Hello, F1 news, looks like it's Hamilton's race to loose qualifying 4 tenths in front, behind him Rosberg leads the Red Bull and Ferraris all within 4 tenths, i'm sure the start will mix things up as Ferrari is firy... and Hamilton and Verstappen's starts haven't been that reliable, mistakes will be costly....
More from Extreme....today's artist is an Australian-born composer and producer, he is among the most focused and prolific artists of the contemporary experimental electronic scene. Releasing album after album of sprawling, icy, often difficult ambient and electro-acoustic music, his work has most often been grouped with post-industrial ambient/isolationist artists ... N'Joy
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Schütze was born in Melbourne, Australia. He spent his childhood painting and drawing but left Caulfield Institute after only two months of an Arts Foundation Course to work in a factory. There he earned the money to buy his first electronic musical equipment. In 1979 he spend several months travelling and ended up in London where he immersed himself in concerts, museums and galleries. Returning to Melbourne he formed seminal improvising group Laughing Hands with Gordon Harvey, Ian Russell and Paul Widdicombe. The group existed in several forms until disbanding in 1982.
Schütze spent the next decade writing scores for films. His first feature soundtrack, The Tale of Ruby Rose (1987), won the Australian Film Institute Award for Best original Music Score. During this period Schütze lectured on film sound at both Swinburne Institute and AFTRS and worked as a film critic both in print and on national radio. In collaboration with Michael Trudgeon, Anthony Kitchener and Dominic Lowe Schütze curated and featured in Deus Ex Machina, an ambitious exhibition/ publication at Monash University in 1989. This was to be his first sound installation and subsequently his first solo album.
In 1992 Schütze re-located to London during a period of particular fertility in the independent music scene and released nearly thirty albums of original works over the next decade. Schütze contributed writings to The Wire, and performed his music in Europe, Scandinavia and Japan often with regular collaborator Simon Hopkins. In 1996 he formed improvising super-group Phantom City with Bill Laswell, Raoul Björkenheim, Dirk Wachtelaer at its core and Alex Buess, Toshinori Kondo, Lol Coxhill and Jah Wobble as guest collaborators.
In 2000 Schütze was invited to exhibit in Sonic Boom at the Hayward Gallery London by curator David Toop. The same year he received a large commission for a permanent installation work for Cap Gemini and a second for a massive twenty-two screen audio/video work at the Gasometer in Oberhausen, Germany. He also contributed a sound work to James Turrell’s Eclipse event/publication in Cornwall.
In 2002 Schütze began working with Alan Cristea Gallery London. In 2003 his first solo show Vertical Memory opened at ACG. The show included prints, video, sound and a huge wall work in which the whole of Alain Robbe-Grillet’s novel Topology of A Phantom City was rendered as a continuous plane of silver text. In 2004, Stiftelsen 314 in Bergen, Norway mounted his solo show Garden of Instruments. This was the next stage in a large scale project that began in 1997 with the release of Schutze’s spoken architectural opera Second Site and continued with a series of lightboxes for ACG also in 2004. This project which is still ongoing now has its own site.
In 2006 Schütze began to work with Galleria Estiarte in Madrid showing prints, videos and lightboxes. His work is also shown at the Alan Cristea Gallery in London. Following Schütze‘s two residencies at Cité des Arts in Paris making photographs, a solo show of photography – Twilight Science – opened in London at Alan Cristea Gallery in May 2008. An ongoing commission (initiated in 1999) to make a sound work for James Turrell’s Roden Crater has involved several research trips and has now been completed as a five-hour installation piece in Dolby Surround. In 2011 Schütze launched www.dressingtheair.com an open access online platform for multisensory creativity.
xxxxx xxxxx xxxxx xxxxx xxxxx
The title of this album might erroneously suggest something heavy, abrasive and industrial, but The Rapture of Metals is in part an elegant homage to the metallic gongs of the Indonesian gamelan orchestra. The title track is the most overtly Indonesian, with electronic drones and effects enhancing a traditional gamelan gong pattern. But on several other tracks, Schütze further personalizes his use of gongs, capturing the dreamy, otherworldly quality of Indonesian court music not just by "Westernizing" Indonesian motifs but by blending gamelan sounds and scales with his own rather haunting musical vision. Elsewhere on the album, Schütze utilizes keyboard synthesizers and sophisticated electronic processing to create thick, ambivalent atmospheres which explore the boundaries between madness and ecstasy. "The Rapture of Drowning" has a viscous, aquatic texture and bursts of nightmarish discord, but nonetheless suggests a transcendent experience of some sort. And the final 20-minute piece, "Sites of Rapture on the Lungs of God," is a series of elongated musical inhalations and exhalations, comprised of cathedral organ chords, sonorous drones, intriguing dissonances and various strange electronic treatments which add another level of dislocation to the music.
