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Month

February 2020

Jasper Bernbaum A Conversation With The Art Directors Of Bon Iver’s ‘i,i’: Aaron Anderson & Eric Timothy Carlson

Ahead of the 2020 Grammy ceremony, Discogs spoke with each of the nominees for Best Album Package about the importance of design and the physical record experience.

Nominated for their work on Bon Iver‘s i,i were art directors Aaron Anderson and Eric Timothy Carlson. Together, they touched on the conceptual approach to their work and the importance of process in collaboration.

 

 

How did you start your collaboration together?

EC: I grew up and went to art school in Minneapolis, where I met Aaron, and we’ve been collaborating since 2005. Working on art within the music community in the midwest became a big part of that.

AA: In Minneapolis, we worked a lot with our friend Crystal Quinn and, all of the sudden, it was an ‘artist collective’ called Hardland/Heartland. We did a bunch of crazy stuff in Minneapolis — exhibitions, clothing — and started working with bands a lot.

We had this idea of working with bands to create and alter ego within the universe that we were creating, as opposed to working with somebody to make an alter ego for themselves. For example, rappers were pretty protective of their public identity and afraid to do something weird. But if they did something in our world, they might drop their guard. We did that for about eight years in Minneapolis, and now Eric and I have been working on and off together in Brooklyn ever since.

 

You don’t hear Minneapolis come up as an ‘art capital’ of the US very often, even though it sounds like the scene is really rich there. What did you learn and take with you from that city?

AA: Minneapolis is a cultural community that’s easy to interface with. When we were there, it was really fertile and there was a lot of energy. It is far enough away from everything, so there isn’t as much outside influence, which makes the scene stronger.

A lot of Eric’s first jobs in design were with Rhymesayers. I was hanging out with a band called The Plastic Constellations, and all these other auxiliary people from various scenes. Just being there, around so many different types of mediums and people, made for a better stew of creative ideas. You realize that just doing stuff in what’s important.

Justin [Vernon] had seen Eric’s album artwork, and the rest of the art we were making. The collaborative energy around the new album i,i was in line with a lot of the things were talking about back then. You can draw a through line from where we are now. back to that in a lot of ways. For example, Crystal [from Hardland/Heartland] worked on the photography for i,i as well.

 

 

Prior to the i,i artwork, you both worked on 22, A Million in some capacity. How did you get brought in the Bon Iver collective?

EC: I moved to New York in 2011. I was still designing album artwork, but I started working with performance theater and designing books. Bon Iver first reached out around that same time I was moving to New York. But it wasn’t until a few years later when there was movement on 22, A Million that they brought me over to the recording studio to talk about working on that album. And since then, I’ve maintained an art director position with Bon Iver.

AA: I art directed with Eric and did the lyric videos for 22, A Million, but in talking with Justin, it just kind of made sense for Eric and I to take it on together. We just kind of dove in with a paid over-generation of things — making a big pile of stuff.

EC: The collaboration with Aaron on the lyric videos for 22, A Million really expanded our capabilities for building a world around a project. So coming into i,i we were working toward the video, and even with a dance company for the Come Through performances, from the beginning and that just made the world even bigger. Some of what was performed with Come Through were essentially just sketches, so it was interesting to spend so much time performing those works before the album was finished. Then when it was complete, it’s these two worlds of the same music existing simultaneously.

 

Aaron, you tend to work more on the video side of things. How did you jump into that?

AA: I grew up in South Dakota, and moved to Minneapolis for school at Minneapolis College of Art and Design for animation. I started teaching at MCAD, and working at the Walker Arts Center as a film projectionist for five years until I moved to Brooklyn.

Animation was my introduction to the film world. I’m really interested in abstract and experimental films as well. But with animation, you can control everything in the world. Time is malleable in a different way. There isn’t a lot of experimentation [in film] any more because of the monetizing factors behind content production. Eric and I were very fortunate on this project to be as creative as we could be. That’s invaluable.

 

How did you guys divide the work on this project? Eric, are you taking the lead on the physical product and Aaron, are you taking the lead on the video side?

AA: Yes, in a way. I’m rendering the final video files and Eric is exporting the final print finals. There was a level of pre-production and brainstorming — we both did some of the drawing. It’s still pretty collaborative though. We share a studio, and see each other all the time, so it’s a very fluid process.

