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Shelter Press is happy to announce the release of Perceptual Geography, Thomas Ankersmit’s latest record. The music was created as a loosely structured piece for live performance in 2018-2019, commissioned by CTM in Berlin and Sonic Acts in Amsterdam, and premiered there on the GRM Acousmonium. The music is inspired by - and dedicated to - the pioneering research of American composer and installation artist Maryanne Amacher (1938-2009), and created entirely on the Serge Modular analog synthesizer.

Ankersmit and Amacher first met in New York in 2000, and kept in touch over the following years. Her concerts and installations left a deep impression on him. Amacher, being close to the Tcherepnin family, also first introduced Ankersmit to the Serge synthesizer, developed by Serge Tcherepnin in the 1970s.

In the piece, Ankersmit explores different “modes” of listening: not just which sounds are heard and when, but also how and where sounds are experienced (in the room, in the body, inside the head, far away, nearby). So-called otoacoustic emissions (sounds emanating from inside the head, generated by the ears themselves) play a prominent role. When turned up loud, the material moves beyond the loudspeakers and starts to trigger additional tones inside the listener’s head; tones that are not present in the recorded music. Cupping the ears with the hands and slight movements of the head also help to bring these tones to life. Maryanne Amacher was the first artist to systematically explore the musical use of these phenomena, often referring to them as “ear tones”.

The title is a reference to Amacher’s essay “Psychoacoustic Phenomena in Musical Composition: Some Features of a Perceptual Geography”, and despite the all-electronic instrumentation, a dramatic sense of landscape and environment often emerges. There are sparks of fire, howling wind, distant thunder, a swarm of bats disappearing into the distance. Ghostly, floating tones are contrasted with highly dynamic sounds darting around the listener, and large, heavy waves rolling in slowly. “Ear tone” stimuli weave in and out of these textures, emerging from them. Once or twice, the music seems to completely freeze in time, but a slight movement of the listener’s head reveals changes.

For each live performance, Ankersmit tunes his instrument to the resonant characteristics of the performance space, so that the sounds activate the structure, traveling through the architecture and setting it in motion.

The record is accompanied by an extensive conversation between Ankersmit and Serge Tcherepnin, creator of the Serge Modular and friend and collaborator of Amacher.

This is a digital-only release (CD and download) because the “ear tone” material can’t be adequately transferred to vinyl.

Please play loud and use speakers, not headphones. 
credits
releases March 19, 2021

Music: Thomas Ankersmit
Mastering: Kassian Troyer
Design: Bartolomé Sanson
Interview editing: Michelle Arrouas

THOMAS ANKERSMIT 'Perceptual Geography' (EXCERPT) (SP130)

● CD01_SPLIT : Humbros / R​.​I​.​P. ●

❊ Composé et mixé par Humbros
❊ Masterisé par Ernest Bergez (Sourdure)
❊ Artwork par Josué Confort ©
❊ Sortie le 9 juillet 2021
❊ Cassette, 80 exemplaires, papier recyclé

→ champdoner.bandcamp.com/album/cd01-split-humbros-r-i-p

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Taken from Naomie Klaus's EP A Story of a Global Disease' on Bamboo Shows Records, out November 2.

More: www.orbmag.com/music

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A Story of a Global Disease [BAMBOO SHOWS - BSLP003]

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Instrumental recorded during the original MWW sessions in July 2017 - Vocals recorded in the attic with dear friend Alexis Blair Penney in March 2019.

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Taken from Spivak - Μετά Το Ρέιβ LP/Digital (Ecstatic Recordings, 04/12/2020)

‘Μετά Το Ρέιβ’ is the original debut LP by Maria Spivak, a rawly expressive set of ambient synth- pop inspired by her Cypriot heritage, and channelling mystic vibes from Lena Platonos to Drexciya - very special stuff, indeed.

The latest addition to Ecstatic’s sprawling cabal, Spivak arrives fully formed with a quietly penetrative sound, layering her haunted but coolly melodic vocals and synth pads around bare- bones, DIY production that makes a virtue of “mistakes” and grit in-the-mix.

Lessons from ’80s post-punk to ambient-pop and trip hop inform Spivak’s music as much as her observations on Cypriot sociopolitics, culture, and nature. But the references are more suggestive than concrete, often imperceptibly woven into her songs with a fine sort of folk art filigree that feels timeless but directly effective within her field, recalling the low-key magick of everyone from Teresa Winter to HTRK, yet gauzily delivered from her own, enchanted perspective.

Spivak has worked towards this seemingly effortless style and conception of atmosphere for a decade, flowering from MA studies in Architecture in the UK, to develop her roots in Cyprus, where she draws on the energies of a small but active local scene, as well as the island’s agitated recent history, against a backdrop of myth-inspiring topography, that all help imbue her style of sound sculpture with a distinctive, quietly conflicted soul.

Her first bouquet of songs are intimate but prickly, ancient and futuristic creations, unfurling from primitive dream-pop in ‘Minus The motivational Speech’, to the nerve-tweaking chamber blooz of ‘Hardware Store Ballad’ with a deeply arresting, story-telling style that’s naturally brought to
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