Electronic artist Dntel has officially announced the release date of his upcoming album, The Seas Trees See. The artist followed the announcement with the release of his single, “Fall In Love”.
Dntel’s upcoming album is his first release in almost three years. In 2018, he surprise-released his album Hate In My Heart. Before the drop of Hate In My Heart, he released five other albums in his musical career: Life Is Full of Possibilities(2001), Mistake Mistake Mistake Mistake(2006), Dumn Luck(2007), Aimlessness(2012) and Human Voice(2014).
The new song gives fans a little preview of what to expect from the album. The album is explained as “a free-floating and rather loose stroke of musical genius, giving ambience a whole new meaningful context. It combines crackles and hiss with deep, yet modest, synths and poignant, yet elegant vocals and lyrics.”
The song gives the exact feeling that the artist is trying to convey with the album. It is a liberating and calming track with an immense combination of electric beats and sounds.
Take a listen to the track below:
The Seas Trees See is the first of the two albums Dntel plans to release this year via Morr Music in collaboration with Les Albums Claus. The album’s counterpart Away, will follow the release of the first sometime later this year.
Check out The Seas Trees See album artwork and tracklist below.
The Seas Trees See track list
- The Lilac And The Apple (remix)
- The Seas
- The Man On The Mountain feat. Pierre Louis Nguyen
- Back Home
- What I Made
- Movie Tears
- Fall In Love
- Yoga App
- After All
- Hard Weather
Farida Amadou in residency this week at les ateliers claus - guest starring Floris Vanhoof. Farida is working these coming months in 3 episodes at les ateliers claus. more later...
picture by Laurent Orseau
photos by Caroline Lessire
Taken from "The Seas Trees See" out on Morr Music / Les Albums Claus March 26th 2021
The Underflow take their name from the Greek record store where guitarist David Grubbs, cornetist Rob Mazurek, and saxophonist Mats Gustafsson played their first trio gig in May 2019. But the connections joining the three musicians were forged in the 1990s, when Grubbs and Mazurek were associated with Chicago’s postrock scene and the Sweden-born Gustafsson played here so often that he was considered an honorary Chicagoan. Nowadays they’ve scattered across two continents (Brooklyn, New York; Marfa, Texas; and Nickelsdorf, Austria), and it takes a European tour to get them on the same stage at the same time. But the breadth of their combined stylistic and instrumental resources is even greater than it was back in the day. Grubbs contributes poetic verses and versatile electric-guitar playing; both Gustafsson and Mazurek have added rough, nonvirtuoso electronics to their respective tool kits of woodwinds and brass. Perhaps the biggest challenge they face is figuring out how best to combine everything they bring together in this group: carefully crafted songs, wordless cries, high-voltage noise, breathy exhortations, lyrical melodies. On their new second release, Instant Opaque Evening, their solution is to use the improvised negotiation of relationships among players and elements as a source of dramatic tension. At any given moment, one musician has another’s back while the third proposes a contrasting approach. In an instant, alliances might shift or someone might drop out altogether. Playing out in album-side-length segments, the music evokes the uncertainty of court intrigue and the multifaceted bombardment of a kaleidoscope.
new release by Corsano, Maranha, Youngs recorded at les ateliers claus - available here
If you’re reading this and know the incredible careers of Chris Corsano (US), David Maranha (PT) and Richard Youngs (UK) you can already imagine what you’re getting into… or maybe not.
Opened up to virtually infinite possibilities, this is a blessed gathering by three of the most idiosyncratic and illuminated artists working in the sprawling field where the most defiant and unmapped music converge. Leading figures of the unnameable, each of them on his own has created a superlative and indelible body of work, driven by their own vision and willingness to face the unknown. The same uncompromising position that presides over this trio. Let us embrace this with open hearts and minds. We shall be rewarded.
Recorded on a hot June night of their 2019 tour at Les Ateliers Claus in Brussels, this is an incredible document of the unique chemistry that guided the three musicians, a 40 minute ride divided into two deep journeys: We All Become Everything an almost lush beautiful exploration of the unknown that moves from snake-rattling desert atmospheres to magniloquent chants that could almost be included in the torch-songs category, with Richard Youngs’ voice gliding across the fields with grace and crystalline force over David Maranha’s organ and violin and Chris Corsano’s steady thump: Impossible Sun moves mountains and reminds us of the uncanny improvisational instincts that these three musicians have always brought to the table, a cinematic piece created with percussion, effects and flutes, a meditative piece continuously on the brink of explosion.
We All Become Everything (21’38”)
Chris Corsano – drums and slide clarinet
David Maranha – organ and violin
Richard Youngs – voice, bamboo flute and electric kazoo
Impossible Sun (20’05”)
Chris Corsano – drums
David Maranha – percussion and double cane flute
Richard Youngs – bamboo flute
Recorded on June 2nd, 2019, at Les Ateliers Claus, Brussels, by Christophe Albertijn
Mixed by Chris, David and Richard in September 2019
Cover drawing by David Maranha
The ending of visa-free travel for artists threatens the livelihoods of many musicians, especially in the underground. Yet while fighting for change to these Brexit rules, we must consider the wider implications for those beyond the EU, and how attitudes to migration reflect Britain's colonial history, argue Fielding Hope, Mariam Rezaei and Stewart Smith
The recent rejection of a visa-free work permit for touring UK-based artists and industry professionals in Europe, either by the hand of the UK government, or by the EU (depending on which account you trust), is a significant blow to countless workers, many of whom are already facing challenging times under the COVID-19 pandemic. The impact of Brexit and inadequate government support for arts organisations is not the entire picture, however, and neither should we only consider UK or even EU-based artists and music biz workers when thinking about how art and people move across borders.
