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Search Result for Label TOUCH
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CD
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TO 083CD
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On Audience Of One, Oren Ambarchi presents a four-part suite which moves from throbbing minimalism to expansive song-craft to ecstatic free-rock. His previous solo albums for Touch exhibited a clear progression towards augmenting and embellishing his signature bass-heavy guitar tones with fragile acoustic instrumentation. Audience Of One, while also existing in clear continuity with these recordings, opens the next chapter. Remarkable in its confidence and breadth, but also in the sensuous immediacy of its details, this is the first time a single record has come close to encapsulating Ambarchi's musical personality in its full range and singularity. The techniques and strategies developed in his refined improvisational work with Keith Rowe and his explorations of the outer limits of rock with Sunn O))) and Keiji Haino are both in evidence, alongside the meticulous attention to detail and composition of his solo works. And on the cover of Ace Frehley's "Fractured Mirror" which closes the record, Ambarchi even points to his roots as a classic rock fanatic, in an epic yet faithful version which extends the shimmering guitar patters of the original into a rich field of phase patters reminiscent of the classic American minimalism of Reich and Riley. The album features a multitude of collaborators, who, far from appearing in incidental roles, are integral to the pieces on which they perform: on "Salt," Ambarchi paints a hypnotic, chiming backdrop for Paul Duncan's (Warm Ghost) vocals, and Joe Talia's virtuoso drumming and driving cymbals are at the core of the epic "Knots," in which Ambarchi, alongside a chamber arrangement by Eyvind Kang, weaves a net of frequencies and textures with the organic push and pull of a '70s psych jam, the bass response of a doom metal ritual and the psycho-acoustic precision of an Alvin Lucier composition. On his previous records, Ambarchi's signature guitar tone was the ever-present bedrock over which other elements sounded. At moments on Audience Of One, this disappears entirely, as on the beautiful "Passage," which, recalling the '70s Italian non-academic minimalism of Roberto Cacciapaglia and Giusto Pio, is composed of overlapping tones from Hammond organ and wine glasses, Jessika Kenney's voice, various acoustic instruments, and the delicate amplified textures of Canadian sound-artist Crys Cole. Rather than being provided by any particular sound, the unified feel of Audience Of One stems simply from the unique, patient sensibility Ambarchi has developed over the last 20 years; abstracting musical forms into their barest forms, while somehow always managing to leave their emotive power intact.
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7"
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TS 011EP
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7" vinyl was the quintessential format for popular music. Today, it is an undervalued and mostly promotional medium, used as a fetishistic signpost for a time of musical authenticity and a "healthy" popular culture. Two tracks from Biosphere originally recorded for Hågogaland Teater, Tromsø, Norway in 2006 and remastered in 2011. Part of the Touch Sevens series, cut by Jason at Transition. Artwork & photography by Jon Wozencroft.
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7"
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TS 013EP
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Touch presents a 7" from Mike Harding as part of the Touch Sevens series. Recorded in West Wittering in Balham using DPA 4060s onto a Nagra Ares P-ll digital recorder. Cut by Jason at Transition. Artwork & photography by Jon Wozencroft.
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2CD
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TONE 046CD
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Flumina is the third collaboration between legendary composers Ryuichi Sakamoto and Christian Fennesz. The 24 pieces of Flumina are based on piano compositions/improvisations which Ryuichi Sakamoto had recorded whilst touring in Japan. On that tour Ryuichi played a piano piece in a different key at the begin of every show, always having a Fennesz Sakomoto project in mind. After 24 shows he had 24 tracks in 24 different keys, covering all 24 tonal steps of the western tonal system. Sakamoto sent the tracks over to Christian Fennesz, who worked on them using electronics, guitars and synths. They met in New York then and mixed the album together with Fernando Aponte at KAB Studios. Quiet, restful ambient piano and effected guitar drone. Minimal and masterful. Guitar, computer [laptop] by Christian Fennesz; piano, computer [laptop] by Ryuichi Sakamoto. Artwork & photography by Jon Wozencroft. Mastered by Denis Blackham. Recorded at Amann Studios, Vienna and at KAB Studios, NY and Japan.
