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viewing 1 To 21 of 21 items
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2LP
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KRANK 049LP
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"Completing Kranky's chronologically reverse reissue program of the earlier Loscil albums on vinyl, the 2001 debut album is issued on the format for the first time with the addition of three bonus tracks from the same sessions that produced the original release."
"Pay no mind to the label and pay no mind to the producer's locale (Vancouver isn't Cologne or Detroit); Triple Point is one of the finest -- and most varied -- ambient techno releases of 2001." --AllMusic
"Finding itself nestled halfway between the endlessly spacious mechanoid constructions of Berlin's Basic Channel and the drifting expanses of Labradford, Scott Morgan's work as Loscil never ceases to impress with its deft use of technology and percussion." --Boomkat
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2LP
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KRANK 231LP
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Double LP version. "The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest. The subsequent recording was lathe-cut on to a 7-inch, then 'scratched and abused to add texture and color,' from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres. Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for 'bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where 'shadows are amplified and bright spots dimmed.'"
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CD
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KRANK 231CD
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"The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest. The subsequent recording was lathe-cut on to a 7-inch, then 'scratched and abused to add texture and color,' from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres. Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for 'bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where 'shadows are amplified and bright spots dimmed.'"
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2LP
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KRANK 229LP
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Double LP version. "Named after the geographic formations of the seismically volatile Cascadian coastal mountains, loscil's coast/range/ arc// reissue features new artwork and an additional track. Remastered by James Plotkin and available on vinyl for the first time."
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KRANK 229CD
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"Named after the geographic formations of the seismically volatile Cascadian coastal mountains, loscil's coast/range/ arc// reissue features new artwork and an additional track. Remastered by James Plotkin and available on vinyl for the first time."
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2LP
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KRANK 221LP
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Double LP version. "Canadian composer Scott Morgan's 12th long-player as loscil takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay. It's a deeply fitting analog for Morgan's own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space. The name Equivalents referred to Stieglitz's notion of the photographs as being equivalent to his 'philosophical or emotional states of mind;' the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapor. The entirety of the record was created specifically for the album with the exception of 'Equivalent 7,' which began as a dance score for frequent collaborator Vanessa Goodman. The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid. Cloud photographs taken by Scott Morgan at various locations throughout Cascadia in 2018."
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KRANK 221CD
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"Canadian composer Scott Morgan's 12th long-player as loscil takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay. It's a deeply fitting analog for Morgan's own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space. The name Equivalents referred to Stieglitz's notion of the photographs as being equivalent to his 'philosophical or emotional states of mind;' the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapor. The entirety of the record was created specifically for the album with the exception of 'Equivalent 7,' which began as a dance score for frequent collaborator Vanessa Goodman. The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid. Cloud photographs taken by Scott Morgan at various locations throughout Cascadia in 2018."
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2LP
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KRANK 058LP
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"Scott Morgan's second Loscil full-length, Submers, took inspiration from salvaged Time Life classical music albums and 'the indelible mystery of submarines and the deep sea.' Composed using a custom-built Max / MSP sequencer-- with no external samplers, synthesizers, or acoustic instruments involved -- the limitations of the process shaped these masterful, minimal compositions. Each piece was produced as a live mix, direct to disk, with no separated tracks. Originally issued in November of 2002 on compact disc, Kranky is now making these timeless recordings available on vinyl for the first time. All of these tracks are named after submarines, the final cut being a requiem for the crew of the ill-fated Russian nuclear vessel Kursk. Recorded at home using only samples as sound sources, the album is rife with source-less echoes, steely surfaces and ominous melodic and rhythmic undertows. The sifted melodies are layered over muffled, clicking and pulsing rhythm tracks with an appropriately aquatic feel to the tracks."