For the video specifically on this project, we went out to El Paso and recorded a bunch of stuff. And we generated the majority of the images between there and Wisconsin at Justin’s studio. It gave us a feel for the cast of characters that were populating the album, figuratively and literally. Not necessarily building a mythology around it, but starting to translate it all into visuals.

 

 

That speaks of the ‘world-building’ process you both have alluded to.

AA: Yeah. Here, it wasn’t as much about controlling the world, but watching everything sort of sit next to each other and function in a unique way. It’s a little more hands off, and organic, which yields more interesting results.

EC: For the most part, I don’t work toward things with a preconceived notion of where I’m finishing, so I adamantly follow the process. You pull out research of anything you have at any given phase, and address the songs and the lyrics in the discussions with the artist you are in collaboration with and build the content. That inherently produces that world-building. Generating nuggets, pieces, and elements all through the way. Instead of having particular illustration or artwork as the cover, you create documents that have hundreds of assets that can be used in a multitude of ways, over the multitude of formats in which they’ll be experienced.

Naturally, as life is, there is these exponential amount connections between these pieces and though you may experience them in some linear way — like looking at the cover, and then inside the booklet, then the liner notes and the sequence of songs — you might get information in one experience, but then you get other pieces of the same story in a totally different experience. Every time you invest in a different component of the whole, you start to be able to piece more and more of that stuff together. You build a process that naturally allows that growing understanding and you invest more time into it. I think there is a lot that can be experienced in that so naturally. Don’t force it, just let it grow and show what it is.

 

The packaging — and this is an utmost compliment — almost does feel like a sketchbook or, in a more digital world, a scrolling feed of images as you might see on social media. Being bombarded with imagery, content, art… whatever you want to call it.

AA: We’re very familiar with the concept of a frame inside of a frame, and the digital scroll. We had a blog where we learned how to poetically interact online — posting one thing after another without direction. So it made sense for the booklet to look like that.

And I still think about things that way. It’s past aesthetic, and becomes more of a learned technique or vernacular. I can read it, but it sounds different when two other people read it. Like a poem. Visually the poem is the same, but there are so many different readings.

EC: I love collage. It’s such a simple form and so naturally ingrained into the way I think, make and organize material. And, yeah, going all the way back to when we were in school with some of our early collaborative works — using Blogspot to make these simple digital collages and breaking the backend to start making images overlay & placing images next to each other inside TextEdit files. Without putting any spacing, seeing how images butt right up against each other and start to bleed into each other.

That approach of making a mess amounts to process. In making hundreds of illustrations and collecting hundreds of photographs & all the notes associated with the music itself, you then generate a massive body of work. In the digital world, how do you navigate this and make it a beautiful experience as opposed to an answer or thesis? Create an environment to enter into and give the viewer a chance to imagine and build connections.

 

Image result for bon iver i.i vinyl

 

When I look at that collage style of the artwork, it reminds me of the music in that sense. Bon Iver similarly feels like melodic collage; sounds and textures that shouldn’t go together, yet they work beautifully. 

AA: Totally. Even the difference in sequencing two pictures next to one another vs. a picture next to a texture. Those can be totally different conversations. Same with the music. It doesn’t sound wrong, but it sounds very different. That’s what’s intriguing to me.

EC: Yeah, it’s the question: how do you think of everybody contributing at once and spread that shine. One of the primary conversations early on was about individuals. The title i,i about all of the individuals that account for the whole. People regard Bon Iver as this singular person, but we wanted to reflect the current truth of it being this multitude of people. That’s why on the interior gatefold there’s the portraits of the vast majority of contributors from the dancers to management to engineers to guitars techs. They’re all pictured together as Bon Iver on the interior.

 

What is the process of what would make it into the final design?

EC: In the process of creating the material, you don’t want to shut down anything that comes to mind, but there are plenty of pieces that never see the light of day. Specifically for i,i and the cut paper collage pieces that occur, that process made for some hard edits. There’s a little bigger body of work that’s not in the booklet, but most of the hits made it into the packaging.

For the cover art, there’s probably ten pieces that are the special [images]. Throughout the process, the cover keeps being addressed, but in [Aaron and I’s] process, the cover was not supposed to be a pinnacle. We wanted it to be open to something so casual. Sharing the work between Aaron and myself, Justin [Vernon] and the rest of the collective in the conversation to see what is resonating.

