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artist · lusine icl
release · freak ep
year · 2000
genre · electronic
label · hymen
catalogue · Ñ028
website · lusineweb.com / tinyurl.com/yugcxy
date · 09-may-2007
quality · alt-preset standard
source · digital download
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01 feedme 5:40
02 mod 7:17
03 threshold of pain 4:51
04 freak 7:26
05 sem 4 1:59
playtime · 00h 27m 13s
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an old release from l'usine icl* (jeff mcilwain) in digital
quality.
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 k÷nnen. in mutma▀lich unbewusster anlehnung an
ehrwⁿrdige britische electronica-experimentatoren wie mu-ziq,
plaid oder autechre bereitete er fⁿr insgesamt fⁿnf tracks eine
herzrhythmusst÷rungen sehr Σhnliche 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 unterstⁿtzte. dem natⁿrlichen 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 begⁿnstigung rationaler und
irrationaler denkprozesse einsetzen m÷chten. 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.
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