chilli

February 11, 2004

Originally posted by chilli:
Craig B Aereogramme Solo & Accostic - Sunday 7th March 04

Very sorry about the spelling mistake, as you all know that should have been

agnostic he.. he..

Thanks for positive feedback pass the word. If you see somebody handing

out flyers for this gig on Friday night, say hello.

February 10, 2004

From a scream to a whisper

Interestesting Music Promotions are delighted to announce a very rare

& unique opportunity to see one of Scotland's foremost performers

in an accoustic setting, supported by the absolute best of local talent

Dr Drakes Sunday 7th March 2004

Doors 8pm Fee 5

featuring

Craig B

Kathryn Sawers

Deadloss Superstar

ps Thanks to all who supported our Twine, DRN & Data Thieves event

on Monday 9th Feb 04.

More interesting & eclectic events to follow............

February 9, 2004

yes its true Twine have been likened to an electronic version of the mightyGodspeed You Black Emperor.

Drakes doors 8pm Twine supports on 8.40pm

Twine & Coldcut visualist on 10pm

February 6, 2004

Coldcut collaborators play this Monday Night

Originally posted by chilli:
Interesting Music Promotions are again delighted to announce another evening of the very best in experimental music............
Monday 9th Feb 03
Dr Drakes Doors 8pm
Fee 5
Twine & VJ Phase4
Data Thieves
DRN
Phase 4's visuals will play a stunning & integral part of Twine's set
www.twinesound.com
go to this link & checkout their very excellent PITCHFORK review & what the press say about their past releases & live shows
this is how themilkfactory reviewed their last release
Twine have constantly refined their sound since the release of their first album, Reference, four years ago, redefining the boundaries within which their music evolves and uncovering new grounds with each album. Greg Malcolm and Chad Mossholder met at high school in the late eighties, and after learning the ropes in a variety of rock bands during the nineties, eventually formed Twine. Now based far apart from each other, Malcolm in Baltimore, Maryland, and Mossholder in Boulder, Colorado, the pair have learnt to adapt and allowed Twine to evolve in a totally unique way, each member performing live independently as well as together under the Twine banner. Their last two records, Circulation, released on Swedish label Komplott, and Recorder, released on Bip-Hop, showed a progressive move toward extreme sonic abstraction, yet using traditional instruments to expand their glitch-ridden soundscapes.
With this fifth album released in as many years, Twine transcend more than ever the electronic nature of their music, basing the almost entirety of these nine tracks (ten on the LP) on guitars and pianos, creating elegant moody structures on which vocals components get trapped, looped and deconstructed to become simple components of the compositions. The electronic backbone is kept working in the background, bringing discreet textures to each track while at times, seismic percussions smash the ethereal ambience to introduce a mechanical element. A stark contrast from the austere abstraction of their previous album, Twine appears incredibly organic and pure, evoking the sonic affluence of My Bloody Valentine, the contrasted terrains of Seefeel and the dark meanderings of Aphex Twins Selected Ambient Works Vol. 2, with haunting touches of Dead Can Dance layered over luscious soundscapes. Scattered all throughout this album, the voices of Shelly Gracon and Alison Scola, in turn drones, mesmerising songs or lacerated conversations, develop as integrant part of the music, becoming simple sound sources. After a short intro in the shape of G_R_V, built around excerpts of conversations, Plectrum sets the tone, with a strummed guitar guiding intriguing vocals through the murky ambience created by Malcolm and Mossholder. The appropriately entitled Piano is reminiscent of the collaboration between the Cocteau Twins and Harold Budd on The Moon & The Melodies. Yet, here, the naked piano melody is draped in swathes of distortions, emphasising on the atmospheric nature of the composition as the track evolves almost imperceptibly. Whereas on Pendant and the LP-only Sbrent, Twine offer a collection of slightly more conventional ambient soundscapes, they build, with the epic Kalea Morning, a particularly haunting piece of music, mixing oriental and occidental singing over layers of processed guitars and syncopated beats, adding discreet glitches all the way through. As the composition slowly develops, it reveals more and more beautiful luminescent sonic touches swirling around an ethereal melodic cloud. The spooky Asa Nisi Masa is by far the most intriguing moment on offer here, as the pair assemble processed reversed vocals over a hypnotic.
If the use of processed vocals, guitars and pianos is not entirely new, the sonic landscapes exposed on this album are incredibly dense and denote the unusual approach to sonic structures adopted by Twine over the last few years. By far one of the most fascinating record released this year, Twine transcends genres like no one else.
4.9/5
(milkfactory uk voted it their no2 favourite release of the year.
And i didn't mention the Coldcut connection once..........

