Foo Fighters - The Teacher
Hollow Earth: Art, Caves & The Subterranean Imaginary
Mixing and editing. Hollow Earth: Art, Caves & The Subterranean Imaginary
STALK, 2021
Sometimes It Snows In April
Line Drawing
Modern Alchemy, 2022
Xiaomi x Daniel Arsham Advertisement, 2022
Xiaomi x Daniel Arsham Advertisement, 2022
Vec Tor Bel, 2018
Other People, Press Releases
https://inlensk.bandcamp.com/album/obratno?label=9516530&tab=music
https://terepa.bandcamp.com/album/terepa?label=9516530&tab=music
https://okokon.bandcamp.com/album/turkson-side?label=9516530&tab=music
https://soundcloud.com/otherpeoplerecords/sets/dave-harrington-before-this
https://soundcloud.com/otherpeoplerecords/sets/ancient-astronaut-album
Abstract Speed + Sound, Vaghe Stelle, 2017
Other People is pleased to announce Abstract Speed + Sound, a new seven-track recording by Turin’s Daniel Mana aka Vaghe Stelle. Previously associated with Italian label Gang of Ducks and a current member of production group One Circle with fellow nationals Lorenzo Senni and A:RA, Daniele’s roots in the emerging Italian production scene run deep and place him at its center. His is a clear, utterly contemporary voice with a unique relation and keen ear to the relevant past.
Taking its title from painter Giacomo Balla’s iconic 1913-14 work, the EP draws a critical line between contemporary digital music practices and the century-old Italian Futurist movement. Where Futurism obsessed over the automobile and its unprecedented speed, Daniele fixates on the newer precedent set by digital networks, how they move our bodies and how our representations move through them. The cover art immediately speaks to this: a digital self-portrait of the artist stylized atemporally as a Nefertiti bust and/or The Man Who Fell to Earth.
Following themes of self-making and reimagining, Daniel draws from a canon of definitive Italian films for his palette of fluttering, disembodied vocal samples. Highly processed, not exactly dehumanized, they’re evocative, yet impossible to trace—towing deep into the uncanny valley. Their haphazard arrangement and asexual timbre react to temper any masculine swagger boasted in the rhythm of these tracks. Rocky drums splash and batter like objects in viscous space, while shards of vocality replete the distortion. Follow the slipping downbeat of “Hyper” or the tragic syncopation of “Multiple Concentric Hexagons”.
Jream House, A Pleasure, 2016
Following his Extended Play EP on Other People last year, Jream House is the turbulent and spiritual debut LP of Mark Hurst AKA A Pleasure.
Blending mathematical composition with an unrestrained studio experimentalism, the sound of A Pleasure charts a space where formative influences confront the most immediate performative impulse. Using a process of numerical transposition, the names of personally significant bands and composers are converted into drum patterns. He then lets loose, improvising around these structures with a variety of traditional and unorthodox instruments: bass and guitar, bowed cymbals, drum machines juggled like turntables, blowtorch on aluminum, to name but a few. With his influences as start-points, he builds rhythmic structures literally in their namesake, blasting their hulls with walls of noise, monolithic basslines and any other jam-yielded shrapnel.
Despite the chaos and complexity of the process, the results sound neither clinical, nor garbled. The tracks always find their way to an emotive melody or strong groove. Lush guitar strums and yearning keys ride the high-speed beat of “Slow Channel”, which seems to soar through cloud-cover as one snaking mass. “The Order of Things” folds a cosmic guitar-part into a backdrop of heavily side-chained noise. “Arthur Russell” features a neck-snapping rim-shot and crushed snare that splash up the bits of an elegiac vocal part. Through violent and idyllic atmospheres, Jream House jettisons its inspirations like landing shuttles, always in search of new ground. These are songs, not just experiments.
Disquiet, John Bence, 2015
John Bence's Disquiet is a composition in three movements for soprano voice and cello, but what you hear is not that composition. After scoring and recording the full piece, Bence manipulated the recordings to produce something new. Then he wrote a new score, re-recorded, manipulated, and re-scored again ... and again. This Disquiet is a layering of many — the process is the result. It's a slow-churning, microtonal wash, at once liquid and brilliantly crystalline in effect.
Two timbres fracture into many. Vocals flicker in and out of being, wrestling with silence. A tectonic drone slides below and aerates a chorus. Cacophony blends into order as dense, subtle harmonies appear. What Bence has written falls somewhere between an electronic production and a classical composition. Where these two forms intersect is where Disquiet occurs.
