siqmv [dat#1]

Atsuko Hatano is a contemporay classical Viola player who works with electronics to add textures and layers to her sound. Located in Tokyo, Japan, she is a commanding instrumentalist and composer who constructs innovative compositions with strings and layered electronics.

Cells #5 is an orchestral collection and sequel to her previous album Cells #2 which will also be released on cassette via Imprec’s Cassauna label. Cells #5 required three years to complete and the work features the artist’s signature methodology where the instrumental performances are gradually enveloped by multiple layers of a string orchestration. 

When not playing solo Atsuko is extremely active recording, collaborating and playing live with Jim O’ Rourke, Eiko Ishibashi, Mocky and many more acts.  


Atsuko Hatano: Violin, Viola, Cello, Contrabass, Piano (track 1), Xylophone, Oscillator and Chorus
Guest Musicians: 
Eiko Ishibashi: Piano, Marimba, Vibraphone
Yuko Ikoma: Accordion 
Natsumi Kudo: Horn and flugelhorn
Icchie: Trumpet, Flugelhorn, Piccolo Trumpet
Tatsuhisa Yamamoto: Snare Drum
Composed and Mixed by Atsuko Hatano
Mastered by Jim O’Rourke 
Cover by Saskia Griepink

Atsuko Hatano  - Tidal Currents - from Cells #5 cassette

frozen ship

Trying out new ways of working, sequencing in a DAW.

Sol Lantern

On the long-awaited Exaptations, Toronto-based composer Nick Storring presents two highly textural, side-long pieces. On “Field Lines”, originally composed for Yvonne NG Peck Wan‘s dance piece, Magnetic Fields, a certain fragmented, uncertain openness is conveyed: a series of brief, dreamlike clearings are vignetted by pregnant silences or various levels of waking or sleeping states. Storring plays with a variety of tonal instruments that swell and tumble along while being nipped at by expressive percussion. Organic clusters develop within event-based sequences, stretching attention across multiple timbres and rhythms. On “Yield Criteria”, shifting drones move about like independent layers of ice on a lake in the dead of winter, slowing crumbling, sliding, and cracking in perfect harmony. Storring has written for dance and other interdisciplinary settings, and here he brings the delicate resourcefulness of a skilled accompanist, as well as a narrative sense that belatedly, profoundly blossoms.

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Field Lines:

Composed and recorded October 2013 - May 2014 for Yvonne Ng's dance piece, Magnetic Fields, which premiered in May 2014.

Nick Storring / various percussion and found objects, vibraphone, glockenspiel, balafon, chimes, hand bells, toy pianos, thumb pianos, voice/whistling, electric (NS Designs NXT4) and acoustic cellos, electric bass, electric mandola, violin, hammered dulcimer, Hohner Pianet T, Yamaha CP60M, Hohner Clavinet D6, flutes, harpsicle, strumstick, guitalele, steel pan, harmonica, melodica, pitch pipes, hulosi

Special thanks to Yvonne, Marie-Josée Chartier, Mairead Filgate, Luke Garwood, Christopher Willes. Thank you to Germaine Liu for the use of her vibraphone, and John Farah for the use of his Pianet.

Yield Criteria:

Composed and recorded February - June 2014.

Nick Storring / NS Designs NXT4 electric cello, electric bass, electric mandola, thunder tubes, Yamaha CP60M, toy piano, harmonica, duck call, voice, hand bells, glockenspiel

Elements were used in Eva Kolcze's film, All That Is Solid. Thank you to Eva, Spencer Barclay, Jason Doell, Brandon Valdivia, and Bryan Bray.

Processing and manipulation performed on the above sound sources (and the sound of a blank, chemically-treated 16mm film sound-strip) using combinations of the following: transducer speakers on various resonant chambers, instruments and surfaces; talkbox; spring reverb; recordable cassette walkman; various speakers; (contact) microphones.

Special thanks to Nicole Cultraro for her violin and kalimba, her support and inspiration, and patience with my process. Thanks also to Andrew Zukerman.

Gratitude also to all who listened and offered feedback.

Artwork and layout by E. Lindorff-Ellery
Printed by John Fitzgerald at Fitzgerald Letterpress, New Orleans

NTR042 - Nick Storring - Exaptations "Field Lines"

Our 35th Mixtape installment arrives from Dahjyn, a musician, producer and vocalist  originally from the Pacific Northwest of the U.S  and currently based in Brooklyn.   	
					
Dahjyn, or Dan Jyn Suk Ahrendt is currently a resident with a monthly show at Hong Kong Community Radio and has just recently published his debut EP, The gall (Most Dismal Swamp, 2021) featuring additional remixes by Endgame, Thegn, and trngs. 