Paul Schutze - New Maps of Hell II,The Rapture of Metals (flac 275mb)
01 The Rapture Of Concealment 7:30
02 Rapture Of The Drowning 9:16
03 The Rapture Of Ornament 6:00
04 The Rapture Of Metals 7:02
05 Rapture Of Skin 11:15
06 Sites Of Rapture On The Lungs Of God 21:16
xxxxx xxxxx xxxxx xxxxx xxxxx
This is the third album in a Schütze trilogy which began with 1992's New Maps of Hell and continued with The Rapture of Metals; this final chapter is a certified masterpiece. Schütze, who plays keyboards and also supplies various inventive electronic treatments (tapes, digital sampling, etc.) has something of a signature sound, but he seldom repeats himself to the extent that you think you're hearing the same ol' thing. In the two earlier albums in the trilogy, echoes of the Miles Davis electric funk emerged from time to time as an influence, along with touches of Jon Hassell and vintage Weather Report. But on this CD, connections with the electric Davis of the 1970s are much more blatant. There's no trumpet, but Julian Priester's trombone supplies an occasional approximation, and the formidable guest list also includes Bill Laswell on bass, Lol Coxhill on soprano sax, Alex Buess on bass clarinet and Raoul Bjorkenheim on noisemetal guitars. And then there's the drumming. Dirk Wachtelaer's dominant cymbal and snare work is either very closely miked, or treated (or both), but regardless, it is frequently brutal-slamming, crashing, in-your-face confrontational. Throw in some serious guitar shredding by Bjorkenheim (Finnish guitarists seem to have a talent for this sort of thing), and inspired electronic moans and howls supplied by Schütze, and you've got music that can grab you by the lapels and toss you into next week, and then turn around and drop almost instantly to an insidious, nightmarish whisper. It almost seemed as if it would never happen, but Schütze's music on this album finally picks up where Davis left off in the mid-'70s. And while Davis and his edgy jazz funk still sounds good twenty years on, Schütze sounds even better. A major rush, and a major recording.
Paul Schutze + Phantom City - Site Anubis (flac 428mb)
01 Future Nights 12:23
02 An Early Mutation 7:24
03 Blue Like Petrol 7:08
04 The Big God Blows In 7:04
05 Ten Acre Ghost 6:30
06 Eight Legs Out Of Limbo 12:34
07 Inflammable Shadow (AKA Vermillion Sands II) 6:27
xxxxx xxxxx xxxxx xxxxx xxxxx
This double album from Schütze maintains the high standards of previous releases, with one disc tending toward a kind of delicate techno jazz, and the other moving into a twilight ambient world of slow-motion musical gestures and elusive melodic fragments. Schütze's prior experience as a film composer serves him well; he is a master at creating moods, and rather exceptional in his use of musical resources, refusing to limit himself to a particular instrumental palette or style. On the more ambient disc of the two, one of the four pieces is firmly in the Brian Eno/Steve Roach mode (and as lovely as anything produced by those two artists), while another piece is much closer to the industrial genre, with an austere combination of both organic and machine-like drones, and delicate, random chime tones with occasional clicking sounds. The best track on this disc, though, invokes contemporary classical composer Morton Feldman in its glacially evolving chorus of atonal horns, sounding like some obscure and subtle ritual of an advanced, post-industrial culture. The first disc contains similar treasures, with several pieces featuring vibraphones (a favorite Schütze timbre), delicate brush work on cymbals, and a gently rhythmic bassline. The result is a delicate, drifting chamber jazz which both soothes and charms with its quiet sense of mystery.