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2LP
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KRANK 069LP
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2021 repress. "This is the first vinyl issue of the classic third Loscil album originally released in May of 2004. First Narrows is the third Loscil album and the first in which Scott Morgan uses real instruments and input from other musicians. Using sound sources that ranged from sampled instruments to miscellaneous lo-fi mini-cassette recordings, Morgan generated music on computer by custom programming sequencing and processing designed so that no two performances of the patches would be exactly the same. In turn, Jason Zumpano on Fender Rhodes piano, Tim Loewen on guitar and Nyla Rany on cello improvised over those electronic sequences. Morgan then edited and mixed the live and premixed sections together. First Narrows is named after the first gap to the entrance of the Burrard Inlet, over which the Lions Gate Bridge spans; the main entrance into Vancouver from the Pacific Ocean. By including a Loscil track on their compilation of Canadian electronica alongside artists like Tim Hecker, Polmo Polpo, Ghislain Poirier and Thomas Jirku, the Intr_version label confirmed that Loscil deserves placement among the unique practitioners of electronic sound arrangement."
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LP
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KRANK 204LP
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2021 repress. LP version. "Monument Builders is the new album from Loscil, the ambient/electronic project of prolific composer Scott Morgan. It was primarily created on sample-based instruments in Morgan's century-old Vancouver home. Like that aged space, this music is also rough-hewn, with rickety samples of boiling kettles and resonant moving air. Recordings from a vintage micro-cassette recorder contribute distortion, rattles and textures that serve as both percussion and abstract aural color. According to Morgan, the genesis for the album may have begun as he viewed an old VHS copy of the American experimental film Koyaanisqatsi. 'Something about the time-tarnished visuals and the pitch warble on Philip Glass's epic score added a new layer of intrigue for me,' says Morgan. 'Glass has always been an influence but lo-fi Glass felt like a minor revelation, as if the decay was actually enhancing the impact of the film's message.' The investigations on Monument Builders also took inspiration from the anti-humanist writings of influential philosopher John Gray, as well as photographer Edward Burtynsky's iconic aerial photographs of pollution and environmental destruction. 'Gray's writing, particularly his book Straw Dogs: Thoughts on Humans and Other Animals, reinforced a bleak notion I had that we humans don't have much say in how it all turns out,' says Morgan. 'With Burtynsky, I was struck by the fact that something so strikingly beautiful could be the result of large-scale waste and exploitation.' Monument Builders was composed during a period in which the life-and-death battles of close friends and family forced Morgan to examine his own feelings on mortality. In the course of that introspection, Morgan found himself buoyed by a feeling of celebration and a stubborn sense of survival -- an acknowledgement of what it means to be able to breathe and create amidst the clash of love and chaos. Ultimately, Morgan hopes the music here can offer listeners solace while leaving room for exploration and surprise."
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KRANK 204CD
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"Monument Builders is the new album from Loscil, the ambient/electronic project of prolific composer Scott Morgan. It was primarily created on sample-based instruments in Morgan's century-old Vancouver home. Like that aged space, this music is also rough-hewn, with rickety samples of boiling kettles and resonant moving air. Recordings from a vintage micro-cassette recorder contribute distortion, rattles and textures that serve as both percussion and abstract aural color. According to Morgan, the genesis for the album may have begun as he viewed an old VHS copy of the American experimental film Koyaanisqatsi. 'Something about the time-tarnished visuals and the pitch warble on Philip Glass's epic score added a new layer of intrigue for me,' says Morgan. 'Glass has always been an influence but lo-fi Glass felt like a minor revelation, as if the decay was actually enhancing the impact of the film's message.' The investigations on Monument Builders also took inspiration from the anti-humanist writings of influential philosopher John Gray, as well as photographer Edward Burtynsky's iconic aerial photographs of pollution and environmental destruction. 'Gray's writing, particularly his book Straw Dogs: Thoughts on Humans and Other Animals, reinforced a bleak notion I had that we humans don't have much say in how it all turns out,' says Morgan. 'With Burtynsky, I was struck by the fact that something so strikingly beautiful could be the result of large-scale waste and exploitation.' Monument Builders was composed during a period in which the life-and-death battles of close friends and family forced Morgan to examine his own feelings on mortality. In the course of that introspection, Morgan found himself buoyed by a feeling of celebration and a stubborn sense of survival -- an acknowledgement of what it means to be able to breathe and create amidst the clash of love and chaos. Ultimately, Morgan hopes the music here can offer listeners solace while leaving room for exploration and surprise."
