Sometimes I felt as if we were all wading around in grief, 
reluctant to admit to others how far we were waving or drowning

Part 1 : https://soundcloud.com/migsxxxjacker/sets/abstract-ambient-drones-neo 

Abstract Ambient Drones & Modern Classical #2

Title : Day Has Ended
Artist : Aaron Martin / Christoph Berg
Label : Dronarivm
Release Date : September 23
Catalogue number : DR-14
Format : CD, ltd. 250
Release page : http://dronarivm.com/2013/08/28/aaron-martin-christoph-berg-day-has-ended/

Aaron Martin & Christoph Berg’s split called “Day Has Ended” is a piece of quiet, intimate music, interfused with daylight and covered by a soft mist of evening dreams. This album spans the course of a day until the point where night falls.

The first part, created by Aaron Martin, is a water-colour, cool and delicate. The twinkling sun reflected itself in a slow river, transparent silvery clouds sparkle and brush the heads of drowsy trees. The closer to the middle of the album, the lower goes the gentle shadow, saturating. In the second part - Christoph Berg’s one, water-colour turns into gouache. The sound becomes more full, more sensuous, it comes in waves, like breath of a sleeping man.

Just close your eyes, be all ears and you’ll feel – the night is not silent. Sweet tune of twilight and darkness full of echo, humming blue, vague voice of the strings and clear gleaming of bright stars in a velvet sky – that is the night.

It’s a perfect and severely sincere work, slightly bittered with melancholy.

Aaron Martin is a very talented multi-instrumentalist from Topeka, Kansas who has releases on such labels as Experimedia, Preservation, Under The Spire, Sonic Meditations.

Christoph Berg is composer and sound artist currently living and working in Berlin focusing on fragile acoustic chamber music compositions. Also writes electro-acoustic music as Field Rotation. He has releases on Facture, hibernate, Denovali Records, Fluid Audio.

Curated by Bartosz Dziadosz (Pleq)
Cover painting "Where The Sea Once Was" by Richard Moult
Designed by Dronarivm Art

pre-order CD

Aaron Martin - Slow Wake (taken from 'Day Has Ended' split CD)

From the album 'Hiraeth'.

Album available here - http://www.preservation.com.au/product/olan-mill-hiraeth

Olan Mill - Cultivator

Adorned in Ribbons

Taken from the upcoming album 'Eaten Alive' on Fluid Audio...

“Art is not a mirror held up to reality,  but a hammer with which to shape it.” - Brecht

Mailing list:

www.fluidaudio.co.uk/about/mailing-list/

Talvihorros - Little Pieces Of Discarded Life

This album is, for all intents and purposes, is an homage to classic ambient and ambient techno albums of the past (of course filtered through the distinctive sound world of The Green Kingdom). This is not to say that the aim was to recreate or mimic the sound of these recordings, but rather the feeling they create through the use of sustained tones, repetition, melody and texture.

As indicated by the title, these pieces are meant to evoke vast and expansive environments, either real or imagined. These landscapes can often provide a sense of calm and wonder at our relative insignificance in comparison to the majestic grandeur of the larger universe all around us. Although the cover is one example of such a landscape, the tracks remain untitled in hope that the listener might attach their own associations.

Mike Cottone is a graphic designer and musician based in Detroit Michigan. Under The Green Kingdom moniker, he produces minimal ambient music using a variety of digitally manipulated sounds sourced from a variety of acoustic and electronic instruments.

thegreenkingdom.wordpress.com

Digital version of album contains a 2 bonus tracks by Tobias Hellkvist and Segue.

Release page: http://dronarivm.com/2014/01/13/the-green-kingdom-expanses/

Buy CD

The Green Kingdom - Untitled (from 'Expanses' CD)

from 'Odham's Standard' [CD|LP|DIGITAL]
Denovali Records · den191
available on all formats at [http://denovali.com/origamibiro]

Origamibiro is a collaborative project consisting of three core members: musician, soundtrack composer and producer Tom Hill, visual artist and filmmaker The Joy Of Box, and multi-instrumentalist Andy Tytherleigh. Originally started as a solo project for Tom, Origamibiro has since evolved into an audio-visual collective, producing studio music, art objects, interactive installations and hauntingly original live audio-visual performances. Origamibiro like to create work with an array of unorthodox processes and contraptions, found objects, video feeds and multi instrumentalism. Their unique live performances involve treated books, typewriters, found celluloid, paper, eerie wildlife recordings, home movies, sellotape and bespoke visual contraptions. All of these things had been added, adapted, even destroyed as a way to generate images and audio that could evoke a feeling, a response, an understanding or perhaps a question from audiences.

