North America and the Far East. More recently, we’ve also been joined by Mark Millar who does a fantastic job as our press officer and he’s helped us get exposure that small labels could often only dream about. Of course, the fantastic music we release on Herb is a huge help too!

Ambidextrous isn’t a label in any real sense of the word. As I mentioned earlier, I set up Ambidextrous originally as a small platform for my Weird Fields release that was meant to be going out on the American label. It was always going to be for promotion only and I expanded it slightly to include a few more projects…mainly more of my own projects, but Kingbastard, an artist I have great admiration for, recently did a release for us and there’s a couple of new guys going to be doing stuff too. It was and still is though for promotion only, I will try and help the artists get some reviews and I’ll post their music on last fm, myspace etc but that’s it basically, a small window of opportunity. There’s no policy with the releases I promote through Ambidextrous with regards to genre either. If I like the music and feel what the artist is doing is worthwhile, regardless of genre or medium for that matter (I’d gladly promote other art forms), then I would let them use ambidextrous as a promotional tool.

SF: Ambidextrous Records is what many would call a non-commercial “netlabel.” That is, you release all the music digitally and free of charge. As both a label owner and an artist, what do you feel are the advantages of offering music for free? Do you think all artists and labels should do the same?

CM: I don’t really consider Ambidextrous to even be a netlabel to be honest. In my opinion, netlabels are labels who operate along a similar structure to regular music labels with the only real difference being, they give the music away for free. All of the releases on Ambidextrous can be removed at any time by the artists, as it’s only for promotion. Ambidextrous isn’t about ambidextrous and creating a brand that people want to attach themselves too, it’s all about the artists and each artist can be as individual and diverse as they like as there is no release policy, other than me liking what they do. I have very diverse tastes, ranging from classical to 300bpm techno mayhem, so anything is possible.

Quite honestly, there’s very little advantage to serious artists by releasing free music, other than the small amount of exposure you may get through it and the satisfaction of knowing that people are listening to your stuff. But it must be the only job in the world where people expect you to work for free and frown upon you for expecting to be paid. The advantages of doing free releases are diminishing rapidly also as the market is completely saturated now and people are finding it harder to get music they like. The major labels have recently signed an agreement with a company called Q Trax which will see their entire catalogues be available for free download. So the age of universal free downloads is only around the corner anyway and then independent artists will find that the free download/promotional route is an even trickier path to tread, when they’re going head to head with huge bands and vying for people’s attention.

I would say though that when you are first starting out, releasing free music is really the way to go now as you have an instant audience in the internet. It’s something no bands in the past could ever have dreamed of and it’s the quickest and best way to get yourself some exposure and cut your teeth. Once you’ve spent a while developing online, you can then think seriously about taking it to the next level and decide whether you want to go for a commercial release or not. I don’t think however, that all artists and labels should just give their music away for free.

SF: What’s currently on the horizon for you in terms of upcoming releases, projects, etc.?

CM: On a personal level I’m currently busy working on the new Shoosh album and I’ve also started a new project that’s still in early development under a new name. It’s only going to be a one off project though, so I’ll let you know about it when it’s finished!

On the label front, I’m really busy with Herb as we have a lot of new releases coming out over the next few months, kicking off with Engine7 and then we have releases coming from Rubens (re-release of CD), Kingbastard, Shamanic Technology, Skytree and Zerova. We may have a few surprises in the pipeline too, so stay tuned!

Shoosh - Pestilence Video

Hello,

here's the new video I did for my band shoosh's track Pestilence.

Shoosh - Snake Eyes Video

Hello,

here's the new video for Snake Eyes



cheers
craig

Ursula Minor - Two Past Weeks Video

Hello,

here's a new video i've done for the most excellent glasgow band, Ursula Minor.



The live band footage used in the video was shot by the BAFTA nominated Glasgow film-maker, James Gibson.