January 18, 2004

Interesting Music Promotions are again delighted to announce another evening of the very best in experimental music............

Monday 9th Feb 03

Dr Drakes Doors 8pm

Fee 5

Twine & VJ Phase4

Data Thieves

DRN

Phase 4's visuals will play a stunning & integral part of Twine's set

www.twinesound.com

go to this link & checkout their very excellent PITCHFORK review & what the press say about their past releases & live shows

this is how themilkfactory reviewed their last release

Twine have constantly refined their sound since the release of their first album, Reference, four years ago, redefining the boundaries within which their music evolves and uncovering new grounds with each album. Greg Malcolm and Chad Mossholder met at high school in the late eighties, and after learning the ropes in a variety of rock bands during the nineties, eventually formed Twine. Now based far apart from each other, Malcolm in Baltimore, Maryland, and Mossholder in Boulder, Colorado, the pair have learnt to adapt and allowed Twine to evolve in a totally unique way, each member performing live independently as well as together under the Twine banner. Their last two records, Circulation, released on Swedish label Komplott, and Recorder, released on Bip-Hop, showed a progressive move toward extreme sonic abstraction, yet using traditional instruments to expand their glitch-ridden soundscapes.

With this fifth album released in as many years, Twine transcend more than ever the electronic nature of their music, basing the almost entirety of these nine tracks (ten on the LP) on guitars and pianos, creating elegant moody structures on which vocals components get trapped, looped and deconstructed to become simple components of the compositions. The electronic backbone is kept working in the background, bringing discreet textures to each track while at times, seismic percussions smash the ethereal ambience to introduce a mechanical element. A stark contrast from the austere abstraction of their previous album, Twine appears incredibly organic and pure, evoking the sonic affluence of My Bloody Valentine, the contrasted terrains of Seefeel and the dark meanderings of Aphex Twins Selected Ambient Works Vol. 2, with haunting touches of Dead Can Dance layered over luscious soundscapes. Scattered all throughout this album, the voices of Shelly Gracon and Alison Scola, in turn drones, mesmerising songs or lacerated conversations, develop as integrant part of the music, becoming simple sound sources. After a short intro in the shape of G_R_V, built around excerpts of conversations, Plectrum sets the tone, with a strummed guitar guiding intriguing vocals through the murky ambience created by Malcolm and Mossholder. The appropriately entitled Piano is reminiscent of the collaboration between the Cocteau Twins and Harold Budd on The Moon & The Melodies. Yet, here, the naked piano melody is draped in swathes of distortions, emphasising on the atmospheric nature of the composition as the track evolves almost imperceptibly. Whereas on Pendant and the LP-only Sbrent, Twine offer a collection of slightly more conventional ambient soundscapes, they build, with the epic Kalea Morning, a particularly haunting piece of music, mixing oriental and occidental singing over layers of processed guitars and syncopated beats, adding discreet glitches all the way through. As the composition slowly develops, it reveals more and more beautiful luminescent sonic touches swirling around an ethereal melodic cloud. The spooky Asa Nisi Masa is by far the most intriguing moment on offer here, as the pair assemble processed reversed vocals over a hypnotic.

If the use of processed vocals, guitars and pianos is not entirely new, the sonic landscapes exposed on this album are incredibly dense and denote the unusual approach to sonic structures adopted by Twine over the last few years. By far one of the most fascinating record released this year, Twine transcends genres like no one else.

4.9/5

(milkfactory uk voted it their no2 favourite release of the year.

And i didn't mention the Coldcut connection once..........

December 7, 2003

Monday night doors 8pm some changes to line-up but for the better

surprises in store

November 18, 2003

This is worth saying again

Interesting Music Promotions are delighted to announce:-

Saturday 22nd November 2003

Dr Drakes Doors 8.00pm

Fee 5.00

Featuring the very best of Scottish female singer songwriters

for a very RARE gathering in Aberdeen.