2014 sees the re-release of Origamibiro's entire back catalogue - the albums ‘Cracked Mirrors and Stopped Clocks’, ‘Shakkei’ and ‘Shakkei Remixed’ - through Denovali and also the release of their fourth studio album 'Odham's Standard'. Discussions concerning tone and theme took place much earlier in the writing process this time around and unbeknown to each other, both Tom and Jim were taking an interest in more supernatural aspects of audio and video material generation. Jim had begun to research into spirit photography, where images of deceased spirits are apparently imprinted onto photographic plates through the presence of a medium. Looking for an audio equivalent, Tom began looking into EVP or electronic voice phenomenon whereby hidden voices from deceased spirits appear to present themselves in audio recordings. What is fascinating about this process is not how legitimate the phenomenon actually is but how dependant it is on the decision or need of the viewer or listener to believe it is significant or even personal.

Interestingly, there have been many attempts over the years to debunk or disprove the validity of spirit photography and yet for every court case there are also a number of witnesses willing to passionately testify that not only is the phenomenon real but that it applied directly to them. Arthur Conan Doyle was the creator of the most famous detective in the world and, conversely, a staunch defendant of the validity of spirit photography. In his infamous treatise 'The Case For Spirit Photography' he is both naive and strangely prescient: “Victorian science would have left the world hard and clean and bare, like a landscape in the moon. (however) There is nothing scientifically impossible, so far as I can see, in some people seeing things that are invisible to others. One or two consequences are obvious, the experiences of children will be taken more seriously. Cameras will be forthcoming. These folk who appear to be our neighbours, with only some small difference of vibration to separate us, will become familiar.”


Odham's Standard

Origamibiro - Butterfly Jar

"Craco", from Hauschka's latest studio album, 'Abandoned City'. Get it today at www.smarturl.it/abandonedcity

Hauschka - "Craco" (Live from 89.9 KCRW — 4/22/14)

Strange Light [ii]

Taken from the upcoming album 'Marram' by Wil Bolton featuring special guest appearances by Christoph Berg and Edward Farrow.

Mastered by James Plotkin
Released through Fluid Audio
Available: May 2015 

www.fluidaudio.co.uk

Wil Bolton - Marram

Coming Home

From the album Sometimes out November 13, 2015 on Western Vinyl.  Vinyl LP format will be out in 2016.

CD/LP http://westernvinyl.com/shop/wv138
iTunes hyperurl.co/d3h29c
Amazon hyperurl.co/56ffvu

Golmund:
Label page http://westernvinyl.com/artists/goldmund
Twitter https://twitter.com/Goldmund
Facebook https://www.facebook.com/keith.kenniff
Instagram https://instagram.com/kenniffs/
Artist site http://www.unseen-music.com/

Raised in the rural town of Lancaster, Pennsylvania, Keith Kenniff aka Goldmund started playing piano at age 20, while studying percussion at Boston’s Berklee College of Music.  Though he may not be a household name, Kenniff's evocative, distinctly American music has become quietly ubiquitous in the past few years, often appearing on NPR, in films, on TV, and in ads for Apple, Facebook, and Google among others.  As an artist who spends a great deal of his time producing music for others, it might be surprising to find out that when he has the opportunity to relax and re-center himself, he often chooses to produce music for himself.  Recorded over the course of three years, the material on his new album Sometimes functions as a journal, documenting brief moments in Kenniff's day when he could turn to the piano as a source of solace and unending creative possibilities.  Kenniff wrote and recorded everything on the album with the exception of the track "A Word I Give", which is a collaboration with preeminent Japanese pianist Ryuichi Sakamoto, who once described Goldmund's music as “…so, so, so beautiful…”.  

Kenniff's pseudonym is taken from the Herman Hesse novel Narcissus and Goldmund in which the Goldmund character leaves the cloister where he was living and studying in search of meaning for his life.  The story resonated with Kenniff when he was searching for a moniker to represent his solo piano work, "I think the way I approached the piano was in the same way: impulsive—searching and feeling things out in the dark."  On Sometimes he continues his explorations in the dark; each of the album's 17 pieces were improvised, and recorded in one or two takes, often late at night, after work-for-hire was finished, and the kids were in bed.  In an interview with NPR's Weekend Edition Keith Kenniff discussed his appreciation of Civil War era music, and it's ability to covey "…so much story in so few notes."  Similarly, these improvisations manage to be richly evocative despite their technical and compositional simplicity, using subtle details and dynamics to express what might otherwise be inexpressible.  

Throughout Sometimes, Kenniff fully employs the wabi-sabi aesthetic that has always defined Goldmund recordings.  "I like mistakes, I like when things don't go perfectly. I do have a tendency to want for things to be perfect and precise, but I have to also realize that a lot of things I like about music and art are very rough and impulsive, the slight imperfections that give something or someone a unique voice," says Kenniff.  He goes on to explain that these pieces served as a way for him to "step outside of whatever I was doing and return back to a place of discovery very much like when I first started playing."  As we follow him on his path of discovery, we get a glimpse into the world of a young man expressing his myriad feelings and experiences with honesty, and inherently imperfect gestures, which is part of what makes them so relatable and powerful — the local, for a few moments, resonating with the universal. 

