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Alison Cotton ~ All Is Quiet At The Ancient Theatre

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“Alison Cotton of avant folk duo The Left Outsides creates a psychedelic pagan folk ritual with her viola, recorder, percussion and ghostly voice on ‘All Is Quiet At The Ancient Theatre’. Slowing things down to a droning pace, Cotton seems to summon up mystical powers through her eerie Clannad-ish chants on ‘The Bells of St Agnes’. And like Laura Cannell, she finds similar tones of drone within her string music by allowing space for the dragged out notes to echo and buzz on ‘The Last Sense To Leave Us’. Her choral vocal pipes in with a numbing effect, floating upfront and back into the shadows again on the five tracks, which were all improvised… Better than any mindfulness app for cleansing the brainwaves and stilling the souls of the godless for hald an hour or so…” Claire Sawers, The Wire 

© The Left Outsides

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Nico Niquo ~ In A Silent Way

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“..slowly evolving compositions and sound meditations based around the palette of modern grime music minus the percussion. In the songs “Arbor Arco” and “He Loved Him Madly” the grime theme is most present, with droplets of synth and bass rising and melting to suggest invisible kick drums underneath. “Rendered” and “In A Silent Way” begin with simple arpeggios that build to intense climaxes, while closing track “Aa-m” is an almost ASMR-inducing meditation.”

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D/P/I ~ Ad Hocc

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“Ad Hocc” was intended to be listened to on 6 speaker systems (6 stereo pairs = 12 speakers) simultaneously. Unfortunately, that experience is saved for those who bought the original USB card. I was not planning on releasing a “digital” (online) version of “Ad Hocc”, but, as it is my favorite D/P/I release, I am offering this un-expanded edition, set up to play on only 2 speaker systems (2 stereo pairs = 4 speakers). I hope you enjoy nonetheless.” – D/P/I

“Indeed, the intended flexible listening experience of Ad Hocc does emphasize the goal of D/P/I’s axiomatic language being a rearrangeable, modular faculty. Like his visual style — images loosely associated on a white background — the record’s reprogrammability opens up the listening experience as being inherently non-oppressive. Although there is binary division occurring between the “fundamental” and “supplementary” subsets, their rearrangement diminishes any experience being a “quintessential” one; rather, all are opportunities. Ad Hocc becomes a total meditation on D/P/I’s use of material, a consideration of how they interact, a study of their inherently structural design, and ultimately, a defense of their accelerated, gorgeously spontaneous performance.” – Tiny Mix Tapes

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