Miles [Whittaker] je 50 % dua Demdike Stare odnosno Millie & Andrea (bio je i član benda Pendle Coven), a ovo mu je nakon EP-ja Facets, prvi album koji potpisuje osobnim imenom (prijašnje je potpisivao kao MLZ i Suum Cuique).
Povijest muzike ispisana na golom tijelu koje leži na smrznutom jezeru.
soundcloud
Miles, Facets EP (2011)
30 minute EP of dismantled Techno, House and squashed electronics from Miles, one half of Demdike Stare* Miles is one half of Demdike Stare and Pendle Coven and has recorded in the past under the aliases Millie and MLZ. After almost 15 years writing music, this is the first release Miles is putting out under his own name and marks a turning point of sorts in his production style, or rather, in its sequencing. 'Facets' brings together different ends of his production style, unifying elements of the House and Techno he’s most commonly released as MLZ together with the more broken production signatures usually reserved for Millie and the darkened tribalism of Demdike Stare. “Flawed” opens the set with a Linn loop from the archives, stretched and slowed down with an intoxicated aesthetic that’s somewhere between House and Dub, before “Lustre” re-configures source material originally keyed in by labelmate Andy Stott with a nice line in squashed percussion. ‘Primer’ on the flip extends from a Demdike Stare outtake and veers off into an analogue drum machine ruckus, before “On The fly” ends the set with a recording made straight to mixing desk from an array of mis-wired and malfunctioning drum boxes, contact microphones and samplers, over at his studio The Mill earlier this year. - boomkat
Suum Cuique, Ascetic Ideals (2012) soundcloud
Suum Cuique is the alias used by Demdike Stare's Miles Whittaker to vent his purest analogue noise experiments. Giving a stoic nod to the hardware emissions of Mika Vainio or Maurizio Bianchi, and conducted with a meditative practice comparable with Eleh, his 2nd album 'Ascetic Ideals' is the sound of Miles' machines coaxed into revealing their bleakest secrets, often recorded straight from the mixing desk with no overdubs or edits. Aesthetically, it's closest to his Demdike Stare material, as opposed to his Pendle Coven or MLZ releases, and was - perhaps unsurprisingly - crafted in between sessions for the 'Elemental' album. But these tracks are far more stark, murky and extreme than anything in the Demdike cache. The sound veers between outright shock attacks like opener 'Strohtopf' to plangent techno malfunctions on 'Kuiper Analysis' and the shellshocked, Alberich-like sound sphere of 'Core Values', leading us blindfolded thru the infernal torture chambers of 'Proton Aesthetic' and the Carpenter-esque closing sequence 'Dionysus Decay'. Recommended for the headstrong, just make sure to play this double loud. - boomkat
For their first release of 2012, Modern Love delivers the second album from Suum Cuique, the analog noise/experimental project from Miles Whittaker, one-half of Demdike Stare. The first Suum Cuique album Midden (YOUNGAM 002LP) was released on Modern Love sub-label Young Americans back in 2010, with these new recordings made in the intervening years and in between sessions for the Demdike Stare album, Elemental. What differentiates this project from all the others Whittaker is involved with is that the material recorded under Suum Cuique was made using analog hardware only, often recorded straight from the mixing desk with no overdubs or edits. The sound veers from the intense shards of noise that make up album opener "Strohtopf" to the padded techno malfunctions of "Kuiper Anomaly," the found sound/shortwave radio signals of "Atlas Levels" to the mystical rotations of "Intonation" and the electrified drones of album closer "Dionysus Decay." Although there are obvious sonic threads running between Suum Cuique and Demdike Stare, the material on Ascetic Ideals is much more stark, at turns recalling the work of Mika Vainio, Eleh, Maurizio Bianchi and even John Carpenter, whose nightmare visions lurk somewhere deep in the mix. Mastered and cut by Lupo at Dubplates & Mastering, limited to 700 copies. - experimedia.net/
This is a 12” of ambient/noise experimentalism from one of the blokes from Demdike Staremade by using analogue hardware only, recorded straight from mixing desk with no overdubs or edits.
