Touch, February 2011
Igloo Magazine | 3view 2011.2
Igloo Magazine have published reviews of three recent Touch albums by Eleh, Phill Niblock and BJNilsen. They write: "Touch has long been a label that embraces experimental electronic music by an array of respected musicians, many who have released material over an extended period of time through the label. Resplendent in founder Jon Wozencroft’s distinctive sleeve designs, Touch is always mindful of quality both aesthetically and musically, and continues to deliver the best in experimental electronic listening music that is high in concept and creativity."
Read the full article at www.igloomag.com
TO:64LP | Johann Johannsson "Virthulegu Forsetar"
Photography by Jon Wozencroft
Cut by Jason @ Transition
A. Part 1 (14:51)
B. Part 2 (14:14)
C. Part 3 (14:45)
D. Part 4 (21:45)
This is his second album for Touch, after the highly acclaimed 'Englabörn' [Touch # TO:52], about which The Wire said: "...expressive leitmotifs that unveil a profound sadness without ever wallowing in pathos" and Boomkat called it "a work of rare beauty and ... a rare jewel". 'Virthulegu forsetar' contains one hour-long piece for 11 brass players, percussion, electronics, organs and piano. The piece had its live debut in Hallgrimskirkja, a large church in Reykjavik and the city's towering edifice, and was named "the most memorable musical event of 2003" in Iceland's leading newspaper. The piece has Englabörn's quiet, elegiac beauty, but abandons the brevity of the first album's exquisite miniatures in favor of an extended form that reveals a long, slow process. A simple theme played by the brass section is repeated throughout the entire piece using different voicings and instrumentation. As the piece goes on, the tempo slows down, until it is extremely slow. Around the middle of the piece, the tempo starts to speed up again, until it reaches the original tempo. Space and the sense of place were very important in the performance and recording of the piece. Players were positioned both in front and at the back of the church and two organs were used, again, one in front and one at the back. This created a sense of immersion and a sound that is powerful without ever being 'loud'.
Jóhann writes: "During the first live performance of the piece, the church ceiling was filled with blue helium balloons which were timed to fall extremely slowly to the ground during the performance and scatter among the audience. To our pleasant surprise, the balloons reacted with the sound, falling with greater frequency as the volume increased. During the performance the light slowly changed through the church windows as the sun went down. The concert was fairly late, ending at around midnight and it being a bright, cloudless spring evening, the combination of all these physical and natural processes made for quite a memorable moment". "I had a number of things going through my mind during the writing of the piece, some of them being an obsession with entropy, Pynchon's "The Crying of Lot 49", postal horns, cybernetics, small birds, heat, space, energy, "singularities", Nietzsche's Eternal recurrence, Moebius strips. I'm absolutely not interested in imposing any one 'meaning' on the piece, but all these things were flying around somewhere in my head. A casual listener might categorize the piece as ambient or meditative, but I think this is really wrong - for me it's much more about chaos and tension rather than harmony. I go through many different emotions listening to the piece, veering from intense joy to acute sadness. The central point is perhaps how a very simple thing can change by going through a very simple process - something about change and transformation and the inevitability of chaos."
"Virthulegu forsetar" is performed by the Caput Ensemble, conducted by Gudni Franzson, with Skuli Sverrison on bass and electronics, Matthias M.D. Hemstock on bells, glockenspiel and electronics, Hordur Bragason and Gudmundur Sigurdsson on organs and Johann Johannsson on piano and electronics.
Jóhann Jóhannsson is an Icelandic musician, composer, producer and an active member of the country's artistic community (as co-founder of the Kitchen Motors label / think tank / art collective, founder member of Apparat Organ Quartet and also as a serial collaborator). His lushly sophisticated and hauntingly melodic music has been quietly bewitching listeners for some time - with several full-lengths released on Touch and 4AD labels, as well as numerous scores for for film and theatre.