I do, however, feel like there are two covers to the project. There’s the digital one with colors and smoke. But that is on a plastic sleeve. When you take that off, you have this largely black ‘i,i’ text. That, in and of itself, feels like a real cover. For the digital & CD release that is the cover. Being able to play with that open-endedness feels right. Oh, and The grid of the internal cover is the same grid as the same as 22, A Million.

 

I love little easter eggs like that. I also noticed the ‘i,i’ on the cover is just Hawaii partially crossed out too. Is that where the title came from? Maybe that’s more a question for Justin.

EC: That album title had come up far beyond that moment. But, Justin was wearing that hat during the final recording session in El Paso. Somebody got a paint marker and blacked out the letters. The photographer was hanging out there too, so after he got the picture somebody said, “Oh that’s the album cover.” And I said, “Yeah, that straight up could be the album cover.” [laughs]

But I think the first time I heard the album title, was before we were in spitting distance of finishing the thing. It was the summer after 22, A Million and Justin and I were in Wisconsin listening to Lee “Scratch” Perry while painting a barn. Perhaps he’d been thinking about it before or maybe it was at that moment too, but he said “I’m thinking about ‘i,i’.

 

[inner cover with hat]

 

You’ve both worked with a variety of different artists like Low and Cashmere Cat to name a couple. How is the process working with Bon Iver different?

AA: We just had a lot more freedom, time and input during the process. As a result, we got to resonate with it in a special way. We were around for the writing and recording process, and that is an invaluable window… hearing the different versions of the songs, the different ideas that you hear and can attach yourself to. Having the ability to look at the multiple different approaches and decide what is appropriate for the visual representation.

EC: Working on the two Bon Iver albums has been unique, special, robust experiences as far as making artwork for an album is concerned. You wouldn’t usually get the experience unless it was your own project. With 22, A Million there was a very specific conversation toward a direction early on. i,i was really opened up.

I really respect and enjoy this approach to making the work because it lets it really develop and be what it can be. Not just putting a package on an album necessarily. The process is designed to support the process of art-making and let the visual component be as acknowledged as the music itself. Because of that process, [the packaging] gets to be self-reflective. It can be about the art itself, or making the artwork, or the collaboration. 

 

Since you both also work in the video space with the record, do you see this as an expansion of the packaging as music continues into the digital space?

AA: I don’t see it as an object, in the way that the album is a physical object. But, and I don’t know if this is a good or bad thing, it is an egalitarian way of distributing information. It should all be connected, and shouldn’t be a separate idea. People, in general, are comfortable with that connection.

 

 

What is the contemporary importance of album art and packaging?

EC: Growing up in punk houses and DIY communities, there was always somebody working on their record collection, or self-releasing some cassette tapes. Seeing the work in that context as a physical thing. Books come to mind too. They are these beautiful objects that can be passed around and travel. You can give it to somebody and share it. It can have different owners and marking of its own personal history. That’s what I love about the physical object.

AA: Once all the power goes out and we’re running off generators, you can still listen to a record on a record player, right? So the packaging should be cool. I listen to digital music, but the physical and digital serves two purposes that run alongside each other.

EC: Album art does have an important place in culture, though. Album artwork was some of the first experiences of contemporary art I may have received growing up in rural Minnesota. I’m so open to how people can approach it. Depending on what your format is, you can arrive at different answers and different necessities. 

AA: Yeah. I don’t think video has been investigated enough in the context of an album. There’s such cool stuff you could do. As more people incorporate that thought into things like print processes, it’s just going to get more freaky and weird.

In making lyric videos or visualizers as a tool for bands, we’re just getting comfortable making those more interesting, not just a picture of the cover. You could also have a music video-level storyline in a :15 second clip on Instagram, but at the same time I’m not advocating for that. [laughs] Soon, we might just have AI making bad motion graphics. Is that what we’re going to be forced to watch in twenty years on our phones?

 

I worry about that all the time. How things like films could be edited, or songs could be composed with AI.

AA: You hear about movies now that are based on supercuts of other movies. I love watching movies for inspiration, but I can’t imagine emulating the cuts from another one. That level of appropriation seems confusing.

