Erosion

At the Gate

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"Upon The Shadow Of Waters" is an archived album written and recorded over a short period in the summer of 2017. Pushing away the bleak, harsher tones archetypical of previous Alocasia Garden works, Reece pulls in and makes way for a softer, misty framework.  Composed exclusively on tape machine and synth, "Upon The Shadow Of Waters" is a rare show of candour and etherlike fatalism. Warm vapours over the lakes - what does summer in the city smell like?

EN11

Written and recorded in the UK, Summer of 2017
Alocasia Garden is Reece Thomas

Upon The Shadow Of Waters

Alocasia Garden - Upon The Shadow Of Waters

A companion and a friend, Undveld guides through a path of piercing heights and desolate, barren plains. Every peak of emotional distortion seems physical, each pulled string heartfelt and raw. The young Lithuanian artist has amassed an extensive discography of experimental electronic work released on offworldcolonies, Perfect Aesthetics, static motion including others, his talent in production marked by deeply sensitive compositions and dynamic structures. It is safe to assume that there is much discovery to be made on the artistic and personal journey with Undveld. 

Amulet of Tears 002: Undveld

Music: @undveld

Artwork: @anasisana

Amulet 002: Undveld

Personal experiences, uplifting hopes, meditative fantasies and harsh realities are all carried in the third Amulet by Anasisana. A visual artist as well as a musician under several different aliases (Buried Alive, Nonchalant, Perfect Stranger), the Tunisian creator blends emotional slowcore songs, hypnotizing melodies and more abrasive experimental rhythms to breathe new air into the accustomed field of ambient music. His most recent release, a cassette titled "Perfect Stranger", was released by Trust Collective in September of 2020. In the work of Anasisana, thoughtfulness and subtlety shine a bright, yet melancholic light.

Amulet of Tears 003: Anasisana

Music: @anasisana

Artwork: @anasisana

Amulet 003: Anasisana

releases October 15, 2020
mastering :: Giuseppe Ielasi
artwork and design :: Bill Nace

all proceeds to Junglekeepers (Madre de Dios, Peru ++ Oakland, US) :: www.junglekeepers.com

"Field recording, that cherished technique of electroacoustic artists, gets fresh conceptual treatment with “Eaves Drop” by Horaflora, one of the aliases used by Raub Roy (Oakland, CA). Using a Sennheiser AMBEO binaural headset, he collected a year’s worth of public and private footage, then collaged it with sparse, yet pointed, instrumentation. Straddling diarist and voyeur, Roy evokes and lingers upon questions about field recording in the context of surveillance capitalism—and the purposes of music made in its purview.

There’s kids’ playground babble. The artist striking a piano key on his porch, as a train sounds in the distance. Like rummaging through the NSA’s trash, these sounds are irrelevant to governments or corporations (for now), but fruitful for more generous listeners. The crow caws, the dog barks, the door creaks. And then a firecracker explodes, and you throw off your headphones as it seemed a real firecracker actually exploded just above your right temple.

The realistic yet aestheticized arrangement of sounds in space is where the dynamism of this album lies. There’s a moment of beautiful clarity when we hear a woman singing along to Jazmine Sullivan’s “Bust Your Windows.” Her voice, going along with the song that’s playing in her own headset, cuts through all the noise, making a poignant threat. But then she’s drowned out by some bureaucrat’s intercom as the album flows onward, each cataloged and collaged sound seamlessly shifting into the next arrangement.

Lines between composition and chance blur; the tapping on a snare, the languid strumming of strings could be read as a musician’s self-surveillance. The fact that these are recordings from the Bay Area, where he lives, is not coincidental. Such methods are at the heart of big tech’s empire, and though “Eavesdrop” is not explicitly confrontational regarding such concerns, the album does tap the sense that we, as privacy erodes and mutates, are becoming voyeurs of our own lives."

Eaves Drop

Horaflora - Scrubby Foreland [Excerpt] (ENM06)

Pour cette nouvelle saison et le seizième épisode de Feng Shit, nous accueillons le duo parisien @dhakira . Amalia Jaulin et Sinan Varis forment un projet peu commun ou Space et sound design se mélangent dans une noirceur atmosphérique et une poésie nébuleuse. Le duo nous offre une heure de leur propres productions sillonants entre dark ambient, glitch et spoken-word. Pérégrinations au travers d'un fin chemin bordé de coquelicots noirs et d'une brume épaisse, où s'agitent des âmes de tous horizons.

For this new season and the 16th Feng Shit's episode, we are welcoming the parisian duo Dhakira. Amalia Jaulin and Sinan Varis own a really special project mixing space and sound design in a dark breeze and  poetic galaxy. The duo drives us into them own music where dark ambient, glitch and spoken-words are struggling. A deep side walk on a little path bordered by black poppy and a thick fog...

https://lyl.live/show/feng-shit/

TRACKLIST
DHAKIRA – El Bosque Del Alma
DHAKIRA – Heat Wave
DHAKIRA –  No One Can Take Our Memories 
DHAKIRA – Extrait de sound design réalisé pour le court métrage “Les voies soutterraines”
DHAKIRA – Larsen du temps 
DHAKIRA – extrait de sound design réalisé pour le court métrage “Les voies soutterraines” 
DHAKIRA – La possibilité d’un après 
DHAKIRA – Sérendipité 
DHAKIRA – Passage d’une confidence présent sur “Babamın Korunması” 
DHAKIRA – I Need To Let It Go 
DHAKIRA – El Dolor Del Mundo
DHAKIRA – Symphonie Neuronale
DHAKIRA –  Linéarité imposée
DHAKIRA – El Dolor Del Mundo (second excerpt)

Feng Shit #16 w/ Dhakira

Perfect Stranger

Anasisana - I Wish I Knew What I'm Doing

featured artists: https://radio.syg.ma/episodes/unline-frequencies-earshot-ix
https://unline.bandcamp.com
https://soundcloud.com/dmitriborn

Unline

Unline Frequencies – Earshot IX

Presented as a re-creation of two live sets performed in 2019, Patrick Gallagher deftly melds field recordings, a "fairly standard" synthesis toolkit, and prepared electric guitar into two peerless electro-acoustic compositions comprising his debut for the enmossed x psychic liberation (ENXPL) series.

As the album's title implies, "Set In the Bardo" embraces indeterminacy in all respects. An extreme range of timbral variety and complexity is employed, from pure sine waves to nearly-incomprehensible sonic blasts. With a formal education in mathematics, Gallagher's astute arrangements modulate between smooth glissendos and abrupt interruptions, reflecting the compositional process used: salvaging hitherto-abandoned recordings and live snippets from the artist's archive. Post-processing was eschewed on the album in order to preserve the improvisatory nature of a live performance, giving an organic quality to the album which is often lost in academic compositions.

While "Set In the Bardo" was created in pre-pandemic times, it also functions well at this particular juncture of history. We have been 'set in the bardo' ourselves, and Gallagher has made an engrossing set of pieces - encapsulating and unfolding sonic uncertainties as we venture through trying times. Well worth many listening sessions; high volume and high fidelity during playback are recommended.
credits
releases January 29, 2021

Patrick Gallagher is a sound artist and composer currently residing in Philadelphia, PA. Gallagher arose from the North Carolina avant-garde underground, perfecting compositional processes with numerous live performances; as well as cassette and vinyl releases on Tone Log, Hot Releases, Refulgent Sepulchre, and other independent labels.

Anasisana - I Wish I Knew What I'm Doing

Anasisana

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