New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

Import of the Week: Kiyoshi Izumi

Rephlex Records releases are pretty much reflex purchases. The British indie label, run in part by Richard D. James (a.k.a. Aphex Twin), has delivered a select music series over the past couple of years, ranging from James’ own electronic experiments to the peculiar sunny-day vocal pop of a band called the Gentle People. Japanese musician Kiyoshi Izumi‘s recent three-song (and seemingly untitled) EP may be the label’s finest moment yet — an utterly compelling mesh of funky sonic isolates sequenced into something approaching dance music but, like most of the Rephlex catalog, far better suited to headphones. “Ura” is a seven-minute extravagance of jerky forward motion, all the more exceptional for its quasi-overture of an opening segment, which jumps between drum patterns and snippets of tropicalismo. Subsequent tracks “Cheaper Cosmos,” with its eerily familiar wall of static, and “Bedroom Glow” further one-up the listener’s expectations for electronica. Plus, the CD comes in a cool octagon jewel box. The future is nifty. (Contact info: P.O. Box 2676, London N11)

Originally published in the August 22, 1997, edition of epulse (3.33).

By Marc Weidenbaum

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