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2LP
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TO 070LP
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Gatefold 2LP version. This release contains 3 extra tracks in addition to the ten on the CD version of Without Sinking (TO 070CD). Hildur Ingveldardóttir Gudnadóttir (b. 1982) is a classically-trained Icelandic cellist and composer, and this is her first full-length release for the Touch label. Best known for her collaborations with múm and guest appearances with Pan Sonic, she has a rich catalog of collaborations and varied projects behind her. Gudnadóttir began playing cello as a child, entering the Reykjavík Music Academy and then moving on to musical studies/composition and new media at the Iceland Academy of the Arts and Universitat der Kunste in Berlin. Back in Iceland, she became very active in the neu-Iceland scene as a member of Kitchen Motors, a Reykjavík-based think tank, record label and art collective, along with internationally-renowned composer Jóhann Jóhannsson. In 2004, she started playing with the band Angel (Ilpo Väisänen and Dirk Dresslehaus). Around that time, she made an album with Dirk (Mr. Schmuck's Farm), and went on to play live with Pan Sonic, later collaborating on their album Katodivaihe/Cathodephase. She released her first solo album, Mount A, under the artist name Lost In Hildurness, on the Reykjavík-based label 12 Tónar in 2006. Gudnadóttir played all the instruments on the album -- vibraphone, viola da gamba, harp and vocals, constructing a work of delicately-layered, contemplative, cello-based ruminations. She has also played frequently with field recording artist and performer BJ Nilsen; delicate duets that conjure the somber rapture of multi-tracked cello -- Gudnadóttir's live playing augmented by laptop loops. As a composer, she has written music for plays, dance performances and films, pieces for chamber orchestras, various instruments, voices and electronics. Gudnadóttir likes to explore the nature and movement of sound, and often turns her experiments into sound and visual installations. Touch presents the work of an artist who has quickly risen in status as an essential staple in modern music composition due to her notable collaborations, her deft touch and her haunting, evocative soundscapes. Composed and recorded in Berlin and Reykjavík; Hildur Gudnadóttir (cello, zither, processors and voice); additional recordings by Skúli Sverrisson (bass and processors on all tracks except track 7); Jóhann Jóhannsson (organs and processors on tracks 2, 3 and 9); Guðni Franzson (clarinet and bass clarinet on tracks 6 and 10).
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12"
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TO 042EP
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Chris Watson presents two special mixes for vinyl from his El Tren Fantasma (TO 042CD) release. A radio program was broadcast on BBC Radio 4 on Saturday, Oct. 30, 2010, produced by Sarah Blunt, and described as "a thrilling acoustic journey across the heart of Mexico from Pacific to Atlantic coast using archive recordings to recreate a rail passenger service which no longer exists." It's now more than a decade since FNM operated its last continuous passenger service across country. Chris Watson spent a month on board the train with some of the last passengers to travel this route. As sound recordist, he was part of the film crew working on a program in the BBC TV series Great Railways Journeys. Now, the journey of the "ghost train" is recreated, evoking memories of a recent past, capturing the atmosphere, rhythms and sounds of human life, wildlife and the journey itself along the tracks of one of Mexico's greatest engineering projects.
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CD
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TO 042CD
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"Take the ghost train from Los Mochis to Veracruz and travel cross country, coast to coast, Pacific to Atlantic. Ride the rhythm of the rails on board the Ferrocarriles Nacionales de México (FNM) and the music of a journey that has now passed into history." --Chris Watson
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CD
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TONE 044CD
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Fennesz's first solo release since Black Sea (TO 076CD/LP). Using acoustic and electric guitars, bass, synths and computers, Fennesz continues to engage and entrance us in equal measure. Fennesz writes: "Seven Stars was recorded in Vienna in January 2011. I recorded and mixed the album within 3 weeks. 'Liminal' and 'July' were existing pieces which I have reworked. (I wrote an early version of 'Liminal' in a hotel room in Bali in 2010). There is also a version of 'Liminal' that I have been playing live for some time. My friend Steven Hess, with whom I have worked before, happened to be in Vienna at the time of the sessions, so I invited him to join me in the studio. Christoph Amann recorded the drums using a selection of his great microphones, including his amazing new Josephson. I wanted to make a record that has a certain lightness about it and at the same time explore new territory using drums on one track. This might be something I will continue with in the future."
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7"
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TS 012EP
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The next in the series of vinyl-only Touch seven inches is Monad by Bruce Gilbert, whose career stretches back to late 1960s British avant-garde art and music scenes, and has since played an important and influential role with his involvement in various rock-based formations, work for choreographic projects and art installations. Instruments: Korg Monotron Analogue Ribbon synth, Zoom RFX-200, Korg Kaos Pad 2, Apple GarageBand. Some words to describe what this sounds like: coruscating, metallic, hard, structured chaos and LOUD.
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10"
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TONE 044EP
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Fennesz's first solo release since Black Sea (TO 076CD/LP) is a 4-track 10" vinyl. Using acoustic and electric guitars, bass, synths and computers, Fennesz continues to engage and entrance us in equal measure. Fennesz writes: "Seven Stars was recorded in Vienna in January 2011. I recorded and mixed the album within 3 weeks. 'Liminal' and 'July' were existing pieces which I have reworked. (I wrote an early version of 'Liminal' in a hotel room in Bali in 2010). There is also a version of 'Liminal' that I have been playing live for some time. My friend Steven Hess, with whom I have worked before, happened to be in Vienna at the time of the sessions, so I invited him to join me in the studio. Christoph Amann recorded the drums using a selection of his great microphones, including his amazing new Josephson. I wanted to make a record that has a certain lightness about it and at the same time explore new territory using drums on one track. This might be something I will continue with in the future." Printed inner and outer color sleeve.
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