Swing, Solpara, 2015
Other People is excited to announce Paul Sara’s debut EP as Solpara: Swing. Paul recently returned to his New York home after spending five years in Montreal studying, working, and composing. There, he co-founded Booma Collective with Oren Ratowsky and Valentin Stip, a local group of musicians and sound artists. Swing is a sort of summation of Paul’s time in Montreal, as well as his first full solo release outside of Booma.
For Paul, Swing is movement, sound, and hypnosis. That fine, affective modulation, as present in a drum machine or a drummer’s hand, plays a role. But so too does Paul’s memory of winter sessions in Booma’s studio (ironically named “The Furnace”), where he and his friends had to swing their bodies back and forth to keep warm. The five tracks on Swing evoke warmth within cold, cavernous spaces.
“Descent” begins the EP with a one synth panning and undulating quietly left and right before the drop of a gentle, knowing beat. Next, “Swing” bursts open with a tremendous kick looming over tumultuous layers of bass frequency filigreed by glowing chords. The gruff, calloused percussion of “Vitamin C” sounds like its rattling inside the case of a grenade. And “Short Circuit,” the longest track here and an awesome demonstration of polyrhythmic capacity, doubles as jagged sound sculpture.
The Free Fall Inspirations, 12z, 2015
Next on Other People, Hungarian electroacoustic duo 12z (onetwozed) present an eclectic palette of intricate, improvisatory tone poems with The Free Fall Inspirations. This is the first of two upcoming full-lengths with the label and the second, Trembling Air, will follow in just a few months.
As pure improvisors, Bálint Szabó and Márton Kristóf have constructed a substantial body of work, including film scores, studio recordings, and a significant archive of 12z Sessionz — weekly improvised jams with a shifting cast of collaborators. These Sessionz were compiled into a self-released podcast which followed their self-titled debut on Hungarian label Farbwechsel. All this is not even to mention their live work, which is at the foundation of 12z’s craft and artistry. With Bálint on guitar, Márton on electronics, and guest member Áron Porteleki often joining on drums, they fluctuate between jagged rhythmic passages, floating moments of harmonic tension, and any other form that emerges, always chiseling structure from the chaos.
The Free Fall Inspirations marks a significant shift in 12z's work, being their first entirely electronic recording. The album was sparked by György Pálfi's film Free Fall, for which it was recorded as a potential score, but it stands strong independently, conjuring its own strange images. Tracks are short — structures built, scenes evoked, and then left — without repetition. 'All is Vanity' creates a cool, distorted atmosphere with strobed, guitar-like twangs jumping octaves and a squeezed, modular bass stepping around odd scales. ‘Patience Is Not Just A Virtue’ evokes fear and melancholy with clattering metal, low-slung modulating keys, and a billowing foghorn. ‘Sixteen Petals of Blue Light’ rings like a duet between an organ and the glassed vibration of leaves falling on the surface of a lake. Each piece could be heard as part of some implied narrative, but The Free Fall Inspirations is not a puzzle — it’s a collection of experiments in music’s affect, where melody and rhythm are not the only tools.
Ashes 2 Ash, Ashlee, 2014
Like a dream you don’t want to admit, Ashlee’s Ashes 2 Ash is gut wrenching, punchy and frighteningly vague—a dark, minimal collage of canned sound, bleak, unaccommodating lyrics and almost-there grooves.
Meet Ashlee, your mother, your sister, the girl next door. Don’t listen to what they told you about her. Among gym-whistles, clipped chimes and noisemakers, she sings of an agitated encounter with a dog. In lazy autotune she tells you why you ought to sober up. She thinks you’re her Brother.
For every bit of the EP’s DIY irreverence there is complexity and richness in turn—of vocal phrasing, of rhythm, of language. Ashlee’s voice is so nice, but nothing she says is easy. Snatches of coherent melody bloom before an awkwardly delivered lyric or odd synth butts in. And all the while some kinda funk hangs in the back.