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2LP
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KRANK 096LP
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"This is the first vinyl issue of the classic fourth loscil album originally released in May of 2006. from the original onesheet: Scott Morgan notes: Compositionally, many tracks on Plume are similar in approach to First Narrows; they started with a harmonic root from which sounds were processed into a loose structure over which the live players could improvise. There was substantially less editing this time around with the live tracks. I opted to choose the better improvised passes and merely mix them in and out rather than cut them up. I think this leaves a lot more natural space and balances the heavily structured and repetitive electronic elements with more organic performed layers. Jason Zumpano returned from the First Narrows ensemble and I also recruited long time friend Steve Wood and my partner Krista to play some ebow guitar as well as Josh Lindstrom to play some xylophone and vibraphone which added some new elements into the mix. Thematically, I stuck with things that are quintessentially loscil; flow, subtle movement, gradual transition, growth. Also of significance to this album is the family connection. 'Charlie' was composed after seeing and hearing my daughter Sadie through ultrasound while still in the womb. The track was also composed as a womb-like sound experience for her to sleep to after she was born, hence the heart beats."
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2LP
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KRANK 191LP
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2015 repress. Double LP version. "Sea Island is a collection of new material composed and recorded over the past two years. While many of these compositions were performed live extensively prior to recording, others were constructed in the studio and are being heard for the first time here. Musically, the album represents a range of compositional approaches. Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground. Certain tracks on Sea Island such as album opener 'Ahull' make rhythm their focus by exploring subtle polyrhythms and investigating colliding moments of repetition and variation. Though staunchly electronic at its core, instruments such as vibraphone and piano make appearances, and layers of live musicality, improvisation and detail appear in the looped and layered beds of manipulated sound recordings. A varied cast of players appear in the loscil "ensemble", some familiar collaborators from the past such as Jason Zumpano on rhodes and Josh Lindstrom on vibraphone, and others new to the mix such as Fieldhead's Elaine Reynolds who provides layered violin on 'Catalina 1943', and Ashley Pitre contributing vocals on 'Bleeding Ink'. Seattle pianist Kelly Wyse, who collaborated with loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks 'Sea Island Murders' and 'En Masse.'"
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CD
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KRANK 191CD
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"Sea Island is a collection of new material composed and recorded over the past two years. While many of these compositions were performed live extensively prior to recording, others were constructed in the studio and are being heard for the first time here. Musically, the album represents a range of compositional approaches. Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground. Certain tracks on Sea Island such as album opener 'Ahull' make rhythm their focus by exploring subtle polyrhythms and investigating colliding moments of repetition and variation. Though staunchly electronic at its core, instruments such as vibraphone and piano make appearances, and layers of live musicality, improvisation and detail appear in the looped and layered beds of manipulated sound recordings. A varied cast of players appear in the loscil "ensemble", some familiar collaborators from the past such as Jason Zumpano on rhodes and Josh Lindstrom on vibraphone, and others new to the mix such as Fieldhead's Elaine Reynolds who provides layered violin on 'Catalina 1943', and Ashley Pitre contributing vocals on 'Bleeding Ink'. Seattle pianist Kelly Wyse, who collaborated with loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks 'Sea Island Murders' and 'En Masse.'"
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2LP
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KRANK 171LP
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Gatefold double LP version.