The sound veers from the intense shards of noise that make up album opener 'Strohtopf' to the padded techno malfunctions of 'Kuiper Anomaly', the found sound/shortwave radio signals of 'Atlas Levels' to the mystical rotations of 'Intonation' and the electrified drones of album closer 'Dionysus Decay'. I've just copied this from the press release as I'm too hot to write this review. I hope it gives you some kind of idea. It's nice stuff, but not an easy listen. It's not Sheryl Crow or anything - don't you worry about that! I'm off outside for an ice pop. - Norman Records
“Proton Aesthetic”
Music listeners nowadays search relentlessly for variety and, like the human eye finding faces in wood grain or forming pictures in the clouds, seeks to order that variety by whatever means necessary. Critics will invent subgenres within subgenres, mash genre names together with relevant nouns and adjectives, and if that process finally misses the mark, we often toss it all under a catch-all, the genre-less genre: noise. Miles Whittaker (Demdike Stare) in his output as Suum Cuique is looking not so much to stretch your sense of musical order, but to reveal hidden opportunities within what once seemed exhausted of further potential. Whittaker makes no claim to breaking new ground; Ascetic Ideals may feel like an appendix or sub-basement to Demdike Stare’s sprawling Elemental, but using new instrumentation, methods, and structures, Whittaker continues to mine the still fertile recesses of his pre-established oeuvre.
Properly experiencing Ascetic Ideals requires deep listening. Each peal of static, each percussive sting, each spectral pad is rich with texture and yields to the attention of the ear, opening onto new lands within what might seem at first blush a typical ambient tone. Whittaker has traded his samples and much of his digital gear for analog instrumentation, allowing him to encode a different sort of timbral variety in the caverns of reverb and delay in which he treads. The digital/analog debate has existed in its inanity for decades now, but to call it a debate suggests that there is something to argue about. As many have said before: they’re just different. Matters of taste such as this one will never resolve, and the best artists will recognize when the use of either technology will suit their purpose. Whittaker’s choice here helps to distinguish the sound of this record from the more produced Elemental. In fact, Whittaker recorded much ofAscetic Ideals without overdubs, often even sending the raw mix straight to print. As opposed to Demdike Stare’s method of cloaking their sample sources with layers of process, Whittaker finds the murkiness within the devices themselves and allows them to shine without extra layers of varnish. This approach lets the analog processes reveal their own depths while also creating a more raw dynamic range. Sounds jut out of the mix as if trying to escape the recording, and jarring blasts sometimes disrupt the oceanic bliss hidden within the textural swash. These occasional bursts do not annoy so much as surprise, sometimes with horror-flick efficiency (did that opener get you?).
This is not a collection of odds and ends, nor does it fully break from the sound Whittaker helped develop on Elemental. Where Elemental maps a cave filled with varying terrain features — deep, resonant cavities; sharp stalactites; clusters of quartz crystal; running and stagnant waters; lurking monstrosities —Ascetic Ideals results from Whittaker’s use of that map to explore individual branches within the complex, digging into the walls to reveal un-plundered veins of minerals and diving into the depths of its tenebrous pools to drag out artifacts. Ascetic Ideals may not be the grandest statement Whittaker has made this year, but that doesn’t affect the quality of the material, revealing that even the most extensive journeys conceal unexplored territory. - MATTHEW PHILLIPS
Suum Cuique, Midden
Suum Cuique (pronouned Soom Kwi-Kwe, Latin for "To Each His Own") follows the remit of Young Americans to explore uncharted, experimental, and personal synthscapes, guided by the hand of intuition with an entirely analogue array of machines. In 'Lithic Reduction' concrète textures grind like a millstone to release powdery clouds of analog dust, settling only to be dispersed by gusts of blackened distortion, whereas 'Red Binary' is distinctly electronic, revolving around muted radar bleeps like the resonance from SAW II soundtracking a speckly pill experience that's starting to go west. The album's centrepiece, the aptly titled 'Entropy' nods to the sublimely stoic work of Eleh, radiating microtonal bass shifts while a bitter northerly wind builds in intensity. 'Cyclic Redundancy' opens the flipside with a majestically submerged slab of completely obliterated and submerged 4/4, like an unholy collusion between Mika Vainio, Sandwell and Bernard Parmegiani soundtracking a trade union rave in the 1950's, before 'Even In Death...' conjures imagery of a eulogy given by a Mongolian throat singer with crows circling overhead.
