FAT CAT RECORDS
* * ANNOUNCING NEW RELEASES BY * *
NEW ALBUM ‘COLLAGE’ OUT OCTOBER 16TH ON 130701
CD / DIGITAL
Listen to new track: Fracture
NEW ALBUM ‘LIKE WATER THROUGH THE SAND’ OUT NOVEMBER 13TH ON 130701
CD / DIGITAL
Listen to new track: Scale of Volatility
Following nearly three years of silence, FatCat’s 130701 imprint is being reactivated, with two new releases and several new signings lined up ahead of next year’s fifteenth anniversary of the label that played a pioneering role in the development of today’s vibrant post-classical scene.
Having begun life on 13th July 2001 (hence the label’s superficially cryptic name) for the release of the first Set Fire To Flames record ‘Sings Reign Rebuilder’, the pioneering 130701 imprint was ahead of the curve, becoming what Drowned In Sound called “something of a blueprint outlet for instrumental based musicians worldwide whose creations don’t quite fit stately into any genre or roster.” Growing to encompass a hugely influential, high quality stable of artists operating at the cutting edge of the modern classical genre, 130701 has come to embody incredibly graceful and evocative music with a huge emotional weight.
Initially established as an outlet for Montreal-based Set Fire To Flames (a 13-piece collective featuring members of Godspeed you black emperor!, A Silver Mt Zion, etc), the label has been home to some of the most recognisable names in the broad-reaching post-classical field, having introduced the likes of Max Richter and Hauschka (both over the course of five albums), as well as becoming a home for pianist / composers Dustin O’Halloran, Sylvain Chauveau, and recent Golden Globe winner / Oscar nominee Johann Johannsson.
With a sound and identity that is both eclectic yet coherently unified over the course of our release history, 130701 may not have been prolific but has rigorously maintained a seriously high quality control bar from the outset and, as No Ripcord wrote, “has released some of the most important records of the last decade and single-handedly defined the post-classical genre.”
Looking to expand the scope of its repertoire, the signing of several new artists marks an invigorating injection of fresh blood for 130701, and the 15th anniversary celebrations planned for 2106 will be marked by further new signings / releases, reissues and live activity involving many of the labels historical roster.
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Dmitry Evgrafov is a hugely talented young Moscow-based pianist/ composer/ multi-instrumentalist. Entirely self-taught, Dmitry began playing music from the age of fourteen. Between 2011–13 he (self-) released two EPs and an album (available as a name-your-price release on Bandcamp), the first arriving aged just seventeen. Having been impressed enough to help out in the compiling of his debut album ‘Pereehali’ back in 2013, 130701 remained in touch and in early 2015 signed the composer to the imprint.
Emilie Levienaise-Farrouch is an award-winning French pianist/ composer currently living in London. Spanning film score, bespoke composition and sound design, her work is connected by both its high quality and evocative, meticulous craft – a common sensibility of elegant, instinctual composition.
Born in Paris, Emilie grew up in Bordeaux, studying classical piano throughout her childhood. Recognising a strong early interest in “making up music rather than just fixating over perfectly playing other people’s,” her first experiments in recording began as a teen. Convinced of her vocation, in 2006 Emilie moved to London to embark first on a BA course in music at Westminster University, then a Masters degree in composition at Goldsmiths, studying new complexity and spectral composition. Alongside these studies, Emilie worked for three years at online electronic store Bleep, gaining enlightening exposure to a vast range of weird and wonderful new music. New influences like Alva Noto + Ryuichi Sakamoto, Richard Skelton, Andy Stott, and LFO were added to existing ones in Bach, Sufjan Stevens, soundtracks by Clint Mansell and Carter Burwell.
Signed by FatCat’s post-classical imprint 130701 following receipt of a stunning demo in 2014, Levienaise-Farrouch’s first album, ‘Like Water Through the Sand’ is set for a November 2015 release, and – alongside Dmitry Evgrafov’s debut for the imprint – marks an invigorating injection of fresh blood for 130701, introducing a striking new voice to the genre.
ALBUM RELEASED ON 130701 ON OCTOBER 16TH
For Dmitry the process of creating ‘Collage’ charts a newfound inner freedom, an awakening of a joyful adventurousness and expanded possibilities. Delivered courtesy of Swedish pop artist Henrik José, the album’s single vocal line on ‘Nothing To Say’ (Dmitry’s first and to date only composition to feature vocals) seems both a provocation and affirmation on the potential for reinvention.
Far greater than the sum of its parts, ‘Collage’ is a beautifully composed, bold and broad-sweeping album that reveals a big step forward for a young and ambitious artist whom we are certain has a very bright future ahead.
Fluid Radio have described Dmitry as “…a prodigious young talent hailing from Moscow, who imparts into his music a maturity which seems grounded by practice far beyond his years… one gets the impression that Dmitry Evgrafov will become an important contributor to his generation’s neo-classical movement.”
A collection of new compositions written primarily for piano, string quartet and electronics, ‘Like Water Through the Sand’ is equal parts graceful as it is dark; powerful as it is subtle. A wide-ranging yet cohesive collection, there’s an immediately evident sense of class in the quality of the instrumental playing and the beautifully nuanced sound design, marshalled masterfully throughout by its creator.
The album’s title is a translation of a sentence from ‘L’Amant’, a 1984 novel by cult French writer Marguerite Duras. In the paragraph the fragment is taken from, the author wonders whether she might have been unable to truly perceive a specific feeling whilst it was being felt, due to all the events happening around it, and that she could only properly sense it retrospectively. The autobiographical book covers events that had been irregularly narrated by Duras in previous books, always eliciting a strong emotional reaction from both author and reader. “It started to make me think about how we (and myself especially) construct our episodic memories, how they evolve, how set and true they are, and how our perception and judgement of a situation changes with time,” Emilie notes. “There are themes and motives that run through the album, which are like little souvenirs, that continuously shift, change and evolve, sometimes nostalgic, sometimes euphoric.” Clearly, it’s a record that has been painstakingly considered and constructed and one that encourages and rewards deeper immersion.
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