A new member of the swamp family, his sounds is completely akin to the label’s unique sonic aesthetics. With relentless industrial gut-punch percussion, textural power electronics, and reflective baritone verse, the album includes 5 tracks that embody a convulsive tension between an abrasive physicality and a brooding emotionality: a visceral incantation working through aggregate layers of trauma.

Alongside his particular self-exploration in identity and ability to express it, he’s continually inspired by amazing electronic musicians and producers around the world pushing his boundaries and expectations. Also a 

In this mix, Dahjyn tells us, he covers a very solid gamut of his driving nostalgia combined with the newer driving interests in his ears. The personal arc has moved from a past more anchored in post-punk romanticism, moving into the atmospheric self-obliteration of the heavier experimental pulling from the traditional music he’s found himself lost in.

Tracklist:
Akai Tori - Takeda No Komoriuta
Book of Knots - Drosophila Melanogaster (ft. Blixa Bargeld)
Nilotika Cultural Ensemble - Ejokawulida
The Anchiskati Choir - Alilio ver.2
Rowland S. Howard - Silver Chain
The Blood of Heros - Hecatomb
Setabuhan - Tabuh Langit Tanduk Jawara 
The Bug - Warning (ft. Flowdan)
Geinoh Yamashirogumi - Shohmyoh (AKIRA OST)
Bark Psychosis - Absent Friend
Kim Yung Mi - Haenim

Most Dismal Swamp presents DAHJYN

Artist Note: In 2016 I’ve started collecting various sketches in search of a personal place, by confronting myself with a series of new experiences, and realities and slowly creating my own ones, my “New Constellations”.
The album is conceived as a narration: set in an undefined future, the crew of a mysterious AI driven spaceship has to deal with the unpredictable space environment and the “intelligent” spaceship as their only ecosystem, until they find a new home.”

Myalo - New Constellation
“ [...]set in an undefined future, the crew of a mysterious AI driven spaceship has to deal with the unpredictable space environment and the “intelligent” spaceship as their only ecosystem, until they find a new home, a new constellation.”

Part I

KVO11-CBM
Acronym of some of the instruments I’ve used to create the piece, became the name of the “spaceship” in which the story
will take place. Glorious and fragile, this is the environment where the earthlings have survived since generations. An unfamiliar place that became a new home for the future generations, Earth rooted extraterrestrials, that have to deal with life and death in a totally new ecosystem, driven by a mysterious technological intelligence... Here begins the journey, an alienating story of the relationship between humans, technology and the unknown.

In Stars an Eternal Companion
The hostile surrounding of cold black space is a scary environment to navigate, but stars are always here to guide us. Our ancestors, sailing into unknown oceans, knew that they were never alone: so are we.

They Dream Electric Sheeps
On the long run a journey into the unknown outruns the knowledge for surviving of every passenger of the spaceship.
The spaceship as a new ecosystem for the humans and as the body of itself needs to survive somehow, it has to manage both the inside and outside of itself, it needs to have creative thoughts to overcome new obstacles. He/She/It dreams...

Mothership Eulogy
Elders and saved data maintain vivid memories of the Mothership (Earth) for the future generations, but pictures and stories serve just as a helpful tool to imagine what can really be a planet, its seasons and the elements composing it. Memories are often distorted in good and bad ways, and, despite telling part of the truth, it’s impossible to have a complete picture. A mythic imagination and a never ending curiosity is what’s left to the future generations.

Part II

//core_responding
KV011-CBM and its population are in danger, something still unknown has damaged the spaceship. Is it a bug in the system, an unwanted collision, or a human error? Doubts emerge and after years of silent and peaceful coexistence man and machine have to talk again to each other, but will it answer?

Ghost Of Coming Futures
The memory of losing mother Earth reemerges, together with mistrust in technology and its past misuse. The
dependence of tools to survive and the lack of knowledge on how to use them properly remarks again the fragility of the human body and mind.

Through The Glass
Despite its fragility the fear of extinction enables the greatest tools for survival, creativity and logic. A closer look at the problem and the communication with the ecosystem KV011-CBM to understand it may solve the problem.

Engine Restart
The merging of human and machine intelligence managed to restart the journey towards a new constellation, a greater understanding of self has been obtained and the quest for further survival preserved. 
credits
releases January 31, 2022

Music by Patric Goldhorn
Mastered by Gian at Dadub Studio

Thanks to Gian, Ernesto, Christine, Rogian and all the humans and aliens that helped us with this.

01 MYALO - KVO11 - CBM

releases March 16th, 2022

threeop.bandcamp.com/music

Written and produced by Rob Curulli
Mastering by Nil Hartman
Picture by Andrew Bates
Artwork by Rob Curulli

MachineBeat#2

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