Demdike Stare's Miles with an incredible set of dark analogue productions somewhere between Eleh, Pan Sonic and Eliane Radigue. Comes housed in a white-on-white embossed sleeve - limited copies available* Suum Cuique (pronouned Soom Kwi-Kwe, Latin for "To Each His Own") follows the remit of Young Americans to explore uncharted, experimental, and personal synthscapes, guided by the hand of intuition with an entirely analogue array of machines. There's a confidence and ability to these productions which elevates them above the masses of lo-fi synth meanderings currently murmuring in the underground, occupying the tantalising space between Eliane Radigue and James Ferraro, or Thomas Köner and Daphne Oram, creating a dialogue between their shared and opposing aesthetics to give an emotional response with deeply chilling and engrossing results. In 'Lithic Reduction' concrète textures grind like a millstone to release powdery clouds of analog dust, settling only to be dispersed by gusts of blackened distortion, whereas 'Red Binary' is distinctly electronic, revolving around muted radar bleeps like the resonance from SAW II soundtracking a speckly pill experience that's starting to go west. The album's centrepiece, the aptly titled 'Entropy' nods to the sublimely stoic work of Eleh, radiating microtonal bass shifts while a bitter northerly wind builds in intensity. Brilliantly out of place, 'Cyclic Redundancy' opens the flipside with a majestically submerged slab of completely obliterated and submerged 4/4, like an unholy collusion between Mika Vainio, Sandwell and Bernard Parmegiani soundtracking a trade union rave in the 1950's, before 'Even In Death...' conjures imagery of a eulogy given by a Mongolian throat singer with crows circling overhead. - boomkat
This is a curiosity on the same label that issued the excellent Daphne Oram vinyl edition. This is basically a mysterious minimal record by an anonymous artist producing reduced drones and dark ambient tones. The press has made comparisons to Eleh, Mika Vaino/ Pan Sonic, Thomas Koner, Eliane Radigue etc and certainly this is treading very similar turf with expansive slowly shifting passages and some almost isolationist frosty washes. The second side begins with a sort of icy smothered techno beat which I reckon would sound great through a massive system then things head off into subtle stormy sounds which is a fine blend. All good quality stuff. -Norman Records
Suum Cuique is the alias used by Demdike Stare's Miles Whittaker to vent his purest analogue noise experiments. Giving a stoic nod to the hardware emissions of Mika Vainio or Maurizio Bianchi, and conducted with a meditative practice comparable with Eleh, his 2nd album 'Ascetic Ideals' is the sound of Miles' machines coaxed into revealing their bleakest secrets, often recorded straight from the mixing desk with no overdubs or edits. Aesthetically, it's closest to his Demdike Stare material, as opposed to his Pendle Coven or MLZ releases, and was - perhaps unsurprisingly - crafted in between sessions for the 'Elemental' album. But these tracks are far more stark, murky and extreme than anything in the Demdike cache. The sound veers between outright shock attacks like opener 'Strohtopf' to plangent techno malfunctions on 'Kuiper Analysis' and the shellshocked, Alberich-like sound sphere of 'Core Values', leading us blindfolded thru the infernal torture chambers of 'Proton Aesthetic' and the Carpenter-esque closing sequence 'Dionysus Decay'. Recommended for the headstrong, just make sure to play this double loud. - boomkat
This is a 12” of ambient/noise experimentalism from one of the blokes from Demdike Staremade by using analogue hardware only, recorded straight from mixing desk with no overdubs or edits.
The sound veers from the intense shards of noise that make up album opener 'Strohtopf' to the padded techno malfunctions of 'Kuiper Anomaly', the found sound/shortwave radio signals of 'Atlas Levels' to the mystical rotations of 'Intonation' and the electrified drones of album closer 'Dionysus Decay'. I've just copied this from the press release as I'm too hot to write this review. I hope it gives you some kind of idea. It's nice stuff, but not an easy listen. It's not Sheryl Crow or anything - don't you worry about that! I'm off outside for an ice pop. - Norman Records
“Proton Aesthetic”
Music listeners nowadays search relentlessly for variety and, like the human eye finding faces in wood grain or forming pictures in the clouds, seeks to order that variety by whatever means necessary. Critics will invent subgenres within subgenres, mash genre names together with relevant nouns and adjectives, and if that process finally misses the mark, we often toss it all under a catch-all, the genre-less genre: noise. Miles Whittaker (Demdike Stare) in his output as Suum Cuique is looking not so much to stretch your sense of musical order, but to reveal hidden opportunities within what once seemed exhausted of further potential. Whittaker makes no claim to breaking new ground; Ascetic Ideals may feel like an appendix or sub-basement to Demdike Stare’s sprawling Elemental, but using new instrumentation, methods, and structures, Whittaker continues to mine the still fertile recesses of his pre-established oeuvre.