New restrictions add further hurdles for artists looking to enter the UK, and follow on from a long history of racist and exclusionary legislation which restricts cultural workers from far beyond the borders of Europe. This is not just a major threat to us as individuals – it's a threat to internationalism, our cultural ecology in the future, and a further blow to migrants seeking to come to the UK to live and work.
The UK music industry is in serious jeopardy of collapsing as a direct result of both the lack of meaningful support from the Conservative Government throughout the pandemic, and the messy visas row in the Brexit negotiations. According to studies by the Incorporated Society of Musicians (ISM), the UK music industry grew to £5.8 billion in 2020, providing more than four times the value to the economy than fishing's £1.4 billion. When combined with other creative industries, which are also greatly affected by this lack of provision, the sector is worth £111.7 billion. Before the pandemic, 44% of UK-based musicians earned up to half of their earnings in the EU. Touring forms the fiscal backbone to a lot of artists' careers, but the current restrictions limit this in numerous ways.
Chris Corsano & Bill Orcutt
Bill Orcutt and Chris Corsano should need no introduction for readers of this newsletter, but let’s give it a go anyway. Bill Orcutt first gained attention in the early 1990s for his guitar mangling with powerhouse noise-punk group Harry Pussy. In 2009, he returned with a series of recordings rewiring musical traditions in his singular playing style featuring a 4-string Kay guitar. Corsano is an endlessly prolific and creative drummer, whether performing on his own or with a list of experimental heavyweights that stretches far beyond the limits of this intro.
The duo are now set to release their latest collaborative album, Made Out of Sound, on Orcutt’s label Palilalia. Recorded remotely, it showcases a relatively restrained approach in comparison to previous outings with the guitarist overdubbing spidery dive-bombs onto the drummer’s free-flowing clatterstompf. Jesse Locke chatted with Orcutt and Corsano on the morning of Joe Biden’s January 20th inauguration, with everyone keeping an eye on their televisions or news feeds. This lively conversation touches on Canadian connections, finding inspiration from individual musicians instead of genres, and the importance of personal chemistry in improvisation.
Chris Corsano & Bill Orcutt. Photo by Hans van der Linden.
Jesse Locke: How’s it going, guys? Are you watching TV right now?
Chris Corsano: Yeah, I just noticed what time it was so I came upstairs and tore myself away from the thing.
I’m honestly really glad to be doing this interview today so I can tear myself away from it too. Have you been following American politics as obsessively as everyone else seems to be?
Chris Corsano: I think so! (laughs).
Bill Orcutt: You know, four years ago I was so pissed, just on a selfish level. I couldn’t believe I was going to have to look at this guy, listen to this guy, and think about him and his stupid family. Aside from all the terrible things he did, it’ll be nice to not have to look at his face every day.
Absolutely. OK, I guess we can dive into some questions. I’ve read that the first time you played together was a trio with Alan Bishop in 2011 that you called B.O.C.—Bishop, Orcutt, Corsano. Had the two of you met before that?
Bill Orcutt: No, I don’t think so.
Chris Corsano: Not really. We did meet quickly at Byron Coley’s place when we both played that church in Amherst. I talked to Tom Lax a lot that night so everything else was eclipsed.
I’m sure Tom has a lot of interesting stories.
Bill Orcutt: He thinks so! (laughs).
Chris, you’ve mentioned that Adris Hoyos from Harry Pussy is one of your all-time favorite drummers. What specifically do you like about the way she plays?
Chris Corsano: Nobody else is like her! It always fit perfectly with whatever was going on with Bill in Harry Pussy. It was the thing that needed to be done and I don’t think anybody [else] could do it. Seeing her live was eye opening because she generates a different economy of motion than I had ever seen before. She moves a lot! Sticks get fully extended in the air, almost like a Pete Townshend windmill thing. It’s amazing that you can keep this continual flow without it being disrupted. She invented a whole style that I haven’t seen anybody else do. I mean there is that video of the dude playing the ZZ Top song with stick twirling and crazy arm motions…
Oh yeah, it’s called something like “the drummer is in the wrong band.”
Bill Orcutt: Yeah, that’s it! (laughter).
Chris Corsano: If you close your eyes, that guy is just playing straight beats. I guess that’s a different thing, and the YouTube play count would tell you it’s interesting, but for me it’s way less interesting than a drummer like Adris. The physical movement of what she did was all about opening up new sonic possibilities, I guess. Nobody sounds like her. At the same time, it did the same thing for me as Muhammad Ali—Rashied Ali’s brother, not the boxer. A lot of so-called free jazz drummers were able to generate all of this sound with so many things happening in it that were far away from a straight 2/4 rock beat.
Bill, do you still talk to Adris? Is she playing drums at all?
Bill Orcutt: I don’t think she’s playing. We swap emails a couple times a month probably, but if she is drumming she hasn’t mentioned it. I’ve encouraged her and think she should be, but she’s also busy raising a couple kids.