Akari is the third album from Tokyo duo Illuha. Following 2011’s debut Shizuku (12k1067) and 2013’s Interstices (12k2028), Akari takes the next artistic step for the band. While Shizuku was recorded in the US and completed separately by the artists, Interstices captured the duo creating their exceptionally detailed music together live during a Japaneses tour. Akari, in turn, is the first studio album where Illuha recorded and mixed together, throughout the entire process. The beautiful st-robo studio in Tokyo put a collection of amazing equipment at their fingertips, from vintage mics and outboard gear to a vast collection of instruments, both acoustic and electronic. Their writing sessions were numerous and long with details meticulously obsessed over for nearly a year. The result is the most bewildering music Illuha have created to date. An album swimming with the most delicately tactile sounds and instrumentation that draws the listener in with hushed, motionless attention.

While Illuha’s Corey Fuller and Tomoyoshi Date are often drawn to the most sparse notes of Rhodes and Wurlitzer electric pianos, acoustic grand piano and guitar, the breadth of instrumentation is partially what makes Akari so abosrbing. They have succeeded in creating their own universe of sound, so beautifully recorded, where each element not only has its own space but connects and interacts so fluidly with the other sounds. It is as if they are placed perfectly by nature, the compositions are fluid and organic, a far cry from anything calculated or structured. It is this open space that the music exists in which in turn defines the music itself. There is ample room to breathe within this forest of gentle tines, bubbling analogue synthesizers, clicking percussion and quiet field recordings. This is subtlety at its most refined; hushed without being saccharine, distant without being morose.

Akari is the Japanese word for light. Conceputally the duo used this word as a guide, as if they were searching through the dark, trying to keep the light alive, as if one is cradling a candle doing everything in their power to keep it alight in a storm. It is this almost visceral sense of sheltering, of protection, that gives Akari a very human and personal sound whose intensely deep focus is as impressive as it is arresting.

Akari

Structures Based on the Plasticity of Sphere Surface Tension

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Structures Based On The Plasticity Of Sphere Surface Tension

Taken from the album 'Quixotism' released as CD and Download.

Oren Ambarchi 'Quixotism Part 5' (eMEGO 202)

'Miaux is the operating handle of Belgium's Mia Prce. Most of her prior recordings have been issued by Dennis Tyfus' Ultra Eczema label, but after catching her set at last year's Bruismelk festival, Feeding Tube had to “have” her new record. 
Unlike other known works, whereon Miaux is a mistress of elaborate keyboard shenanigans that border on the gothic, Above the High Rays brims with music of a very soundtrackly nature. It mixes Neo-Eastern percussion symbiography with floating swathes of parachute color, all of it presumably birthed from Mia's hands and keys. It's easy to imagine a Jodorowksy carnival scene, shot like the opening of Welles' Touch of Evil, while this album spins. It is soaked with a haunted, lonely quality that touches the edges of mystery like a torch. 
Cover art and one side of etchings by Mr. Tyfus, himself. The tears you shed will be your own.'
Text by Byron Coley

Above The High Rays was composed for a screening of René Clair's sci-fi classic Paris Qui Dort. Released on a one sided 12" with etching on Feeding Tube Records and on cassette on Ultra Eczema.

Above The High Rays

Above The High Rays, 12" Feeding Tube Records / Tape, Ultra Eczema

Erosion

10 Record 10

A track from the album 'UV Sea' out 02/13/16 on Constellation Tatsu.

Forest Walker - Desert Lighthouse

Alessandro Cortini, live instrumental set at Death By Audio, NYC, December 11 2011. Performed on a Buchla Music Easel.

Alessandro Cortini - live at Death By Audio, december 2011

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Observable Future

From the album "Tea Notes". All music by Jatinder Singh Durhailay & David Edren. Recorded january to march 2018 in Antwerpen and London. Mixed and edited by David Edren at ll150. Mastered & cut by Anne Taegert at Dubplates & Mastering Berlin.  Artwork by Victor Robyn. Vinyl + digital release on Ekster: 12th of September 2019: https://eksterlabel.bandcamp.com/album/tea-notes

Tea Notes

Jatinder Singh Durhailay & David Edren: "Shincha"

"Reiterations" by First Tone from "Reactions" 2xLP/Digital due out October 2019.

"Reiterations" by First Tone

With over 100 physical releases since its inception by Taylor Deupree in 1997, New York-based music label 12k has decisively defined and developed the concept of minimalism in the realms of electronic music for more than a decade. Fusing elements from Ambient and Electro-Acoustic Composition with carefully arranged digital textures and associative micro-noises, the label's aesthetics revolve around a precisely-outlined, yet deeply emotional concoction of the technological and the organic. Eschewing the typical marketing mechanisms of the commercial music industry, Deupree has sculpted a platform whose influence today extends well beyond the confinements of the experimental community. 12k's integral approach, in which the label's instantly recognizable, elegantly spartan artwork enters into an inseparable symbiosis with the music, has created a timeless audiovisual language respected and appreciated all over the world.