Paul Schutze - Apart (flac 348mb)
01 Rivers of Mercury (6:47)
02 A Skin of Air & Tears (6:16)
03 The Sleeping Knife Dance (4:47)
04 Visions of a Sand Drinker (4:53)
05 The Coldest Light (4:06)
06 Eyeless & Naked (4:58)
07 The Ghosts of Animals (4:46)
08 Taken (Apart) (3:06)
09 Consequence (4:30)
10 The Memory of Water Pt II (6:12)
Disc 2
11 Throat Full of Stars (5:52)
12 Sleep I (14:27)
13 Sleep II (8:27)
14 Sleep III (18:47)
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Paul Schutze has been steadily amassing a large and significant body of work for nearly two decades now. His embracing of differing genres and sub-categories of contemporary electronica and experimental music has seen him adapt proto-jazz fusion, ethnic constructs, minimalism and austere ambient modes. Green Evil is a collection of works spanning over fourteen years; some rescued from Schutze's personal archives, others from obscure compilations.
This regrouping of material reveals Schutze as a master sound artisan, concerned with the merits of sound as ambient architecture ("The Memory of Water," "Always Past"), recombinant gamelan ("Revered Cigarette"), techno-tribalism ("Dead Hearts"), hazy beat music ("Flooded Island"), or with explorations into the machinations of the sampler on "Hallucinations." Schutze's facility for category shapeshifting and the ease with which he manipulates sound is nothing short of spellbinding. A broad cross-section of his aural ideas, Green Evil is a fine showcase for these masterful sound paintings.
Paul Schutze - Green Evil (flac 338mb)
01 The Memory Of Water 5:04
02 Revered Cigarette 4:27
03 Dead Hearts 6:08
04 The Left Remembers 6:13
05 Always Past 4:21
06 Two Mirrors Facing 3:36
07 Seribo Aso 7:50
08 Flooded Island 2:37
09 Hallucinations 8:18
10 The Heart That Fades 5:35
11 Green Evil 5:32.
xxxxx xxxxx xxxxx xxxxx xxxxx
More from Extreme....today's artist is an Australian-born composer and producer, he is among the most focused and prolific artists of the contemporary experimental electronic scene. Releasing album after album of sprawling, icy, often difficult ambient and electro-acoustic music, his work has most often been grouped with post-industrial ambient/isolationist artists ... N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Schütze was born in Melbourne, Australia. He spent his childhood painting and drawing but left Caulfield Institute after only two months of an Arts Foundation Course to work in a factory. There he earned the money to buy his first electronic musical equipment. In 1979 he spend several months travelling and ended up in London where he immersed himself in concerts, museums and galleries. Returning to Melbourne he formed seminal improvising group Laughing Hands with Gordon Harvey, Ian Russell and Paul Widdicombe. The group existed in several forms until disbanding in 1982.
Schütze spent the next decade writing scores for films. His first feature soundtrack, The Tale of Ruby Rose (1987), won the Australian Film Institute Award for Best original Music Score. During this period Schütze lectured on film sound at both Swinburne Institute and AFTRS and worked as a film critic both in print and on national radio. In collaboration with Michael Trudgeon, Anthony Kitchener and Dominic Lowe Schütze curated and featured in Deus Ex Machina, an ambitious exhibition/ publication at Monash University in 1989. This was to be his first sound installation and subsequently his first solo album.
In 1992 Schütze re-located to London during a period of particular fertility in the independent music scene and released nearly thirty albums of original works over the next decade. Schütze contributed writings to The Wire, and performed his music in Europe, Scandinavia and Japan often with regular collaborator Simon Hopkins. In 1996 he formed improvising super-group Phantom City with Bill Laswell, Raoul Björkenheim, Dirk Wachtelaer at its core and Alex Buess, Toshinori Kondo, Lol Coxhill and Jah Wobble as guest collaborators.
In 2000 Schütze was invited to exhibit in Sonic Boom at the Hayward Gallery London by curator David Toop. The same year he received a large commission for a permanent installation work for Cap Gemini and a second for a massive twenty-two screen audio/video work at the Gasometer in Oberhausen, Germany. He also contributed a sound work to James Turrell’s Eclipse event/publication in Cornwall.
In 2002 Schütze began working with Alan Cristea Gallery London. In 2003 his first solo show Vertical Memory opened at ACG. The show included prints, video, sound and a huge wall work in which the whole of Alain Robbe-Grillet’s novel Topology of A Phantom City was rendered as a continuous plane of silver text. In 2004, Stiftelsen 314 in Bergen, Norway mounted his solo show Garden of Instruments. This was the next stage in a large scale project that began in 1997 with the release of Schutze’s spoken architectural opera Second Site and continued with a series of lightboxes for ACG also in 2004. This project which is still ongoing now has its own site.
