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¥028 lusine icl . freak ep . 12" . september 2000. [deleted]

tracklist

feedme
*.ra
mod
*.ra
threshold of pain
*.ra
freak
*.ra
sem 4
*.ra

 

track 1. percussion - john churchville and harris eindstadt. flute and vocals - sky grealis. upright bass - michael dillon. guitar - david sartore.

we are proud to present jeff mcilwain aka l'usine with an exclusive european release on hymen & u-cover records as lusine icl. herewith he explores different styles of electronica such as dark-ambient, minimal music and idm, but doesn't limit himself to these genres…actually there is no limit. the tracks become a trip that stands far beyond the average electronic outputs from the u.s.

jeff mcilwain now resides in los angeles, where he has been for two years. he originally started making music about 5 years ago in austin, tx. where he received much of his musical influence. this u-cover / hymen release is inspired by the musicians and artists that he worked with at calarts. the music is much more acoustically involved, although highly manipulated electronically. much of the credit for the recent change in direction should be given to the faculty at calarts including mark trayle and tom erbe who have been in the electronic music scene for a very long time. jeff will appear at the cmj festival in new york on october 27. also, look for releases on zeal (zealectronic blue) and isophlux in the coming months.

 

seven. www.nezzwerk.com/seven

a pseudo steady state cd on u-cover / freak lp on hymen
another interesting realm of experimental ambience and groovy dark electronics. this being the fourth installment from u-cover, jeff mcllwain takes on various themes that remind me of the intensity that skam's artists were doing over the past years. packaged in a plastic bag, soft inner sleeve with awesome cover design by bombthedot.com, lybaert's label continues on with their simple but effective packaging. this cd contains eleven tracks, from which two tracks have additional collaborations with various artists, and four of which are interludes throughout. we step into this ride, with "feed me" which takes on a funky, jazzy, and playful field of instrumentation utilizing upright bass, guitar, flute, shallow vocals, and standard percussion kits from other additional artists. this track evokes a loungey and content feel that skam has brought to my ears over the past few years. the second track leads us into the beginning of the four part interludes of "sem." this track, "sem 1", gradually moves you into the next corridors of ambience by using emerging and echoing string components. repeating flute patterns on the second part to the mysterious alien floating rhythms of "sem 3." while the final part takes a building of all previous instrumentations combined with slow sweeping abrasive interference waves that build to intensity. each of these parts fit their place on this release. track three, "freak" works with more funky and loungey rhythms that collates string and fragmented voice mods into the mix. track four runs amok with experimental effected rhythms that spastically get sliced and mixed. track six, "lazy days", pushes on the loungey ambience further with backwards jazz rhythms, snare hits, funky guitar and bass movements, light happy string arrangements and various vocal mods. track eight, "slip through", builds on gradual emerging tweaked modulations that build to a laid-back rhythms that are implemented by traditional jazz-like beats and disintegrating sound loops and backwards strings. the next track, "mod" , one of my favorites, plays with fun chord progression that retracts and snaps into place in intervals while layers on various other string and bass elements emerge to the forefront, swallowing the percussives, and rolling over to the further stages of these beautifully arranged piece that never ends. this leads us to the final awesome outro piece, "back track"; here your brain is carefully massaged with beautifully introspective drones and dark metamorphosing strings that are assisted by distant submerging rhythms and modulated waves. strangely enough, i would buy this cd alone just for that track, it is absolutely brilliant! again - something wonderful from u-cover.

orkus nr. 11 november 2000

los angeles, 2000 a.d. - der klangforscher jeff mcilwan erbringt den erneuten beweis, dass amerikaner nicht nur college rock produzieren können. in mutmaßlich unbewusster anlehnung an ehrwürdige britische electronica-experimentatoren wie mu-ziq, plaid oder autechre bereitete er für insgesamt fünf tracks eine herzrhythmusstörungen sehr ähnliche mischung aus naiver melodik, psychedelischen soundkurven, mehrphasiger bleep-titration und repititiv-peristaltischer rhythmik auf. interessanterweise floss in die musik ein nicht unerheblicher teil manipulierter, akustischer instrumente ein, der die formung anspruchsvoller klangpolymere noch unterstützte. dem natürlichen bewegungsdrang des menschen wurde bei der produktion offenbar weniger bedeutung beigemessen, und so kann man diese ep nur all denjenigen nahe legen, die musik vorwiegend zur begünstigung rationaler und irrationaler denkprozesse einsetzen möchten. experiment gelungen. (alexander maciol)

re:mote induction

the freak ep is a 5 track 12" release on the hymen label. these tracks being a selection of material present on the full length a pseudo steady state, which is available from u-cover. a lapping watery sound mixes with a light stroking to start off feed me. slow rhythm builds, with passing scrapes - this brings pause before the form layers up. gently mellow mixing cymbal taps with deep bass twangs and quirks of electronica. there is a moment where it all strips to a minimum - emphasizing the atmospheric potential. previous melodies are hints and playful toy box insertions. the structure builds back up, but in a more jovial fashion. a vocal element is sampled and worked into a tune, at times mod suggests this word will be clear. instead it is reduced to hard code, human elements removed and the machine communicates a lot clearer. low sigh underpinning the clarity of the play, a subtle drone that catches up the mood. bringing with momentary pause definite melodic vibe and a developmental direction. a direction which continues to expand, marking this as a stand out piece with its construction and interplay. again this starts to feel like a long piece, though it retains my interest through its evolution. a crackling blip plays, with a bass string pulsing an over write through its core - this forms the sequence marking the threshold of pain. busy micro sounds grow increasingly active while the bass remains a slow dip. space rays beam into the sound, forcing pause and a re-evaluation of what this is about. this expands to provide the emergence of melody, a slow head-bobbing vibe. something about this interplay marks this as a real stand out on this release. distorted voices can be heard from freak, these give way to a mellow hum. this develops into a sighing melody, wobble edged keystrokes join that along with a solid and complimentary drumming. understated, freak creates a casually sensual vibe. sound focuses into a straight forward section, with the elements established layering. a vocal sound is sampled and isolated, becoming a note, playing out in a melody, a sound continually unfinished. this develops with a certain squelchiness underlying the progression and that vocal sound mutated but key. the turn of the stylus on the vinyl of sem4 crackles gently, the music comes in. the crackle backed by the rotation of a bass vibe, while flute melodies layer in pleasing harmonies. as the melody increases so does the crackle - becoming a grinding static wall.

lusine webpage
http://shoko.calarts.edu/~jmciln/

 

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