Monica Queen with Johnny Smillie

Kathryn Sawers

Jo McCafferty

now read on

Monica Queen has sang "Streets of Baltimore" with the Jayhawks, "Cortez the

Killer" with Grant Lee Buffalo, "Fairytale of New York" with Shane McGowan.

She was also the singer in Thrum who starred on the Word, were featured in

Mojo, appeared many times in session on Mark Radcliffe's show and made a

wonderful album 'Rifferama' in San Francisco. With Thrum, Monica was

compared to many great singers such as Emmylou Harris and Maria McKee.

Monica now records/performs under her own name but works closely with Johnny

Smillie from Thrum. The result of their work together is 'Ten Sorrowful

Mysteries' and was released through Creeping Bent on the Feb 2002.

Following the release of this album Monica was dubbed by Uncut magazine as

the "Royal Highness Of Glumbient Folk. Her voice was described by Mojo

magazine in reference to her contribution to the Belle and Sebastian hit -

Lazy Line Painter Jane - as "Lifting the song to another, devastatingly

human level, like a back street, whiskey-drenched Emmylou" Together with

Johnny Smillie (producer and guitarist) They have made "One of the most

heart rendingly powerful records you will hear-a work touched with genius"

(Metro), "In strong contention for solo debut album of the year" (Scotland

On Sunday) The key elements are "Johnny Smillie's aching guitar and Queens

lovelorn voice which "Make a spine tingling combination"(Scotsman) and

"Superbly haunting electronica" which "make for a truly original sound"(The

List)

Kathryn Sawers is another original performer. Her intense performance style

is a double edged sword. Akin to Tori Amos with similarities to Cerys

Mathews yet in truth comparable to no one. Her husky, stark breathless

vocals accompanied on piano playing which is at times melodic and at other

times brutal. She sits serenely, beautifully at the piano, she looks like an

angel. And then she starts, she stares at the audience, she's staring at you

and it is frightening! Try and avoid the witchy eye contact, she's going to

get you. Last year Kathryn recorded one of the greatest unreleased albums of

all time which if it ever see the light of day would surely establish her as

one of our most unique singer/songwriters.

"Scary, but as special as buttons"

Jo McCafferty has been performing since the age of fourteen. Her first

album, "Nothing Whispered to Katy" was created at age seventeen the day

after leaving school and received wide acclaim, this recording led to her

taking part in and leading many different projects within the Aberdeen music

circuit. Jo has enjoyed supporting various singer/songwriters who have

played in Aberdeen; these include acts such as Dr. Robert, Lucy Kaplansky,

Carol Laula, Horse, Glen Tilbrook, Midge Ure, Fish, Donnie Munro and David

Kitts. Towards the end of 2001 Jo started work on the long awaited second album,

"Radiaxial". Throughout this period Jo's profile rose as she started to play

live again more and more. The album is an acoustic album, designed to

showcase the songs and Jo's voice. Jo's work has been a big hit round the

world with one German fan writing: "Radiaxal is strong, haunting and

intensely personal... Poetry and storytelling rolled into one... Radiaxal is

a beautiful, sparse instrumented album, lyrically poignant and stunning in

its power and emotional intimacy." Jo has just released a new acoustic album

called 'The Eight Year Gap" which is comprised of sessions recorded between

'Nothing Whispered to Katy' and Radiaxial.

November 16, 2003

Interesting Music Promotions are exceedingly chuft to announce:-

Monday 8th December 2003

Dr Drakes

Doors 8.00pm

Entry 6.00

The line up

Schneider TM

Christ

Scientific Support Dept

Now read on

SCHNEIDER TM

It's time to blast preconceptions of electronica as cold, minimal, distant

knob twiddling to oblivion once and for all, and Dirk Dresselhaus, aka

Schneider TM, is just the man to do it. His second full length album,

Zoomer, harnesses a sublimely modern depth of musical vision to the hard won

wisdom of life experience. A proper album, developed over the course of

three years, Zoomer is the sound of electronica, at last, with something to

say.

What about genuinely crafted songwriting? Check. Pop hooks? Check. Catchy

vocal melodies? Check. Wry humor? Check. Schneider TM brings a

singer-songwriter sensibility for words and music to the ambitions of a

sonic explorer. He calls it "chemical listening", being able to hear layers

of ear-teasing, soul tickling sounds, threaded personal beliefs and hopes.

The more you listen, the more you discover. It's hard to think of another

artist in the field of electronica who has yet done come up with the goods

as he does with blinding success.