Properly experiencing Ascetic Ideals requires deep listening. Each peal of static, each percussive sting, each spectral pad is rich with texture and yields to the attention of the ear, opening onto new lands within what might seem at first blush a typical ambient tone. Whittaker has traded his samples and much of his digital gear for analog instrumentation, allowing him to encode a different sort of timbral variety in the caverns of reverb and delay in which he treads. The digital/analog debate has existed in its inanity for decades now, but to call it a debate suggests that there is something to argue about. As many have said before: they’re just different. Matters of taste such as this one will never resolve, and the best artists will recognize when the use of either technology will suit their purpose. Whittaker’s choice here helps to distinguish the sound of this record from the more produced Elemental. In fact, Whittaker recorded much ofAscetic Ideals without overdubs, often even sending the raw mix straight to print. As opposed to Demdike Stare’s method of cloaking their sample sources with layers of process, Whittaker finds the murkiness within the devices themselves and allows them to shine without extra layers of varnish. This approach lets the analog processes reveal their own depths while also creating a more raw dynamic range. Sounds jut out of the mix as if trying to escape the recording, and jarring blasts sometimes disrupt the oceanic bliss hidden within the textural swash. These occasional bursts do not annoy so much as surprise, sometimes with horror-flick efficiency (did that opener get you?).
This is not a collection of odds and ends, nor does it fully break from the sound Whittaker helped develop on Elemental. Where Elemental maps a cave filled with varying terrain features — deep, resonant cavities; sharp stalactites; clusters of quartz crystal; running and stagnant waters; lurking monstrosities —Ascetic Ideals results from Whittaker’s use of that map to explore individual branches within the complex, digging into the walls to reveal un-plundered veins of minerals and diving into the depths of its tenebrous pools to drag out artifacts. Ascetic Ideals may not be the grandest statement Whittaker has made this year, but that doesn’t affect the quality of the material, revealing that even the most extensive journeys conceal unexplored territory. - MATTHEW PHILLIPS
Suum Cuique, Midden
Suum Cuique (pronouned Soom Kwi-Kwe, Latin for "To Each His Own") follows the remit of Young Americans to explore uncharted, experimental, and personal synthscapes, guided by the hand of intuition with an entirely analogue array of machines. In 'Lithic Reduction' concrète textures grind like a millstone to release powdery clouds of analog dust, settling only to be dispersed by gusts of blackened distortion, whereas 'Red Binary' is distinctly electronic, revolving around muted radar bleeps like the resonance from SAW II soundtracking a speckly pill experience that's starting to go west. The album's centrepiece, the aptly titled 'Entropy' nods to the sublimely stoic work of Eleh, radiating microtonal bass shifts while a bitter northerly wind builds in intensity. 'Cyclic Redundancy' opens the flipside with a majestically submerged slab of completely obliterated and submerged 4/4, like an unholy collusion between Mika Vainio, Sandwell and Bernard Parmegiani soundtracking a trade union rave in the 1950's, before 'Even In Death...' conjures imagery of a eulogy given by a Mongolian throat singer with crows circling overhead.
Demdike Stare's Miles with an incredible set of dark analogue productions somewhere between Eleh, Pan Sonic and Eliane Radigue. Comes housed in a white-on-white embossed sleeve - limited copies available* Suum Cuique (pronouned Soom Kwi-Kwe, Latin for "To Each His Own") follows the remit of Young Americans to explore uncharted, experimental, and personal synthscapes, guided by the hand of intuition with an entirely analogue array of machines. There's a confidence and ability to these productions which elevates them above the masses of lo-fi synth meanderings currently murmuring in the underground, occupying the tantalising space between Eliane Radigue and James Ferraro, or Thomas Köner and Daphne Oram, creating a dialogue between their shared and opposing aesthetics to give an emotional response with deeply chilling and engrossing results. In 'Lithic Reduction' concrète textures grind like a millstone to release powdery clouds of analog dust, settling only to be dispersed by gusts of blackened distortion, whereas 'Red Binary' is distinctly electronic, revolving around muted radar bleeps like the resonance from SAW II soundtracking a speckly pill experience that's starting to go west. The album's centrepiece, the aptly titled 'Entropy' nods to the sublimely stoic work of Eleh, radiating microtonal bass shifts while a bitter northerly wind builds in intensity. Brilliantly out of place, 'Cyclic Redundancy' opens the flipside with a majestically submerged slab of completely obliterated and submerged 4/4, like an unholy collusion between Mika Vainio, Sandwell and Bernard Parmegiani soundtracking a trade union rave in the 1950's, before 'Even In Death...' conjures imagery of a eulogy given by a Mongolian throat singer with crows circling overhead. - boomkat
This is a curiosity on the same label that issued the excellent Daphne Oram vinyl edition. This is basically a mysterious minimal record by an anonymous artist producing reduced drones and dark ambient tones. The press has made comparisons to Eleh, Mika Vaino/ Pan Sonic, Thomas Koner, Eliane Radigue etc and certainly this is treading very similar turf with expansive slowly shifting passages and some almost isolationist frosty washes. The second side begins with a sort of icy smothered techno beat which I reckon would sound great through a massive system then things head off into subtle stormy sounds which is a fine blend. All good quality stuff. -Norman Records
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