RITUALS live set for ГУЛ/HUM @ HVLV BAR / 14.10.23  

RITUALS captures a live performance by äsc3ea, featuring her previously unreleased music, presented during a series of ГУЛ/HUM events at HVLV @hvlv_bar. A series of ГУЛ/HUM events, based on the same show on Radio Gasoline @gasolineradio , is an exploration of occult practices, contemporary electronic music trends, and the avant-garde movements of the 20th century, mirroring a show previously aired on Radio Gasoline.

Visual depicts Gobustan from Emma's motherland, where you can find prehistoric rock carvings and musical stones. Gobustan has more than 6,000 rock carvings, which depict people, ritual dances, warriors, battle-pieces, animals, bullfights, boats with armed oarsmen, camel caravans, pictures of sun and stars, on the average dating back to 5,000-20,000 years.  

Visual: äsc3ea / [GSMKW: Gesamtkunstwerk]

RITUALS

RITUALS live set for ГУЛ/HUM @ HVLV BAR / 14.10.23

closer connections garden / 17-07-23

"Endless Pit" is the fifth track of Amek's "Vanishing Standards III" compilation. 

Featuring vocals from my main project @niandraz .
Visualizer: https://youtu.be/QUM7u7ANGaE

Vanishing Standards III:
"The third installment of our bi-annual Vanishing Standards compilation series closes the year of our fifteenth anniversary. As usual, we wanted to have as many members of our extended family aboard as possible, as well as welcome new ones into it. Of course, they are in the company of Amek regulars, whom, whenever we could, we tried to inspire to work in new collaborations and configurations. The result is not only the shortest volume in the series but also the first one dominated by atmospheric, yet noisy, tracks that are punctuated with some unexpected heavy hitters."

credits
released December 18, 2023

Mastered by Marius Costache
Artwork by Nikola Kostov

This is amek070.
https://amekcollective.bandcamp.com/album/vanishing-standards-iii

погледни / отрази / черни дни / пропадни .

Vanishing Standards III

Endless Pit (ft. Niandraz)

Modular Combat

Tape available directly from Important Records: www.imprec.com 

On ‘Fluorescent Standard,’ guitarist Anthony Vine and clarinetist Gareth Davis present two luminous and serene worlds of harmonic sound. 

The duo entwine sustained tones, glowing with the resonant hues of their instruments, into enveloping and expansive atmospheres. Clarinet sonorities, swelling guitar chords, and tumbling elegiac piano fragments drift quietly through time in elusive cycles that subtly change and expand with each return. 

Every vibration is interconnected, aligned and fused attentively, causing the instruments to dissolve into themselves and emit residual vibratory energies, like fluorescence. What emerges is a music that invites quiet contemplation and rewards deep listening.
 
While Vine and Davis met through the world of modern classical music, ‘Fluorescent Standard’ finds itself in the realms of drone, ambient, and new age. The music is grounded in early minimalist aesthetics of composers like La Monte Young and Phill Niblock, but also shares the sensibilities of contemporary artists like Fennesz, Sarah Davachi, and Stars of the Lid.

Fluorescent Standard A

Following acclaimed underground releases on labels like Schacke’s imprint Moral Defeat, Katharsis and Perfect Aesthetics, Danish electronic musician Sortlegeme (the solo moniker of Jeppe Dalsgaard Andersen) returns with his most spellbinding work to date. “They Are Many” is an album of sprawling textures that like music in its most intuitive state captures the essence of the indescribable.

Built from polyrhythmic synth lines that surge towards sensory overload, “They Are Many” is equally full of subtle layers that emerge delicately from the foundations. In this ever-evolving sonic landscape, one senses the earthly, deliberate movements of tectonic plates colliding before settling into yet another million years of relentless grind. It's a soundscape that teeters on the edge of a total breaking point: a beautifully ominous foreshadowing of collapse.

Andersen reflects: “I was playing Starcraft at the time I made this music, and I think the Zerg was an inspiration and model for this kind of life. I was thinking about creeping and crawling things. The
album reflects on the world humans might leave behind in our self-destruction and how opportunistic species might thrive in our absence, like weeds sprouting from the ashes of a forest fire. I was always big on post-rock, and this setup allowed me to do big buildups in that style.”

With “They Are Many,” Andersen fully embraces a departure from any rhythmic constraints in his music, allowing for expansive exploration throughout the album. While hope – or what is left of it –
might seem sparse in the album's 45-minute journey, the music is punctuated by beautiful, voice-like melodies that are eventually overwhelmed by a noisy climax, leading to a profound numbness. The sensation is akin to synthesizers forging their way towards the void.

Andersen: “We as humans are often consumed by our knowledge, ethics, and complex systems, but sometimes it's important to remember that life's origin is pure survival. Our present culture is overly intellectual, and I find myself drawn to the instinctive, opportunistic aspects of life, much like a hive of smaller organisms operates, without conscious thought. We tend to view everything from our individualistic, single-body perspective, forgetting that the world's very essence is multiplicity.”

Artist: @sortlegeme
Pre-order/order: https://srtrecs.bandcamp.com/album/they-are-many

Order

PREMIERE: Sortlegeme — Drowning In The Swamp (Barkhausen, 2024)

Fashiongore (Lilith Gore ) is a multimedia artist based in Bulgaria. Deep diving her ways into the ambient/noise scene she creates artistic works based on her feelings of melancholy and confusion. Working in the harsh noise realms as White Cicada.

Tracklist
Amenra - Edelkroone
Pan Daijing - Dictee
Puce Mary - Dissolve
Pharmakon - Nakedness of Need
Uboa - Plastics
Sun O))) - Candle Goat
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