Happened upon the music of LANNDS recently and I began to listen to the songs over and over (and over). The music is pop, indie, electronica and it’s beautiful. Lyrics, rhythms, synth work and arrangements blend into a magical and ethereal wash of sound and the songs carry a depth of sadness and hope. There are connections for me (not necessarily for anyone else) with the sounds Shura makes (especially on Metanoia – look that up, it’s a lovely word), as well as perhaps IDER (on the list for this series). And the guitar riffs on Young Years are as great as The Van Pelt. I’m looking forward to a lot more – this music deserves to be heard.
LANNDS is based in Jacksonville, Florida.
No YouTube vids I’m afraid, or Bandcamp… so here’s a picture of the painting on the dining room table where I usually work.
The best record labels don’t just release music, they shape the culture around them as well. So was the case with Rephlex Records. Founded in Cornwall, UK in 1991 by Grant Wilson-Claridge and Richard D. James, whose innovative productions as Aphex Twin were just beginning to find an audience, Rephlex specialized in a playful, psychedelic take on the acid techno sound coming out of Chicago and Detroit. They even had a name for this unusual sub-genus: braindance.
More widely, this music became known as IDM, and throughout the 1990s, Rephlex seemed to work in parallel with the bigger, London-based independent Warp Records to sketch out the parameters of the genre. While high-profile Aphex Twin albums went to Warp, James used Rephlex as a home for work under his lesser-known pseudonyms, AFX and Caustic Window. Meanwhile, the pair worked to develop an idiosyncratic stable of artists, mixing up the likes…
At the Railway Inn in Ashcott, Somerset, at the far end of a sloping lawn on the edge of the bird sanctuary swamp, there are two enormous statues made of some kind of resin or plastic, but they look like stone.
The following text is from Wikipedia. Info on Leila is sparse. Her music is rich, complex and fabulous.
Leila (born Leila Arab Persian: لیلا عرب) is an Iranian-born recording artist, producer and DJ based in London, England.
She has worked with prominent European musicians including Björk, and has released music on Rephlex Records, XL Recordings and Warp Records.
She has also recorded experimental and rare music under the alias Grammatix (credited as Aliel Bara) and Little Miss Specta. Most recently, Leila released the album U&I for Warp Records featuring Mt.Sims in January 2012, her latest since 2008’s Blood, Looms & Blooms.
In 1993, she began working with Björk for the ‘Debut’ and ‘Post’ tours. In 1998, she released her debut album ‘Like Weather’ on Rephlex Records which included the single Don’t Fall Asleep. The album features vocal contributions from Donna Paul, Luca Santucci and Leila’s sister, Roya Arab. In 2000, she released Courtesy of Choice on XL Recordings, with vocal contributions from the same singers. In 2003, she rejoined Björk for her 2003 greatest hits tour. In 2005, a collaboration between Leila and Björk from the greatest hits tour called ‘Nameless’ (subsequently titled “Storm”) appeared on the Matthew Barney film and soundtrack of Drawing Restraint 9. In 2008, she released her album Blood, Looms and Blooms on Warp Records. On this album, Leila worked with Terry Hall and Martina Topley-Bird in addition to her long term collaborators Luca Santucci and Roya Arab. In 2009, she contributed a cover of an Aphex Twin song to the Warp20 (Recreated) compilation. Her song ‘Underwaters’ is the track on the 2011 Avios advert with the flying electrical equipment.
Like Weather (Rephlex Records, 1998)
(EPs/Singles:) ‘Don’t Fall Asleep’, ‘Space Love’.
Courtesy of Choice (XL Recordings, 2000)
Blood, Looms, and Blooms (Warp Records, 2008)
(EP/Singles) ‘Mettle’, ‘Deflect’.
U&I (Warp Records, 2012)
(EP/Singles) ‘(disappointed cloud) anyway’, ‘welcome to your life’
Patricia Anne “Trish” Keenan (28 September 1968 – 14 January 2011) was the lead vocalist and founding member of Broadcast. She died of complications after suffering from pneumonia shortly after she contracted flu while touring in Australia.
For me, Trish had one of the most memorable and haunting voices ever. I was lucky to see her perform with Broadcast at Koko. She was lost to the world too soon… I will miss her.
Here she is singing ‘Come on Let’s Go’ on Jools Holland.
And here is some immortal hauntology from Broadcast and The Focus Group. All circles vanish…
Perhaps you remember Mr. Partridge, my sorry-looking bird I hastily painted last month for “Draw-a-Bird” day. Or, more likely, perhaps you’ve forgotten the woefully-misshapen fellow with his scraggly feathers and sad beak.
I’ve wished I could forget him, but he’s been sitting in the back room, mocking me each time I set foot through the door. “Oh, you thought you could paint!” he cries out to me. There’s no point trying to explain to him that he was never intended to be a work of art. He was just a quickly-painted sketch in honor of our monthly celebration.
For quite some time — actually, ever since I painted him — I’ve been planning to re-use the canvas upon which he reposed in all his glory. But maybe out of sympathy for the poor, bedraggled bird, I hadn’t gotten around to it.
Half of the sibling duo The Knife and aka Fever Ray (the official website is even better than the erstwhile Boards of Canada one!), Dreijer Andersson is an experimental musician and performer, exploring the boundaries between acoustic and synthetic sound and developing wild, creative and eerie visual art to accompany in video and on stage. There’s an entertaining and somewhat ironic ’10 Things you didn’t know’ here.
Dreijer Andersson creates unique and haunting soundscapes and worlds in her work. I find the music compelling, uncomfortable and addictive and I keep coming back to it.