HAROLD BUDD (05/24/36-12/08/20)

[ # - song - artist(s) - album ]  

1 - Abandoned Cities - Harold Budd - Abandoned Cities

2 - Agua [The Kiss] - Harold Budd - Agua

3 - Arcadia - Harold Budd - By The Dawn's Early Light

4 - As Long As I Can Hold My Breath - Harold Budd - Avalon Sutra

5 - Bandits of Stature- Harold Budd + Formalist Quartet - Bandits of Stature

6 - Bell Tower - Harold Budd with Daniel Lanois - La Bella Vista

7 - Blue Locus - Harold Budd, Bill Nelson & Fila Brasilia - Three White Roses & A Budd

8 - Candylion - Harold Budd & Clive Wright - Candylion

9 - Come Back to Me in Dreams - Harold Budd - In the Mist

10 - Gaze - Harold Budd & Robin Guthrie - Bordeaux

11 - In America - Harold Budd - I Know This Much Is True 

12 - Jane 9 - Harold Budd - Jane 1-11

13 - Jane 18 - Harold Budd - Jane 12-21

14 - Johnny Cake - Harold Budd & Hector Zazou - Glyph

15 - Lazy Smile Across the Enormous Room - Harold Budd with Zeitgeist - She Is a Phantom

16 - Let Us Go Into the House of the Lord - Harold Budd / Brian Eno  - The Pavilion of Dreams

17 - Mandan (Patten Version) - Harold Budd	- Remixes EP

18 - Momentary Architecture - Harold Budd & John Foxx - Translucence + Drift Music

19 - Nighthawks - Harold Budd, John Foxx & Ruben Garcia - Nighthawks

20 - The Oak of The Golden Dreams - Harold Budd - Oak of the Golden Dreams

21 - Olancha Farewell	 - Harold Budd - Lovely Thunder

22 - Peacocks Walked (Poem By Lawrence Ferlinghetti) - Harold Budd, Daniel Lentz & Jessica Karraker - Walk Into My Voice (American Beat Poetry)

23 - The Pearl - Harold Budd with Brian Eno and Daniel Lanois - The Pearl 

24 - The Plateaux Of Mirror - Harold Budd / Brian Eno  - The Plateaux Of Mirror / Ambient 2

25 - The Room - Harold Budd - The Room

26 - The Serpent (In Quicksilver) - Harold Budd - The Serpent in Quicksilver

27 - She Is My Strength - Harold Budd / Robin Guthrie - After the Night Falls

28 - She Will Destroy You - Harold Budd and Cocteau Twins - The Moon & the Melodies

29 - A Sidelong Glance from My Round Nefertiti - Harold Budd - Luxa

30 - Somos Tres - Harold Budd, Ruben Garcia, Daniel Lentz - Music For 3 Pianos

31 - A Song For Lost Blossoms - Harold Budd & Clive Wright - A Song for Lost Blossoms

32 - Strange Thunder - Harold Budd - La Nouvelle Sérénité

33 - Through The Hill - Harold Budd & Andy Partridge - Through the Hill

34 - Tourmaline - Harold Budd & Gene Bowen - Bourgeois Magnetic

35 - The Valley Of Pamir - Harold Budd, Nicola Alesini and Pier Luigi Andreoni - Marco Polo

36 - Very Slender Homage - Harold Budd & Robin Guthrie - Another Flower

37 - The White Arcades - Harold Budd - The White Arcades

38 - Winter Garden - Harold Budd, Eraldo Bernocchi & Robin Guthrie - Winter Garden

HAROLD BUDD

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

SUPPORT THIS ARTIST

Structures Based On The Plasticity Of Sphere Surface Tension

Ariel Kalma - Almora Sunrise

Purchase from RVNG: http://smarturl.it/kalma-rvng
Purchase from Bandcamp: http://smarturl.it/kalma-bcamp
Purchase from iTunes: http://smarturl.it/kalma-itunes
Purchase from Amazon: http://smarturl.it/kalma-amzn

Visuals by Easton West
From An Evolutionary Music (Original Recordings: 1972 - 1979)

© and Ⓟ 2015 RVNG Intl. / www.igetrvng.com

Ariel Kalma - Almora Sunrise

'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

darshan is a Sanskrit term meaning "sight" or "vision," but more profoundly, it refers to the experience of beholding a deity, a saint, or a sacred person or place—not as an act of looking, but as a moment of being seen. In such moments, perception becomes reciprocal, presence becomes offering.