Goldmund - "Sometimes"

Artist: Eluvium
Title: Regenerative Being
Album: False Readings On
Release Date: September 2, 2016

Pre-Order: store.temporaryresidence.com/products/trr265

Cognitive dissonance is, at this point, an everyday part of modern society. The difference between belief and reality is blurrier than ever, and there is often sufficient manipulation to both so as to make the distinction intentionally unclear. The source of those manipulations can either be external, or deceptively internal.

False Readings On is the new album from renowned experimental composer, Eluvium. Its creation was originally inspired by themes of cognitive dissonance in modern society. By its conclusion it had become a mirror rather than a magnifying glass, evolving into an hour-long meditation on self-doubt, anxiety, and separation from one's self.

There is an emotional lucidity and melodic ingenuity to Eluvium's music that has made him increasingly stand out from the sea of ambient artists that his earlier albums no doubt helped inspire. Sounding like an orchestra ceaselessly performing even as it sinks beneath an ocean of distortions and tape noise – with the occasional operatic voice piercing the surface – False Readings On is assuredly the most daring, dynamic, and distinct album of his luminous career.

TRACK LISTING
1. Strangeworks
2. Fugue State
3. Drowning Tone
4. Regenerative Being
5. Washer Logistics
6. Movie Night Revisited
7. Beyond The Moon For Someone In Reverse
8. False Readings On
9. Rorschach Pavan
10. Individuation
11. Posturing Through Metaphysical Collapse

© 2016 Temporary Residence Ltd.

False Readings On

Eluvium - Regenerative Being

‘The Birds’ are three tracks released together as the lead singles from the upcoming album, aptly named ‘Sketches’, due to its stripped down nature, is bejeweled by thematic undercurrents. 

‘Sketches’ serves to reintroduce listeners to Ackroyd’s most stunning pieces from her previous albums, all of which have been reworked into ‘acoustic’ solo piano arrangements alongside four brand new unheard pieces, which offer a taste of a new forthcoming record. The mini album sees a July release in preparation for a brand new full length album to be released in October, and One Little Indian will also reissue Ackroyd’s back catalogue on CD and vinyl alongside the new mini-album.

Feathers

Dustin O'Halloran - An Ending, A Beginning

Greg Haines - Azure

Salir

Antonymes : In Formation

Antonymes music emerges from the adjustments and erasures of ambient, the pace and persistence of minimalism, where music expresses nothing but itself, from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd, from the relationship between continuity and repetition rather than of contract and interplay, from secrecy, from quietness, from pause, from thought, from emptiness, from time, from far off, from itself, from where it is set and where it is setting off to.   
 
“My chief aim is to make a piece of music. You make it for yourself firstly, and then if other people want to join in, then there we are.”
 
Antonymes makes music at the edge of, and deep inside, and from above North Wales, which you can think of as a very real place, available to be visited at any time in the solid present, and also as a very strange, fantastic, ultimately unreal place, which is all it has ever been, legend, spirit, mist and fluctuating stillness stretching back to a time and place where it was seemed like the beginning of a dream, one that would always become another dream, and another, and so on. It’s worth mentioning that Antonymes is of North Wales: to take an approach to the music understanding the location where it was made up and produced, to approach the music as if it is the beginning, or the end, of some kind of map, that will take you up mountains, across streams, to the sea, where the tide comes in, and the tide goes out, under the waves, through the woods and into the obscure wilderness that stretches between one patch of land and another, between one village and the next. So: Antonymes, of North Wales, recalling the lines of the great North Welsh poet RS Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.’
 
Formed at some point during 2008 by designer, photographer, conceptualist and musician Ian M Hazeldine, as a group that could contain just himself, and others when it seemed appropriate, Antonymes first album was titled ‘Beauty Becomes The Enemy of the Future’. Released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, ‘31: Before The Light Fails’, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. One review described the work as “a daring and inspired exercise in creating a timeless work of art.” Various pieces by Antonymes have appeared on compilations produced by Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet.
 
Antonymes music is made up, something coming from nowhere, with no clear sense of what might happen next, and yet a vague sense of what might happen after that. It begins at the piano, where notes, space and intention, and something of the soul, and the mind catching itself combine over time, until a shape appears, which suggest other shapes, and lines, and something else, an anatomy, the lateral spread of a single surface, and a shadow or two. A composition, the result of a mystical sequence of events involving improvisation, imagination, presentation, communication, intuition and manipulation, has been completed. It is the improvisation, certainly, more of Pauline Oliveros, Terry Riley, Alvin Curran and La Monte Young than jazz, the patient, probing occasionally accidental forming of structure, tension and atmosphere around spontaneity and a form of focussed daydreaming, which is a near relation of a form of praying.

Paul Morley, January 2011.

Strange Light [ii]

Antonymes

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