In 2006 Schütze began to work with Galleria Estiarte in Madrid showing prints, videos and lightboxes. His work is also shown at the Alan Cristea Gallery in London. Following Schütze‘s two residencies at Cité des Arts in Paris making photographs, a solo show of photography – Twilight Science – opened in London at Alan Cristea Gallery in May 2008. An ongoing commission (initiated in 1999) to make a sound work for James Turrell’s Roden Crater has involved several research trips and has now been completed as a five-hour installation piece in Dolby Surround. In 2011 Schütze launched www.dressingtheair.com an open access online platform for multisensory creativity.
xxxxx xxxxx xxxxx xxxxx xxxxx
The title of this album might erroneously suggest something heavy, abrasive and industrial, but The Rapture of Metals is in part an elegant homage to the metallic gongs of the Indonesian gamelan orchestra. The title track is the most overtly Indonesian, with electronic drones and effects enhancing a traditional gamelan gong pattern. But on several other tracks, Schütze further personalizes his use of gongs, capturing the dreamy, otherworldly quality of Indonesian court music not just by "Westernizing" Indonesian motifs but by blending gamelan sounds and scales with his own rather haunting musical vision. Elsewhere on the album, Schütze utilizes keyboard synthesizers and sophisticated electronic processing to create thick, ambivalent atmospheres which explore the boundaries between madness and ecstasy. "The Rapture of Drowning" has a viscous, aquatic texture and bursts of nightmarish discord, but nonetheless suggests a transcendent experience of some sort. And the final 20-minute piece, "Sites of Rapture on the Lungs of God," is a series of elongated musical inhalations and exhalations, comprised of cathedral organ chords, sonorous drones, intriguing dissonances and various strange electronic treatments which add another level of dislocation to the music.
Paul Schutze - New Maps of Hell II,The Rapture of Metals (flac 275mb)
01 The Rapture Of Concealment 7:30
02 Rapture Of The Drowning 9:16
03 The Rapture Of Ornament 6:00
04 The Rapture Of Metals 7:02
05 Rapture Of Skin 11:15
06 Sites Of Rapture On The Lungs Of God 21:16
xxxxx xxxxx xxxxx xxxxx xxxxx
This is the third album in a Schütze trilogy which began with 1992's New Maps of Hell and continued with The Rapture of Metals; this final chapter is a certified masterpiece. Schütze, who plays keyboards and also supplies various inventive electronic treatments (tapes, digital sampling, etc.) has something of a signature sound, but he seldom repeats himself to the extent that you think you're hearing the same ol' thing. In the two earlier albums in the trilogy, echoes of the Miles Davis electric funk emerged from time to time as an influence, along with touches of Jon Hassell and vintage Weather Report. But on this CD, connections with the electric Davis of the 1970s are much more blatant. There's no trumpet, but Julian Priester's trombone supplies an occasional approximation, and the formidable guest list also includes Bill Laswell on bass, Lol Coxhill on soprano sax, Alex Buess on bass clarinet and Raoul Bjorkenheim on noisemetal guitars. And then there's the drumming. Dirk Wachtelaer's dominant cymbal and snare work is either very closely miked, or treated (or both), but regardless, it is frequently brutal-slamming, crashing, in-your-face confrontational. Throw in some serious guitar shredding by Bjorkenheim (Finnish guitarists seem to have a talent for this sort of thing), and inspired electronic moans and howls supplied by Schütze, and you've got music that can grab you by the lapels and toss you into next week, and then turn around and drop almost instantly to an insidious, nightmarish whisper. It almost seemed as if it would never happen, but Schütze's music on this album finally picks up where Davis left off in the mid-'70s. And while Davis and his edgy jazz funk still sounds good twenty years on, Schütze sounds even better. A major rush, and a major recording.
