Bandcamp lo bit landscapes records
Lorna Dune’s journey through sound - and arrival at the music on the"Miamisphere" EP - has been a rather unique one, and not one you’d expect to culminate in one of the most interstellar cosmic techno 12“s in recent memory.
Lorna Dune is the stage name of Lorna Krier, a virtuosic performer of “New Music” (think: classical music that is still being written), particularly in the Minimalist tradition, serving as a founder of several chamber style ensembles and a keyboardist/synthesist in numerous Brooklyn-based electronic music bands/collectives/groups of people making sound together.
Her work with composer Missy Mazzoli
in the quintet Victoire
on the record “Cathedral City” was named “One of the top 10 classical albums of 2010” by NPR and “one of 2010 most memorable albums” by The New Yorker magazine. She has worked extensively with composer & visual artist Tristan Perich
, has performed Steve Reich‘s music for Steve Reich himself, has joined the Philip Glass Ensemble as a keyboardist in the past, as well as appearing on stage at the Whitney, MoMA, New Museum, Carnegie Hall, Millenium Park, and more throughout the US, Canada, and Europe.
While obviously rooted in the sound of techno (Lorna admits to a deep infatuation upon the discovery of the heavier side of the form—maybe particularly with the sounds of Stephan Bodzin and Andy Stott—in the years before this EP was written), Miamisphere manages to incorporate many of the structures and harmonic motivations that inform so much of the Minimalist tradition. On first listen, it sounds like a collection of amazing dancefloor anthems, but closer inspection reveals a depth of composition that is quite difficult to find in the interlocking worlds of techno, house, and other such forms. From the swooping synths and rapid arpeggiations of evolving chordal forms on the opener, “Plasmodium”, to the basically surefire hit of “Agnes Day” and the acid-influenced, lower-BPM, but perhaps even more complex tonal range of “Miamisphere”, the uplifting and emotional content of the music—not just sound—squeezes through.
Closing with a vintage “stoner house” remix by NYC‘s mysterious Terekke(L.I.E.S.)
and issued on NIHITI‘s lo bit landscapes
imprint, imbued with a sense of mystery that is equal parts “Dune” mythos and new Brooklyn scene, “Miamisphere” is not the kind of record you are likely to encounter often in your travels through electronic music.
LORNA DUNE- Miamisphere EP
Release date: October 3rd, 2013
lo bit landscapes
Bandcamp Dazzleships Records
is the solo synthesizer project of Brooklyn-based experimental musician, Lorna Krier. Sidereal
, her debut EP, was released on cassette and digital download in March 2012 through Dazzleships Records.
Lorna Dune has been described as a combination of minimalist synthpop and psychedelic dreamwave; a cosmic odyssey of analog synthesizers creating nebulas of ambient drones, poly-rhythmic clouds, soaring saccharine melodies, all supported by a perpetual motorik drive.
New Amsterdam Records Amazon iTunes eMusic
is a new chamber-rock ensemble founded by composer/keyboardist Missy Mazzoli, featuring Olivia De Prato (violin), Eileen Mack (clarinet), Lorna Krier (keyboards) and Eleonore Oppenheim (double bass). This group, a stirring blend of winds, strings, keyboards and lo-fi electronics, performs Mazzoli’s distinct blend of dreamy post rock, quirky minimalism and rich romanticism, and was recently dubbed “an all-star, all-female quintet“ by Time Out New York.
Their debut album Cathedral City, released in 2010 on New Amsterdam Records, received high praise from classical and indie rock press alike. It was names one of 2010′s best classical albums by the New York Times, Time Out New York, the New Yorker and NPR. Pitchfork gave Cathedral City a 7.8, claiming that “Victoire condense moments of focused beauty and quiet conviction from the pandemic distractions of modern life.“ Since forming in 2008 they have shared the stage with Tortoise, Buke and Gass, Twi the Humble Feather, Redhooker and many others, performing at many top venues including New York’s Le Poisson Rouge, Chicago’s Millennium Park, Joe’s Pub, Roulette, the Whitney Museum, Galapagos, The Stone, and the Bang on a Can Marathon.
For more information, visit www.victoiremusic.com
Buy 12" Red Vinyl HERE Amazon iTunes eMusic
LOVE LIKE DELOREANS' self-titled debut album bridges
contrasting styles: Reich-like conceptualism meets heart-on-sleeve
melodies while switched-on baroque pop crosses with Dinger-esque
motorik drive. Unlike the heavily studio-created techno-pop of recent
times, all of the keyboards on the record were performed by hand,
bringing a human warmth to an often cold and calculated medium.
Listeners gaze out the back window on a road trip through spacious
electronic landscapes daydreaming of childhood casios under whispy
analog synth clouds.
The group formed in fall of
2007 by Lorna Krier and Peter Pearson, who had moved to Brooklyn from
Milwaukee to become involved in the New York experimental scene.
There they met Derek Muro, a graduate from Manhattan School of Music and the magic began.
eMusic only eMusic Selects Interview