 

When you become too aware of something’s structure, it begins to take the fun out…

AA: Totally! I had an instructor in college who explained that he didn’t like watching chases in movies. At the time I didn’t understand what he was talking about. Now I feel like I’ve seen all the same one’s he’d probably seen and I feel the same way.

That feeling is not a response I’m interested in feeling in my consumption of art and culture. But the formula won’t change because the system doesn’t want it to.

With the video work for the i,i album, Eric and I were trying to add more immersion to something that initially embraced flatness — an idea of desktop publishing. How do you do that in a way that doesn’t feel formulaic with formula being a meter of success?

EC: There is this model [of process] that we’ve been working on and every time we do it, it’s going to morph, change and grow. There’s a lot of space in following the process. It’s a powerful thing that can bring about some unexpected results. So much of what we do is of modest production methods. All of the videos, and the artwork — outside the photography — is Aaron and I in the studio doing all of it. To me, it’s about following that open process.

The post A Conversation With The Art Directors Of Bon Iver’s ‘i,i’: Aaron Anderson & Eric Timothy Carlson appeared first on Discogs Blog.

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Unknown Happy 55th Birthday, Rossini

Fifty-five is no age for a composer and so it is little wonder that Rossini – or at least his music – is alive and well. Born on February 29th, 1792, Gioachino Antonio Rossini soon discovered a penchant and talent in culinary appreciation as well as note-churning. The latter he put to use for the creation of almost 40 operas, the former to support his stately appearance.

So much has been

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Mark Kimber Classic Album Sundays Washington D.C. Presents The Avalanches ‘Since I Left You’

Classic Album Sundays is the world’s most popular album listening experience and allows the listener to hear music contextually, communally, uninterrupted, and in great sonic detail. At our worldwide listening sessions, music fans are able to immerse themselves into an album that has helped shape our culture and in some cases, our lives.

We relay the artist and album’s unique story and provide a musical context that gives the listening experience deeper meaning. We share the experience of hearing the album in its entirety, on vinyl, and on a world-class audiophile hi-fi so that fans can experience the music as close as possible to the artist’s original intention. Classic Album Sundays treats the album (and music in general) with the respect it deserves rather than as a free commodity or aural wallpaper. We remind people what they love about music.


Read: The Story of The Avalanches ‘Since I Left You’

For our March 2020 session we celebrate The Avalanches’ “Since I Left You”!

Given the fact that Since I Left You, the debut album from Aussie party animals the Avalanches, contains over 900 individual samples, it’s pretty incredible that this thing got released in the first place. The fact that they sample everything from long-forgotten R&B records to golf instructionals to Madonna’s “Holiday” makes it even more impressive. But what really makes this album brilliant is not as much the volume or quality of the samples used as the way that they’re employed. The Avalanches have managed to build a totally unique context for all these sounds, while still allowing each to retain its own distinct flavor. As a result, Since I Left You sounds like nothing else.

Washington D.C.

Time and Date: Sunday March 15th 2020 2:00pm – 4:00pm

Venue

Songbyrd, 2477 18th st NW, Washington, DC 20009, United States

Tickets

Available Here

Presenter

Joe Lapan

Audio Menu provided by Audioism.

REGA Planar 3 turntable with Elys MM CartridgeREGA Fono MM Phono PreampAudioism MicroZOTL Preamp (David Berning Design), Audioism Venue-Class Playback SystemXcilica HD System ProcessorAudioism ZOTL Amplifiers (David Berning Design), Class AB Hybrid Amplification for Subs, WyWires Audio Interconnects

The post Classic Album Sundays Washington D.C. Presents The Avalanches ‘Since I Left You’ appeared first on Classic Album Sundays.

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Mark Kimber Classic Album Sundays Oslo Presents Jenny Hval ‘The Long Sleep’

Classic Album Sundays Special Saturday by:Larm-edition: JENNY HVAL ‘The Long Sleep’ (Sacred Bones Records/SU Tissue, 2018) – Jenny Hval in conversation with Susanne Christensen (writer)

1.00pm talk & play: ‘The Long Sleep’ (play time: 23:01) + excerpts from the Jenny Hval discography
2.15pm Q&A with the audience

Jenny Hval has emerged as one of the most subversive Norwegian artists of the past decade, whose lyrically dense music connects with both pop and the avant garde. She has toured internationally, published novels and other writings, been produced by PJ Harvey colleague John Parish, and appeared at both rock and contemporary music festivals.

