DAVID GRANSTRÖM, Empty Room - LP

Release date - April 2th 2021
Catalogue nr. - HG2102
Format - Vinyl / digital
Hallow Ground

hallowground.bandcamp.com

Tracklist:
1) Obsidian 09:22
2) Aeon 10:56
3) Sapphire Visions 04:50
4) Occultations 10:08
5) Transience 04:45

Credits:
All tracks composed, recorded, performed and mixed by David Granström 
Mastered by Giuseppe Ielasi
Photography by Aron Mattsson
Cover design by Greenpointless

///
On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology. 

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other. 

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors. 

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

DAVID GRANSTRÖM - Occultations (HG2102)

re /0

Heavy mental deconstructed dubs, order it here : lostdogsentertainment.bandcamp.com/album/fy-mi-n

fy​.​mi​.​ʒɛn

Solfatares

A Candy-floss islet
At one glance poisonous
Nestle in the curve of the roots
Sylph is hiding sharp tooth

In the narrow cave
Hollow river gobbles the ruins

Air marches in servitude
Blown curves of early clouds
& the sight of the candy-floss
Remains as a white ribbon.

In the time we strive to forget unattainable voice, all splendor and great temptations are almost always the result of being conscious. Even a small shudder will break the sea, while the silenced rapture of aliveness can be construed in a world where the wind can be a guest and the trees are full nests. We stand argus-eyed, close by the horizon behind us, moving forward to the wave that will repeat itself endlessly.

'Ephemerides' reveals the duality of humming drones and natural sounds as mellifluous curl grinds in noise by the hands of Samuele Larese under his moniker - Lessons in Hate - within reposeful atmosphere of the mountains, which remains the basis for the record as it is orchestral-like, carried out by the forest.

Ephemerides

Lessons in Hate - Unquiet

Lessons in Hate - Outer Space

"When we can no longer move forward or look outward, some reflect and seek truth in themselves – some sharing, through the language of music, what might be impossible to say through words."

Release: https://vaagner.bandcamp.com/album/speak-you-also

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Palaces of tunable universe march into a picture of thrumming hymns in unison as an intrusion into the ethnic soundscapes surveyed by Night Foundation for Amulet of Tears.

The mix is the scope of foreseen prophets solaced by pertinence - music beyond patterning recognition, where the heeder is a crescent man in the delirious narrative, bound up with a large lens, gained from the observation through a polished grasp.

Richard Vergez is a head of Florida based label - Noir Age, who serves us with solidness of wondrous vertigo under the name - Night Foundation.

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Music: @night_foundation

Artwork: @anasisana

Amulet 027: Night Foundation

polvo

from KR110: An Moku & Stefan Schimdt - Raum im Raum (tape / DL) out on june 16th 2023

Raum im Raum

Raum Im Raum

AN MOKU & STEFAN SCHMIDT - RiR °2

American avant-electronic musician and essayist Bret Schneider holds no institutional allegiance to one artistic medium. His background encompasses a wide range of work experiences and reveals a man who is connected to the world around him in complex, alienated ways. His thoughts on music and philosophy are intertwined into a billowing exposition. But when exploring the dark recesses of his more aural works, there is an inherent flexibility. Phasing percussive elements and frayed droning lines all lead to a perpetually shifting feeling for an aural uncanny. As fractured as his music can be, there is a dim spark of rumination that threads through his synthetic machinations.

On his latest release, “Xilinx,” Schneider taps into a primordial electronic noise—the kind that rests just on your periphery, unwinding itself to reveal myriad sordid circuits and disjointed projections. These tracks maintain a wired mania, expressing an unsettling undercurrent of ragged repetition and warbling drones. There’s an unexpected elasticity to Schneider’s cabled rhythms, and they often shift across several temporal lines before turning inward, struggling to illuminate an intimate dissonance or imagine a multi-chambered core. Displaying a raw and unusually concise knowledge of how these sounds might fit together, “Xilinx” is part zoetrope, part post-industrial dreamscape. It is an inquiry into the idea of internal movement, a contorted experiment in musical patterning, and an experiment in self-replication.

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