Last year's 'Binokular' split mini album with long time musical foil KPT.

Michi.Gan paved the way. Its stellar track was the stunning, and ubiquitous,

'The Light 3000', a breath-catching cover of The Smiths' 'There Is A Light

That Never Goes Out'. Perfectly pitched, its nave, coolly glistening

electronica deftly counterpoints the yearning, emotional recklessness of

Morrissey's lyrics. 'The Light 3000' inadvertently gatecrashed the trashy

bootleg / bastard-pop scene and offered something beating with sincerity. It

spread virus-like to everyone from Desperate Soundsystem DJ Jarvis Cocker

(who was quoted as saying he always used to it open his sets) to Rough

Trade's genre-defining Electronica 01 compilation, came in at number 8 in

John Peel's Festive 50, (that's as voted by listeners), and was embraced by

everyone from die-hard indie fans to dance music softies and anyone who ever

had a heart.

Over the past three years, Schneider TM has remixed in inimitable style the

likes of Lambchop, Labradford, High Llamas, Quarks and Ruby among others. A

noise-record with Pansonic's Ilpo Vaisanen is in the can and Norwegian

folkster Erlend Oye (Kings of Convenience) has asked him to collaborate on

his forthcoming solo project.

With Zoomer, Schneider TM defies expectations of aural wallpaper electronica

with a grace, passion, & wit that are the mark of a songwriter whose talents

are in full bloom.

Right now, Schneider TM has just detonated an electronic pop bomb.

Watch it explode.

CHRIST

Much like his namesake, Christ has been shrouded with the kind of mystery

and rumour mongering that's worthy of the richest biblical mythology.

Christ has been one of the most revolutionary figures within the Scottish

electronic music scene since the mid 90's with his appearance on Boards of

Canada's classic 'Twoism' EP. After a prolonged absence whiled away

rebuilding his studio, Christ returned to the fray with his 7-track mini

album 'Pylonesque'. The album gained instant critical acclaim and was soon

heralded as a classic.

2002 saw Christ headline Japan's 'Metamorphose' festival playing to over

30,000 people alongside Green Velvet. He performed at this year's Sonar and

was hailed as the highlight of the festival.

Influenced by the sound of contemporaries and colleagues, Christ continues

the theme of nostalgic and psychedelic structures within the loose

boundaries of electronic music. Distancing himself from the 'do it by

numbers' IDM handbook, Christ washes his ideas with a haze of atmosphere and

layers of emotive, evocative sound.

Much that has come to be regarded as clich within the electronic music

scene finds at its root an association with the music that Christ helped

visualise in the first place all those years ago.

Christ's full-length album 'Metamorphic Reproduction Miracle' is now

available on Benbecula.

The album has also already received airplay on John Peel, Breezeblock, Radio

1 'Session in Scotland', Radio Magnetic, Resonance FM to name a few.

SCIENTIFIC SUPPORT DEPT.

Scientific Support Dept. is an electronic dub collective led by Docherty.

Though "Cabbageneck" is their debut album, their music has been slipping

into the Scottish sub-conscience over the last few years, with a series of

compilation appearances, gigs, theatre and film scores and remixes. SSD have

appeared on Creeping Bent compilation albums "Bentism," "Electronic

Lullabies" and "Bent Boutique" and on instalments 6 and 12 of the Creeping

Bent singles club. Docherty has also written the music for two TAG

Productions "Othello" (199, "Stroma" (2000) and more recently for "Among

Broken Hearts" (Traverse Theatre Company, 2000), MacBeth (Awarehaus Theatre

Company, 2001) and "Helmet" (Paines Plough Theatre, 2002). He has also

completed work on music for short films, "Clingfilm" (1999) and "Jura Dub"

(2000). SSD have remixed artists as diverse as Alan Vega, DJ Harri, Mount

Vernon Arts Lab and Adventures in Stereo.

November 8, 2003

check this out

Sorry to jump this into here, but if I suggest you attend this gig & see how the cream of Scottish

female singer/songwriters do their thing. This will be a very special night & it will undoubtedly

help you with your music .

We need your support

Interesting Music Promotions are delighted to announce:-

Saturday 22nd November 2003

Dr Drakes Doors 8.00pm

Fee 5.00

Featuring the very best of Scottish female singer-songwriters