Paul Schutze + Phantom City - Site Anubis (flac 428mb)
01 Future Nights 12:23
02 An Early Mutation 7:24
03 Blue Like Petrol 7:08
04 The Big God Blows In 7:04
05 Ten Acre Ghost 6:30
06 Eight Legs Out Of Limbo 12:34
07 Inflammable Shadow (AKA Vermillion Sands II) 6:27
xxxxx xxxxx xxxxx xxxxx xxxxx
This double album from Schütze maintains the high standards of previous releases, with one disc tending toward a kind of delicate techno jazz, and the other moving into a twilight ambient world of slow-motion musical gestures and elusive melodic fragments. Schütze's prior experience as a film composer serves him well; he is a master at creating moods, and rather exceptional in his use of musical resources, refusing to limit himself to a particular instrumental palette or style. On the more ambient disc of the two, one of the four pieces is firmly in the Brian Eno/Steve Roach mode (and as lovely as anything produced by those two artists), while another piece is much closer to the industrial genre, with an austere combination of both organic and machine-like drones, and delicate, random chime tones with occasional clicking sounds. The best track on this disc, though, invokes contemporary classical composer Morton Feldman in its glacially evolving chorus of atonal horns, sounding like some obscure and subtle ritual of an advanced, post-industrial culture. The first disc contains similar treasures, with several pieces featuring vibraphones (a favorite Schütze timbre), delicate brush work on cymbals, and a gently rhythmic bassline. The result is a delicate, drifting chamber jazz which both soothes and charms with its quiet sense of mystery.
Paul Schutze - Apart (flac 348mb)
01 Rivers of Mercury (6:47)
02 A Skin of Air & Tears (6:16)
03 The Sleeping Knife Dance (4:47)
04 Visions of a Sand Drinker (4:53)
05 The Coldest Light (4:06)
06 Eyeless & Naked (4:58)
07 The Ghosts of Animals (4:46)
08 Taken (Apart) (3:06)
09 Consequence (4:30)
10 The Memory of Water Pt II (6:12)
Disc 2
11 Throat Full of Stars (5:52)
12 Sleep I (14:27)
13 Sleep II (8:27)
14 Sleep III (18:47)
xxxxx xxxxx xxxxx xxxxx xxxxx
Paul Schutze has been steadily amassing a large and significant body of work for nearly two decades now. His embracing of differing genres and sub-categories of contemporary electronica and experimental music has seen him adapt proto-jazz fusion, ethnic constructs, minimalism and austere ambient modes. Green Evil is a collection of works spanning over fourteen years; some rescued from Schutze's personal archives, others from obscure compilations.
This regrouping of material reveals Schutze as a master sound artisan, concerned with the merits of sound as ambient architecture ("The Memory of Water," "Always Past"), recombinant gamelan ("Revered Cigarette"), techno-tribalism ("Dead Hearts"), hazy beat music ("Flooded Island"), or with explorations into the machinations of the sampler on "Hallucinations." Schutze's facility for category shapeshifting and the ease with which he manipulates sound is nothing short of spellbinding. A broad cross-section of his aural ideas, Green Evil is a fine showcase for these masterful sound paintings.
Paul Schutze - Green Evil (flac 338mb)
01 The Memory Of Water 5:04
02 Revered Cigarette 4:27
03 Dead Hearts 6:08
04 The Left Remembers 6:13
05 Always Past 4:21
06 Two Mirrors Facing 3:36
07 Seribo Aso 7:50
08 Flooded Island 2:37
09 Hallucinations 8:18
10 The Heart That Fades 5:35
11 Green Evil 5:32.
xxxxx xxxxx xxxxx xxxxx xxxxx
7 comments:
Thanks for the Schütze Posts. Unfortunately, "Site Anubis" appears to be infected, my system refuses to download. Is there any chance to re-upload? Thanks in advance.
Not sure what you are on about Chris, other visitors have no problems with bigfile.to. It certainly isn't infected why don't you try another browser there's plenty of choice there Opera,Mozilla, Chrome..oh and some patience
Can you please reup Paul Schutze + Phantom City - Site Anubis the flac link is down.
thank you
Thanks for the Anubis re-up, Rho.
...and New Maps !
Thanks. My intro to him was 99's Deus Ex Machina. Still love it. This stuff is monumental. There's such a huge amount of ambient/experimental music being released these days, elders like him can get lost in [my own] shuffle. It's excellent to be reminded of real composers and their master works that stand out through time.
Sorry for the typo- '89 not 99. That's around when I bought for $2 in the used bin.
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