In conversation with writer and critic Susanne Christensen, she will discuss working on the fringes of alternative music and transgressive art, and presenting it in innovative performance modes. The starting point is her EP The Long Sleep and the listening session will include other examples of her music throughout her career.

AUDIO MENU (by Duet Audio and Midas Reference):
– TURNTABLE: Dr. Feickert Venti
– TONEARM: Triplanar MK.VII 10″
– PICKUP: Ortofon Cadenza Black
– AMPLIFIER: Soulution 330
– SPEAKERS: Piega Classic 80.2
– SUB: Piega PS1
– DAMPER FEET: Foq + SRM-Tech sorbothane
– PHONO CABLE: Midas Reference Flavia
– SPEAKER CABLE: Midas Reference Silje
– POWER CONDITIONER: Isol-8

Oslo

Time and Date: Saturday February 29th 2020 1:00pm – 2:30pm

Venue

BLÅ, Brenneriveien 9C, 0182, Oslo, Norway

Tickets

Available Here

Presenter

Susanne Christensen

 

 

The post Classic Album Sundays Oslo Presents Jenny Hval ‘The Long Sleep’ appeared first on Classic Album Sundays.

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Mark Kimber Classic Album Sundays Oslo Presents Nirvana ‘Bleach’

Classic Album Sundays Special Saturday by:Larm-edition: NIRVANA ‘Bleach’ (Sub Pop, 1989) – Sub Pop Records’ founder Bruce Pavitt in conversation with Matthew McDermott (Resident Advisor)

3.00pm talk
3.30pm album play: ‘Bleach’ (play time: 42:44)
4.15pm Q&A with the audience

Nirvana’s classic, which brought Seattle’s grunge movement to international attention, remains one of Sub Pop’s best known releases to date.

We’re lucky to have none other than Sub Pop label founder Bruce Pavitt to tell the behind the scenes story of how he signed Nirvana.

Together with Resident Advisors Matthew McDermott he shares the background to the making of this audio landmark and his thoughts about the rock historic changes that followed and spread around the world, before we lean back, turn up the volume and listen to Bleach from beginning to end on a world class audiophile sound system.

AUDIO MENU (by Duet Audio):
– TURNTABLE: Dr. Feickert Venti
– TONEARM: Triplanar MK.VII 10″
– PICKUP: Ortofon Cadenza Black
– AMPLIFIER: Soulution 330
– SPEAKERS: Piega Classic 80.2
– SUB: Piega PS-1
– DAMPER FEET: Foq + SRM-Tech sorbothane
– PHONO CABLE: Midas Reference Flavia
– SPEAKER CABLE: Midas Reference Silje
– POWER CONDITIONER: Isol-8

Oslo

Time and Date: Saturday 29th February 2020 3:00pm – 4:30pm

Venue

BLÅ, Brenneriveien 9C, 0182, Oslo, Norway

Tickets

Available Here

Presenter

Matthew McDermott with Bruce Pavitt


Read: Forgotten Classic: Nirvana ‘Bleach’

 

The post Classic Album Sundays Oslo Presents Nirvana ‘Bleach’ appeared first on Classic Album Sundays.

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Unknown NHK-Orchester: Lauschen über den Tellerrand hinaus: Latest @ Wiener Zeitung

NHK-Orchester: Lauschen über den Tellerrand hinausDas japanische Ensemble gastierte mit Chefdirigent Paavo Järvi im Konzerthaus.Spitze Zungen behaupten, Japan habe eine längere Brucknertradition als Wien. Fest steht, dass Japanische Orchester – über den legendären Takashi Asahina und seine Osaka Philharmoniker hinaus – zu Bruckner einen ganz besonderen Bezug haben. Alleine schon deswegen war die

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Ludwig van Beethoven: Making His Way

Donald Macleod follows Beethoven as he sets himself up in his new home of Vienna.

All through 2020, Donald Macleod takes an unprecedented deep dive into the compelling story and extraordinary music of Ludwig van Beethoven. In this uniquely ambitious series, told across 125 episodes of Composer of the Week, Donald puts us inside Beethoven’s world and explores his hopes, struggles and perseverance in all the colourful detail this amazing narrative deserves. Alongside this in-depth biography, Donald will also be meeting and talking to Beethoven enthusiasts and experts from across the world to discover how his music continues to speak to us in the 21st century. Through story and sound, the series builds into a vivid new portrait of this composer, born 250 years ago this year, who made art that changed how people saw themselves and understood the world.