Sonic Frontiers Compilation

Sonic Frontiers

Sonic Frontiers
Volume 2: Reveries



Download

Released: February 15, 2008

Volume 2: Reveries marks the second installment in the Sonic Frontiers compilation series, and is quite a departure from the heavily agressive and brutal tendencies featured on Volume 1. This release instead serves as a reclusive yet introspective sibling to its predecessor, lulling the listener into an other-worldly sonic experience. Compiled as a two-disc set, the first disc features an extraordinarily diverse lineup of artists from the many facets of instrumental rock, shoegaze, downtempo electronica, and everything in between, while the second disc provides a reflective exploration into the world of minimal ambient soundscapes. Just hit PLAY and lose yourself admidst some of the world's newest and most creative sounds.

Tracklist

DISC ONE
1. Beautiful Lunar Landscape - "Eternal Beginning"

2. This Will Destroy You - "Threads"

3. Monsters Build Mean Robots - "Chimes Break Through Light To Reach Us"

4. phon°noir - "invisible at last"

5. Soulwire - "Refractions of Yesterday"

6. Plutonium Jukebox - "Eolomea"

7. This Specific Dream - "A Slight Intermission"

8. Jumpel - "Rainday"

9. I Am David Sparkle - "All There Is To It"

10. EARTH - "Omens and Portents I: The Driver"

11. The Allstar Project - "Lasers Through Monkeys"

12. Holoscene - "Sleeping in Fields"


DISC TWO
1. EL Heath - "Cloud Sculptures"

2. Weird Fields - "Distant Star"

3. Parhelion - "Midnight Sun"

4. Stray Ghost - "Flight"

5. Slow Dancing Society - "Never Ending"

6. GP~00 - "All The Little Remnants..."

The songs included in this compilation are distributed under expressed consent from their respective owners. Reproduction and redistribution of these tracks without adhering to each artist's and record label's respective copyright policies is prohibited.

Cheju/Shoosh Review At Losing Today

Losing Today

Cheju / Shoosh ‘Split’ (Awkward Silence). No sooner have we managed to wean ourselves off the delights of Cheju’s ‘hutton’ (out now via October Man) then up pops this rather cute split release with Shoosh. Admittedly I think it was prompted by and large by our bemoaning of the fact that it’d somehow escaped our radar to which Wil (Cheju) immediately responded by dropping off a copy. All the same though its been a while since we had a chance to marvel over anything from the Awkward Silence sound bunker in fact quite possibly the last thing might have been that rather spiffing Marcia Blaine School for Girls split with d_rradio (which blimey was about 4 years ago). Now issued on dinky 3” CD’s as opposed to the old style vinyl - which we kind of miss - any strictly limited to just 300 copies Cheju - who really shouldn’t need any introductions in these pages given that he pops up here with more regularity than Weekender and Static Caravan releases - decorates his side of the split with a brace of exclusive cuts. The exotically located ’moody copy’ is a reclining evensong braided with lightly dusted Vini Reilly styled minimalist lunar rustic finger works that sweetly float atop a gyrating and spellbound field of entranced skittering glitch scuffles - very much appealing to fans of both Manual and Ellis Island Sound and gracefully despatched with prickling perfection. ‘drogo’ is equipped with a more expansive sound and hitherto wide screen presence, sumptuously stirred in a beguiling haze of cavernous drone swathes and deliciously invested with soft centred harpsichord florets, this ornamental odyssey swirls in biter sweet climes of melancholic magnificence.
Shoosh are a UK trio who feature among their collective ranks Neil Carlill who was one time member of Delicatessen and Lodger who these days can be found splitting recording duties with his other band Vedette who we recommend you check out immediately via http://www.myspace.com/vedettemusic (we’ll mention them in passing next missive out though frankly I suspect we‘ve mentioned them previously - ah well two mentions never hurt anyone - I hope). Not to be outdone Shoosh’s ghostly alluring ‘elastic soil’ is an off centred though numbingly beautiful work of ethereal psych-ambi-folk, pining celestial sheens, crooked and dust ridden stumbling acoustic flamenco strums serve as deliciously spectral montages underpinning the ether driven wandering vocal mantras - all at once hazy and disquieting though magically omnipresent the individual parts coalesce and caress like heavenly apparitions weaving in and out of view imagining Animal Collective centre stage in a celestial gunfight setting amid supernatural serenades sourced from Neil Young’s ‘eldorado’. ‘come in from the cold’ is an ostensibly more twinkle some affair, tranquil and measured this arresting countrified slice of star watching bliss out groove had us recalling at times Mercury Rev’s lackadaisical ‘Carwash hair’ which in our books is no bad thing - need we say more - I think not. www.awkwardsilencerecordings.com