This quiet work for piano and sustained sounds/noise invokes a state of stillness and receptivity. The sparse gestures and harmonic stasis do not seek to narrate but to open space for breath, for attention, for the unseen to become seen.

darshan

wavey twin

Terry Riley - Rainbow In Cologne2

This classic minimal music album is now available again on vinyl for the first time since the 70s.

https://www.aguirrerecords.com/collections/aguirre-records/products/terry-riley-persian-surgery-dervishes-2xlp

Californian composer Terry Riley’s In C, first issued on vinyl in 1968, is widely acknowledged as a Minimalist landmark that altered the course of twentieth-century music. His influential album A Rainbow In Curved Air, which appeared the following year, is a vivid fusion of rock and raga, jazz and psychedelia realised through overdubbing on an 8-track machine which had recently been installed at the studios of Columbia Records.  

By the early 70s Riley had come to feel that scores were a distraction. Faithful interpretation of an already written piece was a deviation from the true purpose of making music, which was spiritual quest. Fortunately, some of those live performances, personal journeys towards a state of transcendence, were captured on tape. Persian Surgery Dervishes, issued initially on the French label Shandar, features two such concerts for electric organ and reel-to-reel delay, one recorded in Los Angeles on 18th April 1971, the other in Paris on 24th May 1972.

At the start of that decade Riley became a dedicated student of the great Hindustani singer Pandit Pran Nath. Looking into North Indian classical tradition he found correspondences to modal and cyclic ideas that he was already working on. In 1971, as a way to learn more, Riley himself started teaching Indian music at Mills College, in Oakland. That experience fed directly into his solo keyboard performances, but other influences were also shaping the music heard on Persian Surgery Dervishes. Personal research into ancient Persian culture and the poetry of Rumi lit up his imagination, while the repetitive swirling of Sufi devotional music from North Africa, which Riley had first encountered in Europe during the early 60s, reverberates through these performances. Jazz, as conceived by such masters such as Bill Evans and John Coltrane, is also present as an enduring source of inspiration. 

The Californian version of Persian Surgery Dervishes starts with low dark tones, dense and brooding like a huddled human figure, deep in introspection. But as the improvisation unfolds Riley’s buoyant spirit asserts itself, spiralling out in ecstatic coils, as though liberated from the grip of body consciousness. The Parisian concert conveys a different mood, brighter and more open in texture, more relaxed from the outset and breathing with greater freedom as it takes flight. 

Echoes of Terry Riley’s inspired music have spread far and wide - into progressive rock, New Age and ambient soundings, film soundtracks, blissed-out electronica and dance-floor trance. His fluent and hypnotic keyboard playing can be heard as part of a continuum, transmitting energies from ancient and distant musical sources into the living here and now. Persian Surgery Dervishes is a significant part of that picture, a mesmerising record of a vital stage in Riley’s ongoing quest for connection with the universal mind and the sublime music that flows ceaselessly from it. 

“Music is my spiritual path. It’s my way of finding out who I am.”  Terry Riley, in 1976

Terry Riley - Persian Surgery Dervishes - Performance 02 Part 1

The Expanding Universe

The Unquestioned Answer

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"

From "Kläppen" on Malmö Inre.
https://www.malmoinre.se/product/preorder-golden-ivy-klappen-lp

Terry Riley - Persian Surgery Dervishes - Performance 02 Part 1

AguirreRecords