Fields

天国も地獄も人それぞれ It's up to you, Heaven or Hell

Alice Damon - Windsong (excerpt)

"混-Kon- 
The Japanese meaning of the word is "to mix" or "chaos". 
This word has a meaning in my mind that the sound is a mixture of various historical backgrounds, art and music elements." 
Zaagyo 

UT011
https://untalentedtapes.bandcamp.com/album/kon
music and mix by Zaagyo
artwork by Zaagyo and UNTALENTED TAPES

soundcloud.com/11dqoug3kfeq 
www.instagram.com/zaagyo_/

Zaagyo - 混-Kon-

Hip-hop and soul-inflected sounds from Richmond's Ohbliv.

https://www.nts.live/shows/ohbliv/episodes/ohbliv-10th-april-2023

OHBLIV 100423

LOST THE DAY TIME

The Young Kirsty MacFarlane - Early Songs (from the album "Wind Wound")

Chris Watson Invertebrate Harmonics

From Life Forces
Download @  http://soundsofthedawn.com/2016/02/ken-thompson-life-forces

Ken Thompson - Life Forces (Water)

From the album Sounds from The Cambodian Wild by Adrian Stoeger
http://adrianstoeger.bandcamp.com/album/sounds-from-the-cambodian-wild

Purchase here

Adrian Stoeger – Gibbon Talk - Siem Pang Protected Forest

BatCallsPitchedDown

qu-bit Chord... october garden

formation variation

Almost completely unknown in the west, Masahiro Sugaya has been composing and producing music since the 1980s in an exceptionally wide range of fields and practices. From arrangements for musical acts like the acoustic guitar duo Gontiti to acousmatic diffusion at spaces like Paris’s Groupe de Recherches Musicales (GRM), Sugaya's reach is almost exhaustive in its breadth, but it was in the 80s bubble-era kankyō ongaku scene that he first found his musical voice. Horizon, Volume 1 presents a window into these works, culled from Sugaya’s early scores for experimental Tokyo theatre group Pappa Tarahumura. 

As a teenager, Sugaya would visit the avant garde hub of record/book shop Art Vivant run by Satoshi Ashikawa of Sound Process, guided by Ashikawa’s recommendations into the worlds of experimental composition, jazz and ethnographic music. It was there he also met musician Yoshio Ojima—the two would become close friends and contemporaries, working within a circle of Tokyo musicians that also included Midori Takada, Hiroshi Yoshimura and Satsuki Shibano. Ojima, an early adopter of new musical technology, would introduce Sugaya to the possibilities of composing with computers, synthesizers and samplers, which would become a trademark in Sugaya's early works. Surprisingly, the sound sources on Horizon are entirely digital, showcasing Sugaya’s ability to organically recreate complex musicianship approaches via keyboard using hyper-realistic samples. Much like Ojima and Yoshimura’s work, the results eschew electronic music’s usual coldness for something more warm and inviting, the feeling of a human in deep conversation with technology.

Flourishing within the boom of experimental theatre subsidized by corporations during the bubble economy, Pappa Tarahumura forged a unique dream-like style that merged performance art, modern dance and fantastical installation-like stage sets. Sugaya fashioned multiple soundtracks for their productions in collaboration with director Hiroshi Koike, the first two of which, The Pocket Of Fever (熱の風景) and Music From Alejo (アレッホ - 風を讃えるために), he self-released in 1987 on cassette, handing them out at Tarahumara performances. The third, The Long Living Things (Zoo Of The Sea) (海の動物園) followed in 1988 as a CD on Yukio Kojima’s ALM records. Aside from his brief inclusion on Light in the Attic’s Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 (compiled by Empire of Signs’ Spencer Doran), Horizon presents this work outside of Japan for the first time.

Available exclusively via Light in the Attic: https://lita.fanlink.to/Sugaya

International Press Contact: Gamall / Backspin Promotions - g@backspinpromo.com

Horizon Vol. 1

Masahiro Sugaya - "Future Green" (Horizon, Vol. 1)

Alberto Novello a.k.a. JesterN’s practice uses found or decontextualized analogue devices to investigate the connections between light and sound in the form of contemplative installations and performances. He repurposes and modifies tools from our analogue past: oscilloscopes, early game consoles, analogue video mixers, and lasers. He is attracted to their intrinsic limitations and strong ‘personalities’: fluid beam movement, vivid colors, infinite resolution, absence of frame rate, and line aesthetics. By using these forgotten devices, he exposes the public to the aesthetic differences between the ubiquitous digital projections and the natural vibrance of analogue beams, engaging them to reflect on the sociopolitical impact of technology in a retrospective on technologisation: what ‘old’ means, and what value the ‘new’ really adds.

His works have been presented at Centre Pompidou in Paris, Museo Reina Sofia Madrid, Amsterdam Dance Event, Venice Biennale, New York Computer Music Festival, Bozar Bruxelles, BOA Biennale Porto, Rewire Festival Den Haag, Glasgow Contemporary Art Center, Dom Moskow, Seoul International Music Festival, Rome University of Fine Arts, to mention a few. He has released records for Staalplat, Bowindo, Elli Records, Dobialabel, Setoladimaiale, Ante-Rasa and Creative Sources.

We make software, hardware and other creative tools for a global community of music makers. 

Here you’ll find samples of Ableton, partner and Max for Live instruments.

Adrian Stoeger – Gibbon Talk - Siem Pang Protected Forest

Ableton

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