Further listening -

http://www.myspace.com/cheju - a tiny peak into the world of Cheju - a world of lush glitch grooves, star hopping amorphic ambient love notes and glacially swept melodic monuments that embrace a clinical IDM matrix with a warming analogue persona. Featured here are a brace of cuts from his ultra limited u-cover outings ‘diode’ which we mentioned in these very pages a few missives ago - however we suggest you go direct to ‘pachinko’ culled from 2005’s ‘taito-ku’ EP which admittedly we missed - and smother yourself in the delicate orientalised Faltermayer like sveltely threaded textures within.

http://www.myspace.com/shooshmusic - 6 tracks featured all by and large from the Orpheum Circuit sessions - we suggest you rip the weirdly eerie and spectral oriental chamber like frosted ambi-folk elegance of ’snake eyes’ - quite gorgeous once it gets into its sublime groove.

http://www.myspace.com/solipsism - the alter ego of Shoosh man Craig Murphy who it seems from his base of operations up in Ayreshire has been knocking out EP‘s like nobody‘s business making them all - by and large - free to download from Last FM- the words looking and gift horse spring to mind. Non of your half arsed twiddling about here - no sir - what you get are consuming collages depicting in the minds eye intergalactic voyages to far flung milky ways, gloriously wide screen in stature and vividly fulsome in texture. And while the obvious winner hand down here is ’bastardism’ - a lushly envisaged cosmic pit stop where shuffling statue-esque beats orbit amorously across swirling passages of soft psych ambient blissfulness - think Biosphere trading dialects more appreciable to the polar climes of Amon Düül and Jean-Michel Jarre - a magnificent dreamscaping delight. Though that said our money is squarely on the monumental ’this is our tree and were not getting out of it’ - a desirable and engaging slice of achingly lonesome spectral beauty, frail and fragile yet none the less chilled, charmed and caressing - culled from the ’free’ EP which like it inadvertently says on the tin is - er - free from the aforementioned outlets. Talk about spoiling you.

http://www.myspace.com/weirdfields - its that man Craig Murphy again this time under his guise as Weird Fields - a self described ‘ambient / film soundtrack’ project who not content in dividing himself between his Shoosh and Solipsism identities can be found occasionally orchestrating opining odysseys of cavernous cascades. Delicate, lonesome and hitherto monolithic these somnambulant drone-scapes swirl in frosted pirouette formations applying a stately courtship (none more so than ‘distant star‘). Two free to download albums to his name via Lastfm in the shape of ’a place to call home’ and ’destruct science’ which we thoroughly recommend that you seek out and love - for now though amid the showcase of glacial tides and sparsely drawn and effecting minimalist washes of lilting electronic symphonies we suggest you stop by at your first opportunity to sample the warming radiance of the playfully orbiting oscillations of the melting ’so long good friend’ - bit of a peach by our reckoning appealing to ’magnetic fields’ era Jaare and Vangelis fans alike.

shoosh - Come In From The Cold Video

hello,

Here's the new video by my Weird Fields project for the Shoosh track Come In From The Cold. This track is from the split EP with Cheju and is currently available from Awkward Silence Recordings and Norman Records on 3" mini CD format.



cheers
craig

Angry Ape Video Review

Hello,

Angry Ape have reviewed my video for Swiss post-rock band Brakhage.

Review

Angry Ape Review

You may recall that on December 31st we told you about the new net label Either/Or and the rather fine free download EP from EL Heath (which is still available here by the way). We've now just heard the label are preparing their first compilation album, which in their words, is "influenced, but not solely directed, by ambient music."

The first taster from the album comes in the form of this Weird Fields-directed video for Swedish sound-surgeons Brakhage and their track Early Morning Frost. The video is a disturbing display of heat-generated colours and trippy, surreal imagery that more than compliments the menacing, broody bass that pulses and shifts over faint digital crackles.

We for one, cannot wait to hear the compilation.