This week, Donald Macleod’s focus is on Beethoven’s first months and years in Vienna, following his move there from his home town of Bonn. The young composer was still in his early twenties, low on cash, and had only a handful of works to his name. He was going to have to work hard to find success in the imperial capital, where audiences had grown up on the music of Mozart and Haydn.

Music featured:
La Partenza, WoO 124
String Quartet in A minor, Op 132 (II. Allegro ma non tanto)
Piano Concerto No 2 (III. Rondo)
Trio in G major, Op 1 No 2
Bagatelle, Op 33 No 7 (Presto)
String Trio, Op 3 in E flat major ( I. Allegro con brio)
Piano Sonata No 2, Op 2 No 2 (3rd and 4th movements)
Symphony No 8, (2nd and 3rd movements)
String Quartet No 16 in F, Op 135 (3rd and 4th movements)
Sextet for horns and string quartet, Op 81b
Symphony No 2 (1st movement)
Quartet in E flat major, Op 127 (3rd and 4th movements)
Piano Sonata No 12 in A flat, Op 26
Piano Sonata No 3 in C, Op 2 No 3 (3rd movement)
Piano Sonata No 1, Op 2 No 1 (final movement)
Violin Sonata, Op 30 No 2 (3rd movement)
‘Adelaide’, Op 46
String Trio Op 3 in E flat major (4th, 5th and 6th movements)
12 Minuets, WoO 7, No 1
Piano Concerto No 1 in C major, Op 15 (1st movement)
Piano Trio Op 1 No 3 (1st and 2nd movements)
12 Minuets WoO 7, Nos. 7 & 11
Piano Concerto No 1 in C major, Op 15 (3rd movement)

Presented by Donald Macleod
Produced by Chris Taylor for BBC Wales

For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Beethoven Unleashed: Making His Way
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And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: https://ift.tt/2vwHS8q

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“You want more than just a pretty picture. You want something as strong as the music. A great photo…

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Javi Gómez Martínez The Five Records That Shaped Bufiman’s Debut LP: Albumsi

Jan Schulte is a busy man. Under his alias Bufiman, he has become one of the most revered selectors worldwide. I met him for a hot second during the Discogs record fair during ADE back in October. Some things have happened to him since that first brief encounter, probably the most remarkable one is that he has released his first full-length album: Albumsi.

Bufiman ‎– Albumsi album cover

Bufiman ‎– Albumsi

Label: Dekmantel

For an album that feels like a multi-verse of the sound realms that Bufiman visits as a listener, it’s curious that the record opens with “Galaxy,” a song whose mantra is: “welcome to the gala-galaxy!” How many times have you been greeted into a record before? His work feels like that, a galaxy of sounds and influences, an explosion of color and tracks that pour into each other creating an interconnected Milkyway that rewards the listener every single time.

Since the summer of 2018, he has turned music into his full-time job, putting all of his energy and free time – his DJ schedule is tight on the weekends – into creating Albumsi. For a record spanning more than 80 minutes, I was surprised to learn that it took him around one year to create it. Its length is not the most striking aspect about Albumsi, that honor has to go to the level of detail and how rich and varied it is. It’s straight-up one of the most stunning electronic records of the new decade.

The fact that Bufiman is based in Düsseldorf is not exactly a clue of what you’ll find in this album. His extensive touring routine has taken him to every corner of the world and that shows here in multiple ways. Digging in many of the countries he’s visited as a DJ is one of the keys to the sound of his debut: “I work in this room where all my records and my gear are. When I’m stuck with a track, I just turn around and go to pick up some records I haven’t listened to for some time. And maybe there I can find something: a sample, an idea… As a creator, I rely a lot on my own experience as a music fan.”

He is indeed sitting right in front of a massive wall full of records. Throughout a lifetime of digging, the collection of Jan could easily help him to create new music endlessly. But what’s really nice about his approach to music collecting is that, as it happens as well with many fellow DJs and producers, buying records allows him to share his finds with fellow music lovers. And he’s serious about it: in the past, he would wake up before 6am to be the first one to scan the vinyl crates of the Düsseldorf flea markets to score the rarest records available.

