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)

One music legend leaves us...
Tribute for this wonderful artist...
Rest In Peace Susumu Yokota...

FREE DOWNLOAD HERE : https://irezumi.bandcamp.com/track/kodomotachi-irezumi-remix

Original track by Susumu Yokota available on the album "Sakura" & "Skintone Collection" 

Susumu Yokota - Kodomotachi (Irezumi Tribute Remix)

Immersive collaborative album of Atmøsphäre and Dionisaf, steeped in cold textures, shadowy resonance, and layers of abrasive noise, conjures a bleak sonic tundra — where icy drones, distorted textures, and shadowy pulses stretch across vast, unforgiving landscapes.

Produced, mixed and mastered by Tom Lievens (Atmøsphäre) and Dionis Afonichev (Dionisaf)
Cover picture by Tom Lievens
Cover design by Dionis Afonichev

Northern Dreamscapes

Aurora

La sérénité et le calme par la vaporwave, bonne détente)

UNKNOWN DREAM - BVNKS

UNKNOW DREVM - EXPERIMENTVLE - BVNKS

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

Forest Walker - Desert Lighthouse

Physical: geographic-north.com/cassette/coyotes/
Digital: geographicnorth.bandcamp.com/album/coyotes
Catalog #: GN49
Cassette, limited to 100

Félicia Atkinson is a composer, sculptor, painter, poet, and publisher from Rennes, France. Atkinson has led a fruitfully fantastic run of eerily blissful, serenely euphoric sounds. Whether under her own name or via her defunct recording pseudonym Je Suis Le Petit Chevalier, Atkinson has released work on Umor Rex, Digitalis Limited, Aguirre, and Shelter Press, an imprint co-run with Bartolomé Sanson.

‘Coyotes’ is an EP inspired by Atkinson’s last voyage to New Mexico in February 2017, when she visited and took in the geographic landscapes from Taos to Ghost Ranch. The same vistas also inspired much of Agnes Martin’s and Georgia O’Keefe’s painting, as well as Jerome Rothenberg’s poetry and translation’s works.

Atkinson describes a ‘Coyotes’ as a “Carnet de Voyage,” a tape you could directly play in your car while traveling somewhere, a kind of imaginary map to a sentimental journey. A spontaneous gesture, close to the notion of gift or offering. Or, simply, a postcard to a friend.” But it’s also a praise to the conservation of national and state parks and its human and non-human souls, menaced as we know now by drilling and violent economic speculations.

Here, coyotes act as a kind of metaphor of ambiguity and doubt, a state of mind that Atkinson find interesting to transcribe musically; the ambiguity furthered by Atkinson as a literal “foreigner” in New Mexico. She conveys a sense of visiting these native sacred lands and wondering what you are doing there.

Musically, ‘Coyotes’ is composed of two long tracks, “Abiqiu” and “Lighter Than Aluminium.” Each track features an effervescent froth of piano, midi sounds evokes marimbas, Fender Rhodes, bells, sub-basses, and spoken word poetry written by the musician to display a melancholic landscape made of transparent but deep layers of pale colors and blurry lines.

Félicia Atkinson - "Lighter Than Aluminium"

ME 
(Felicia Atkinson & Jefre Cantu-Ledesma)

From 'Comme Un Seul Narcisse'
Shelter Press / SP070

https://shelterpress.bandcamp.com/album/comme-un-seul-narcisse

Comme Un Seul Narcisse

ME (Felicia Atkinson & Jefre Cantu-Ledesma)

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

"Reiterations" by First Tone

Triptych 4 solo piano.
Recorded at Rattlesnake point. 
Written, performed, recorded by Kara-Lis Coverdale.
Mastering by Jay Hodgson. 
Artwork by Jon Estwards http://bit.ly/R2S2Vv 

Special thanks to EVE, ROB, & NORDY 

Kara-Lis Coverdale - Circles, Apparition

From the album Seeing Through Sound (Pentimento Volume Two), released on Ndeya 24 July 2020 https://ndeya.ffm.to/seeingthroughsound

jonhassell.com/
jonhassell.bandcamp.com/
www.facebook.com/OfficialJonHassell/
twitter.com/ndeyarecords
www.instagram.com/ndeya_records/

Seeing Through Sound (Pentimento Volume Two) MP3

Jon Hassell | Unknown Wish

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.