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CD
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KRANK 171CD
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"From Scott Morgan: 'This album gets its name from an odd little ocean side park that borders industry and the Vancouver port authority and lays claim to being the birthplace of the city. In a way, Sketches from New Brighton is a continuation of a dialogue with my environment that started with First Narrows (Kranky 2004) and continued with the Strathcona Variations EP (Ghostly International 2009). It is not a rigorous 'study' per se, but more a series of sketches, loose interpretations of the spaces I inhabit as well as an acknowledgement of their influence on my practice. These are my impressions, a kind of sketch of New Brighton and the surrounding area in an abstract form.'This sixth full length album from Kranky mainstay Scott Morgan sees his pulsing compositions gently unfolding in the understated fashion that has become his trademark. He designs a sonic architecture, slowly constructing, making subtle additions and subtractions, until an almost tactile virtual space is formed. Inside these spaces an aural feng shui is achieved, where less is more, where every element is in its place, and where maximum harmony is attained through the masterly placement of sound."
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2LP
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KRANK 141LP
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2016 repress; Gatefold 2LP version, featuring two extra tracks not on the CD. "The fifth full length release by Scott Morgan under the loscil moniker. The album begins and ends with the sound of rain recorded by Scott in his back yard, precipitation being a constant presence in his home city of Vancouver. Many of the other sounds on the album are derived from these same recordings, processed and combined with other harmonic sounds to create the textures and drones. Something completely new to this release would be vocals, of a sort, a first for any loscil composition, contributed by Daniel Bejar on the final track."
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CD
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KRANK 141CD
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"Endless Falls is the fifth full length release by Scott Morgan under the loscil moniker. The album begins and ends with the sound of rain recorded by Scott in his back yard, precipitation being a constant presence in his home city of Vancouver. Many of the other sounds on the album are derived from these same recordings, processed and combined with other harmonic sounds to create the textures and drones. Something completely new to this release would be vocals, of a sort, a first for any loscil composition, contributed by Daniel Bejar on the final track. Scott states 'The collaboration with Dan made us both incredibly nervous. Dan felt out of his element doing 'spoken word' but rose to the challenge. I felt self-conscious about changing the listening perspective from abstract, ambient music into foreground, conscious listening. The first time I heard Dan's voice recording I was terrified and was tempted to call the whole thing off. I listened to it a few more times and it completely grew on me. Now I can't imagine that piece without his performance. I love Dan's use of words, his vocal rhythms and the intimate intensity of his voice.' Jason Zumpano is the only returning performer from past collaborations, he is responsible for the piano parts. Kim Koch and Robert Sparks make appearances on violin and bass recorder. The cover photos for the album were taken from the backseat of the family car by Scott's newest collaborator, his 4 year old daughter Sadie."
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CD
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KRANK 096CD
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Scott Morgan notes: "Compositionally, many tracks on Plume are similar in approach to First Narrows; they started with a harmonic root from which sounds were processed into a loose structure over which the live players could improvise. There was substantially less editing this time around with the live tracks. I opted to choose the better improvised passes and merely mix them in and out rather than cut them up. I think this leaves a lot more natural space and balances the heavily structured and repetitive electronic elements with more organic performed layers. Thematically, I stuck with things that are quintessentially Loscil; flow, subtle movement, gradual transition, growth."
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KRANK 069CD
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"First Narrows is the third Loscil album and the first in which Scott Morgan uses real instruments and input from other musicians. Using sound sources that ranged from sampled instruments to miscellaneous lo-fi mini-cassette recordings, Morgan generated music on computer by custom programming sequencing and processing designed so that no two performances of the patches would be exactly the same. In turn, Jason Zumpano on fender Rhodes piano, Tim Loewen on guitar and Nyla Rany on cello improvised over those electronic sequences. Morgan then edited and mixed the live and premixed sections together."
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CD
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KRANK 058CD
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"Submers is the second album from the Vancouver-based Scott Morgan aka Loscil. All of the tracks are named after submarines, the final cut being a requiem for the crew of the ill fated Russian nuclear vessel Kursk. Recorded at home on computer with samples and keyboards used as sound sources, Submers is rife with source less echoes, steely surfaces and ominous melodic and rhythmic undertows. The sifted melodies are layered over muffled, clicking and pulsing rhythm tracks with an appropriately aquatic feel to the entire album."
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viewing 1 To 21 of 21 items
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