Jan - Wolf Müller by Franz Schuier 3

“I’ve spent more time on Discogs than on Facebook and Google together”

The passion that Bufiman expresses about Discogs and the role that it has played in his life over the years is eye-opening: “Discogs has always been connected with being hungry for knowledge and learning, learning, learning… If a release is not on Discogs, I’m instantly like BINGO!”

His knowledge of Discogs and its community goes further: “I love reading the feedback that the community leaves on the release pages, I know it’s always very insightful and it comes from fellow knowledgeable music lovers. I know that four Discogs users dropped comments about Albumsi!” He also masters the Discogs humor, you just need to check the picture for one of his many aliases.

To celebrate the release of Albumsi, we have asked Bufiman for the five records that shaped his debut album.

Five Records That Shaped Albumsi

After agreeing to do a Bufiman album for Dekmantel I realized that I generally listen to single tracks more than to full long-players. Reminiscing I noticed that Dig Your Own Hole and Quasimoto's The Unseen might have been the albums that I listened to in full length most times.

Both albums although different in direction share a very narrative approach. On Dig Your Own Hole most of the tracks are interweaved and even occasionally share elements with each other, which inspired me to do the same for each vinyl side of my album.

When I bought it as a teenager this was one of the first records that I heard combining hip-hop and breakbeat elements with electronic club music in a natural way.

I rarely had money to buy albums when I was young so I remember listening to this and Daft Punk's Homework for almost the whole playtime in the local music shop… and in the end decided for the Bonus Beats Orchestra aka the Dust Brothers.


The Five Records That Shaped Bufiman’s Debut LP: Albumsi: Quasimoto - The Unseen

QuasimotoThe Unseen

Style: Abstract
2000

From 1995 to 2002 there was a tv channel in Germany called Viva Zwei that was mostly dedicated to alternative and independent music directions. Their broadcast was so good and diversified it seems hard to believe it even existed. It had a huge impact on my music knowledge and interests, and I remember them showing the music video to “Come On Feet” by Quasimoto.

Its deepness and atmosphere were almost unsettling to me but really fascinating. This whole thing of the Beat Konducta about finding an odd bit of vocals on a record and then cutting it to a conversation with him, even with the two personalities of him is just mad (-lib).

What made the song even more strange are the loud clacking sounds out of the movie La Planète Sauvage that he apparently sampled from VHS, as he didn’t even know that a soundtrack on record existed!
At the time I discovered this album I also discovered sampling for myself, and his approach and a broad selection of all kinds of bits and pieces inspired me a lot.

Further, it still makes me very happy to accidentally find something he sampled while digging or researching for new music.


This record still sounds contemporary today, sometimes I think even more than ever, besides the innovative use of sampling the whole sound aesthetic of it still sounds fresh and alive.

From the perspective of a DJ the variety of different tempos in the tracks makes it possible to always have a fitting track to continue, basically the whole album is based on driving grooves.

To me, this is one of the greatest musical works of all time. Especially on the C-side of my album, or on D1 “Coolness” the influence on this to my music is clearly audible.


I have a general fascination for records that had a huge influence on specific scenes without ever planning any of that. Some of them did not even mean too much to the producers, like for example “Nautilus” by Bob James which was apparently just a filler for his album, but ended up heavily sampled and cut in the hip-hop scene.

This record by Michael Viner's Incredible Bongo Band – which was not even a real band and likely more a gathering of studio musicians – accompanied me since I was starting to breakdance at the age of 13, and I guess the bunch of musicians had no idea these sessions would turn out so iconic.

After years of usage in the old-school hip-hop scene “Apache” still is the ultimate b-boying theme, and it’s iconic drums even pop out in other iconic works like Goldie‘s “Timeless.”


This track is just one of the funkiest jams ever recorded, it’s level of funkiness and groove is just nasty!

The beginning of it, going from this wild nasal freestyle play on a synthesizer flowing into first the drums and then the full band always fascinated me.

My track “Blow Your Head” started with a rhythmical pulse of a nasal synth and drums too, and I decided to do a homage to the tune by Fred Wesley & The JB’s… but soon I realized I am not able to play any instrument as funky as anything in the original so just the title stayed as at least a hint.

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