Fabio Orsi - Stand Up Before Me, Oh My Soul! (Preservation, 2010) avalaible for pre-order!!!

The Preservation label presents Stand Up Before Me, Oh My Soul! from Italy’s Fabio Orsi.

Fabio’s prolific output has had him heralded as a master of modern ambience, creating rich, freeform atmospheres with organic instrumentation and processed sounds. Though known for momentous pieces of hypnotic power, this work marks a dynamic new turn in Fabio’s sound. The force of his composition takes more of an overt stance on Stand Up Before Me, Oh My Soul!. The raw and primal pulse at the heart of his music is writ large here with a punk mindset, unleashing a heady mass of guitars against a backdrop of cavernous, shimmering distortion and crashing drums. (courtesy of Rich Baker, who also performs regularly with Nadja’s Aidan Baker) It also boasts a bristling sense of lysergic, hazy melody.

Brutal and glimmering, dark and beautiful, Stand Up Before Me, Oh My Soul! drops loud and large in pursuit of pure dissonant bliss.

Stand Up Before Me, Oh My Soul! is the first in a new limited edition CD series from Preservation called Circa. 300 copies only will be available of each release in the series and each will feature a design by Mark Gowing. Each design will be realised using a specially created abstract alphabet of shapes, determined by artist, title and catalogue number for something both fixed and random.
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Aaron Martin - River Water (Preservation, 2008)

01 Alison (6:00)
02 Sisters (5:57)
03 Cord Blood (2:57)
04 Moon Jellies (6:53)
05 The Shape of Leaves (2:19)
06 Tar Paper (6:53)
07 Tire Swing (4:22)
08 Mannal Street (4:41)
09 Burning Honey (3:59)
10 Trees Are Smoke (3:42)

Pour son second album, le violoncelliste Aaron Martin joue le funambule entre expérimentation et musique de chambre, créant des pièces mélodiques et mystérieuses en réussissant le tour de force de ne pas sombrer dans l'abstraction la plus complète sans les faire sonner par trop familières....

A follow-up to his Preservation debut 'Almond', Australian cellist and sound sculptor Aaron Martin continues to fashion his peculiarly intimate brand of bedroom electroacoustic music having recently collaborated with Machinefabriek on his Huis 3" CD-r and the Cello Recycling project. While Rutger Van Zuydervelt's compositions tend to be glazed with a kind of hard-edged industrial professionalism, Martin's work is characterised by a sense of personable domesticity. It's not so much that this music could really be regarded as lo-fi, more that the scale has been shrunken to incorporate up-close recordings of the most hum-drum sounds you could imagine from everyday life: shakers, cutlery and even candleholders figure in these pieces somewhere, chiming in with the arsenal of more conventional musical instruments at Martin's disposal (to name a few: ukulele, mandolin, ocarina, an assortment of bells, and of course the cello). The music can take stylistic turns from outright drone to a more foksy sound without coming across as inconsistent, shifting from monochord sustain in the first half of 'Tar paper' into the homely, tuneful loops of 'Tire Swing' with consummate fluidity. Maintaining a constant balance between accessibility and experimental sound crafting, River Water is one of the most eminently listenable electroacoustic albums you could hope to encounter, and an absolutely wonderful album.
Boomkat

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Tara Jane O'Neil - Bones (Preservation, 2005)

1 The Poisoned Mine (Demo Version)
2 Famous Yellow Belly (Acoustic Version)
3 Redux
4 Bullhorn Moon (Beat Version)
5 Enter This House
6 Frank
7 Tie A Ribbon
8 Without Push (Demo Version)
9 High Wire (Acoustic Version)
10 Another Sunday Saint
11 With Yours
12 Bye Bye (Early Version)

Tara Jane O'Neil tenait la basse dans la groupe de post-rock Rodan, elle a plus récemment collaboré avec Sonora Pine ou Retsin.
Elle nous sert là un album, constitué pour moitié de versions démos d'anciens morceaux, alliant une folk de bon aloi avec des expérimentations de fields recordings ou de beats électroniques sur lesquels elle plaque des chansonnettes d'amour ou d'amertume....

Coming at a time when female singer-songwriters are as frequent as flies on the window of an eighteen-wheeler driving down the M1, such a record has to be pretty different to catch any attention. Tara Jane O’Neil (previously a member of post-rockers and Slint contemporaries Rodan) manages this not by the songs themselves but the very unusual production she employs. Beaten up drum machines, disintegrating tape loops, broken amplifiers; the result is at times something like a restrained Wolf Eyes playing with Kristen Hersh and endears itself triumphantly. The album is most successful when O’Neil allows herself to experiment with the formula that little bit more, as shown on the instrumental and oh-too-brief ‘Redux’ and the detuned and washy ‘Another Sunday Saint’.

Boomkat

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Aaron Martin - Almond (Preservation, 2007)

1		Karl Rove (1:34)
2		Canopy (4:02)
3		Kentucky (3:48)
4		Water Damage (5:03)
5		Bare Hands (2:39)
6		Pinball (5:30)
7		The Ducks Are Just Sleeping (4:59)
8		A Robin (2:28)
9		The Bike Police (6:17)
10		Darwin (5:54)
11		Le Bateau-Mouche (7:07)

It's nice to see a certain progression in the way bedroom music has tumbled over the last few years. From the instant gratification of technological advance which manifested itself in the somewhat irksome IDM explosion, the world has moved on quite pleasantly into a place where producers of all kinds can work in the confines of their own bedrooms and throw together music that is truly mesmerising. Recently the trend toward glitchy electronics has been replaced with one for home-grown low-fidelity folk sounds, and we've been treated to beautiful records from sources such as Digitalis, Fonal and the masses of US micro-labels and cdr imprints doing the rounds. One such gem is this debut full-length from Kansas multi-instrumentalist Aaron Martin, who has been picked up by Australia's always-interesting Preservation label. Taking cues from avant-pranksters The Books and post-classical outfit Clogs, Martin also manages to bring to the record 'that' sound, the sound of home-grown folkish experimentalism bringing to mind Thuja and the Jewelled Antler Collective, MV&EE or The North Sea. This is all placed together expertly with a distinctly US slant - so we hear banjos and fiddles colliding with bubbling electronics and carefully selected vocal cuts, or sweeping strings and delicate electric guitar melodies offset by the sound of hiccupping toys and trickling streams. There is a lightness, a humour and a delicateness to Martin's production that endears his music to you almost instantly and leaves a lasting impression so many recordings fail to do. Where 'Almond' really stands out though is in its composition, the songs rather than being a mess of failed ideas and half-hearted jams seem measured and deeply thoughtful, and this is what sets it apart from so many other albums in the sprawling genre. A gorgeous, whimsical and hugely rewarding record, 'Almond' is one of those records that will warm the room in winter and actually put a smile on your face without resorting to tired old tricks or micro-cliché's. Highly recommedned.

Boomkat

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