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Bernholz has been collaborating with Neil Arthur of Blancmange.

Their new project is called ‘Near Future'; the duo have produced music and artwork through a series of timed email exchanges, resulting in the angular, percussive ‘Ideal Home’ as their debut single. The shared vocals and atmospheric production (with lyrics by Bernholz) maintain a balance between cold, detached observation and human feeling. The track has already received airplay courtesy of Gideon Coe on BBC 6Music.

Meanwhile, the B-side ‘Overwhelmed’ is more emotional. A quietly moving piece of music written and recorded by Bernholz, the track inspired Neil Arthur to write the words, take the lead vocal and add some further loops and sounds.

‘Ideal Home/Overwhelmed’ will be released on Blanc Check Records on 22nd April 2016. There are limited signed promo CDs available online.

Near Future will be recording more material throughout the year and plan to release their debut album in 2017.

Twixt Two Worlds

On Friday 31 October 2014 we hosted an event at Towner, the contemporary art gallery in Eastbourne. Our evening of music and film was inspired by Towner’s current exhibition, ‘Twixt Two Worlds’, which explores the relationship between still photography and film. Our event featured DJ sets of ambient and experimental electronic music by Acquaintance and Bernholz, and a reconstruction of Acquaintance’s set is now on Mixcloud. The set includes classic ambient sounds from Pete Namlook, Gas, Jochem Paap, and others, alongside more recent material by Eva Bowan, Somni, Rosen, and Acquaintance himself.

Acquaintance’s Ambient Mix by Anti-Ghost Moon Ray on Mixcloud


The newest 12″ from WANDA GROUP is released by Where to now?‘ in August.

‘Masculinity is a wonderful thing’ is a dense, sculptural clutter of gauze-thin cut up samples, loops and embellished found sounds. It’s an intense, and incredibly direct listen. Louis Johnstone seems resolutely artless and at the same time all the more an artist for it. He would no doubt hate a sentence like that. I just can’t think of a better way to describe the incredible way his collages make all formal music ideas seem worthless whilst you become lost in his world.

Pre-order here.

The music of Henry

Henry Plotnick is an improvisational musician, creating long, drawn-out, ambient pieces using the most basic of Yamaha keyboards, and a Line 6 DL-4.

His pieces evoke the arpeggio based minimalism of Steve Reich, Terry Riley and Philip Glass. If not maybe possessing as much in the way of the sophistication as these composers, he still has an ambition and playfulness not to be overlooked.

Henry Plotnick’s album, ‘Fields’, is an ambitious, patient and ever evolving series of ideas, charmingly simple, but genuinely startling. Released on vinyl through ‘Holy Mountain’ on the 23rd July, it can already be downloaded here:

He has recently been performing improvised pieces in art galleries, as well as posting videos on the internet which are tragically under-viewed.

Henry Plotnick is 11 years old.

Soulnessless (part one)


I’m listening to the longest album ever made. Well, that’s how it’s described by Terre Thaemlitz, the artist who pieced together 32 hours’ worth of music and released it under the name Soulnessless earlier this year. However, I doubt that it’s the longest anything ever made, considering the current obsession with breaking boundaries in art. And In fact, it’s not really an album at all, but rather a quite extraordinary multimedia artwork… but before we get into that, I’ll briefly explain the simple facts.


Soulnessless consists of five tracks, called ‘cantos’ by Thaemlitz. The first four last about an hour and 20 minutes in total. The fifth canto is the biggie: it will happily consume 30 hours of your aural life without blinking. What does it sound like? Cantos 1-4 are electro-acoustic ambient pieces with piano and field recordings, while Canto 5 is a minimalist solo piano piece: nothing but long sustained chords, over and over again. For 30 hours.


The scale of this thing raises a lot of technical questions. How was it made? Apparently Thaemlitz just sat in front of a piano for 4-6 hour sessions and played the chords, then edited the recordings together. How is it distributed and listened to? It comes on a 16GB SD card, which you plug into your computer. You’re advised to copy all the files onto your hard drive before attempting to hit play, and you’re warned that Thaemlitz will not send you another SD card if you accidentally wipe it, so be careful! And it’s not just audio files that you have deal with: there are lots of video files and PDFs on there too.

Soulnessless DVD-R

I imagine this will be quite off-putting for a lot of people. As listeners we’re more concerned than ever with the presentation of music as a cultural artefact; consider the on-going fetishization of vinyl, for example. We want music to be a finely-crafted aesthetic experience. In contrast with this, preparing to listen to Soulnessless feels a bit like installing a new operating system.


But make it past the set-up stage and you’ll be rewarded with something quite remarkable. It turns out that what Thaemlitz has really made is a kind of video art. Cantos 1-4 appear in full on the soundtrack, the essays in those PDFs form the narrative, and the visual content was all produced by Terre as well. These are not music videos in any normal sense, they’re highly personal, thematically-related mini documentaries/film essays about religion, gender, technology and power.


That might sound dry, and it’s true that Thaemlitz is not afraid to be academic, but there is a conviction behind all this that is quite compelling. ‘I hate religion. I hate all religions. Without exception. Yours too… I have never encountered a form of spirituality that did not involve the reification of ignorance.’ That’s a fairly unequivocal way to start, but it’s not all straight up God-bashing. It quickly becomes apparent that Thaemlitz has thought very carefully about the topics he discusses, and some of them have been affecting him since childhood.


Still from Soulnessless

I think it’s fair to say that the music and imagery are secondary to the ideas being presented explicitly in the text, but they are certainly evocative and unusual, propelling Soulnessless beyond video essay into a form of multimedia art. I’m not going to attempt a critical analysis of Thaemlitz’s work, but I imagine that lots of other people will want to: it will be useful for anyone studying radical ideas of (trans)gender within Catholicism; illegal immigration of Filipina(o)s in Japan; modern ghost stories; the electronic audio equipment used in convents; the ‘militarization of U.S. Catholic Schools as Army and Navy training grounds’.


In part two of this article I’ll discuss Canto 5: Meditation on Wage Labor and the Death of the Album, aka The Thirty-Hour Piano Solo that Crashed Your iTunes.