SF119 - Baligh Hamdi- Sampler 5 sec.

〜 Taken from Debit's album 'The Long Count', out via Modern Love on Feb 18th 2022 〜

Delia Beatriz’s musical output straddles two distinct artistic poles; her debut solo album, 2017’s acclaimed “Animus”, oozed from sensual, beatless soundscapes to high-octane club music, while her 2019-released EP “SYSTEM” harnessed tribal guarachero elements while simultaneously scraping ideas from industrial techno. 

On “The Long Count”, the Mexican-American producer has inked her most rigorous statement to date, sublimating opaque ancestral knowledge into vaporous AI-stirred fog banks, activating an ancient rite that reaches into tomorrow. It’s audacious electro-acoustic archaeology that sounds disorientating, anachronistic and arcane.

“The Long Count” is rooted in research Beatriz made into Mayan wind instruments – whistles, ocarinas, flutes and trumpets – using the archive of the Mayan Studies Institute at the Universidad Nacional Autonoma de Mexico, the oldest and largest collection of its kind. Developing a set of digital instruments that could be played using different types of temperaments and scales, Delia processed these sounds using machine learning techniques to shuttle the distant past into our extant artistic universe, peering into Mexico’s pre-colonial history and weaving those ideas into complex tonalities gleaned from musique concrète and contemporary electro-acoustic music.

The ten tracks of ‘The Long Count’ form a ritual that’s a few footsteps out of time – neither a part of our present, nor the past. Beatriz describes the Mayan instrumentation as ancestral technology, part of a world that’s not so much been forgotten, but purposefully erased. And although it’s impossible to know exactly how Mayan music may have sounded, it’s feasible to converse with history using modern technology to conduct a ceremony of remembrance.

Beatriz’s soundscapes are haunted by indistinct, shared memories and centuries of pent-up emotion, and are as intentional, direct and meticulously crafted as the work of Deathprod or Thomas Köner. Her microtonal compositions are psychedelic to their core, shapeshifting through dimensions and painting complex mental images, while retaining a stylistic focus and lucidity that’s all too rare. Although “The Long Count” was nurtured by machines, human experience is coded into its DNA – an ancient-future heirloom that whispers through countless generations.

File under magick concrète.

All tracks written, produced & mixed by Delia Beatriz
Additional Machine Learning for Audio by Isomov
Mastering by Rashad Becker
Album Art Photography & Creative Direction by Debit
AI Album Art by Moisés Horta Valenzuela

The Long Count

Debit - 2nd Day

Taken from the album 'Woodwind Multiples' due for release via Modern Love on July 7th. 2023.

8B4 (1985/2022) is played by Manuel Zurria and is for four bass flutes. It is a revision of 8x4, which was written in 1985 for the DownTown Ensemble and was only performed once, due to its unusual instrumentation: alto flute, English horn (originally bass oboe), clarinet, and voice.

Woodwind Multiples

Mary Jane Leach - 8B4

05 Scorpion Stabbing

From Atlas of Green
Available September 20, 2024
Listen / Buy: https://lnk.to/rvngnl111

Follow Dialect
INSTAGRAM: https://www.instagram.com/_dialect/
X / TWITTER: https://x.com/andrewpmhunt

Follow RVNG Intl.
INSTAGRAM: https://www.instagram.com/rvngintl/
TIKTOK: https://www.tiktok.com/@rvngintl
X / TWITTER: https://twitter.com/rvngintl
YOUTUBE: https://www.youtube.com/user/RVNGintl

©2024 RVNG Intl. // https://www.rvng.com

Atlas of Green

Ancient Faith Radio

Sessions of Color

You are listening to  the Sintir, Guembri,  Gimbri or Hejhouj. Native from Morocco, although its ancestor came from South Africa, it is the most charismatic instrument of the Gnawa music and is frequently compared to a bass guitar. The Guembri is one of the four instruments that forms the project "The Craft of West African Instrument-making" in which I'm currently working on. All the instruments have​ been made and recorded by myself at the Hazel Court, London from December 2015 to March 2016.

more @: http://cargocollective.com/instrumentmaking

I've used a pair of Neumann Km184 (XY coincident) positioned 3 feet from the instruments. Mixed and Mastered by myself.

Happy listening!

The Guembri

PAKISTAN - Instrumental Folk & Pop Sounds, 1966-1976 - sampler - 10 seconds of each track

Radio Pyongyang - sampler - 10 seconds of each track

One-take synth improvisation, taken from 'All In The Same Room'.
Buy tape + digital at nicemusiclabel.bandcamp.com/album/020-all-in-the-same-room

05 Scorpion Stabbing

Dampened Yurt