Tiny Mix Tapes
https://www.tinymixtapes.com/news/elysia-crampton-releases-new-album-spots-y-escupitajo
https://www.tinymixtapes.com/news/tim-and-eric-go-awesome-and-great-tour-summer
https://www.tinymixtapes.com/news/mistake-lake-founder-andrew-kirschner-seeking-medical-donation
https://www.tinymixtapes.com/news/william-s-burroughss-rare-tape-experiments-released-vinyl
https://www.tinymixtapes.com/news/n-prolenta-announces-ep-purple-tape-pedigree-shares-query-prayer
https://www.tinymixtapes.com/news/squarepusher-necks-and-james-mcvinnie-praise-organ-limited-uk-tour
Tear of the Cloud, 2018
https://tonyoursler.com/tear-of-the-cloud-new-york
Editing, animation, color, sound editing & mixing, production assistance
"Tear of the Cloud is [Oursler’s] newest and most extensive site-specific multimedia artwork, with five digital projections superimposed onto the landmarked 69th Street Transfer Bridge Gantry, the surrounding landscape, and the flowing water of the Hudson River itself. These spectral images combine with an evocative soundscape to create a dramatic experience that transforms Riverside Park each night." - Public Art Fund
Water Memory, 2019
Editing, animation, color, sound editing & mixing, production assistance
6th, 2019
Editing, animation, color, sound editing & mixing, production assistance
https://tonyoursler.com/6th-hobart
"For Dark MOFO Oursler has produced a site specific sound and light intervention in the Beaumaris Zoo. The artist takes a darkly humorous approach to the erosion of critical thought, rise of fake news, conspiracy theories, superstitions, and all forms of magical thinking while asking the question: Is truth on the verge of extinction? The cage which was the home of the last living Thylacine, or Tasmanian Tiger, becomes the site of a digital de-extinction of the legendary beast via sweeping projections, music and light." - Dark MOFO
Eclipse, 2019
Current, 2019
Editing, animation, color, sound editing & mixing, production assistance
No Transformation, 2020
State_Nonstate (Hypnose), 2020
https://tonyoursler.com/state_nonstate-hypnose
"Video sketches, close to the spirit of early cinema, animate a decor populated with multiple objects, sculptures and screens … Tony Oursler mixes multiple visual references to the history of hypnotism and various contemporary anxieties linked to digital technologies. The installation consists of a dozen works in which sculpture and video art interact. For example, Franz Mesmer and his caricature, a donkey hypnotizing a patient, Magnetic Tree, a four-metre high tree that alludes to the tree that Puységur had magnetized and to which patients were connected by ordinances to heal, as well as a piece referring to the beat generation and Brion Gyson's Dreammachine, producing a disturbing visual phenomenon that induces relaxation, in a similar way to a hypnosis session." - Musée d’arts de Nantes
Black Box, 2021
Editing, animation, color, sound editing & mixing, production assistance
https://tonyoursler.com/black-box
https://tonyoursler.kmfa.gov.tw/
"Black Box is the first full-scale retrospective of Tony Oursler in Asia, this momentous exhibition will showcase his most definitive video installations, experimental films, and cinema work over nearly four decades." - Kaohsiung Museum of Fine Arts
Anomalous, 2022
Editing, animation, color, production assistance
https://tonyoursler.com/anomalous
https://elysee.ch/en/2022/06/tony-oursler-anomalous/
"For the inauguration of its new building, Photo Elysée gives carte blanche to Tony Oursler. On this occasion the American artist presents three video installations in the LabElysée space. By exhibiting a particular theme, the testimonies of encounters with unidentified flying objects (UFOs), Oursler questions our relationship to images and their influence in a world where screens are becoming increasingly widespread. Consisting of photographs, documents and videos depicting UFOs, the installations explore the visual constructs of ufology. They invite visitors to take a position on what they see and question the status of the information presented to them." - Photo Elysee
Crossing Neptune, 2022
Editing, animation, color, sound editing & mixing, production assistance
https://www.fotofocus.org/fotofocus-exhibition/tony-oursler-crossing-neptune
https://tonyoursler.com/crossing-neptune
"Crossing Neptune is an exhibition featuring archival works on the theme of water from the personal collection of artist Tony Oursler—photographs, mostly anonymous, of baptisms, “blob monsters,” ice formations, and actual vessels of holy water—plus original installation works by Oursler on water as a transformative element embodying a long list of inherited, paranormal mythologies." - Fotofocus
mAcHiNe E.L.F., 2023
Editing, animation, color, sound editing & mixing, graphic design, production assistance
https://tonyoursler.com/machine-elfhttps://www.lehmannmaupin.com/exhibitions/tony-oursler-7"For his latest exhibition the artist has created a series of “electrified” silhouettes that feature painted and printed collages interspersed with embedded digital displays, as well as an immersive, large-scale installation of optical crystal structures that act as reflecting screens for a kaleidoscopic digital projection of otherworldly performers and hand drawn and AI-generated animations." - Lehmann Maupin