More than thirty years of friendship under the sun and still counting; the Brazilian musical producers Alexandre Lora & Arthur Moraes (AVM) never replaced or forgot their bonding; they withstood the ups and downs, hardships, cross-country moves and other changes over the years. And we cannot resist at all a pact between friends to produce music together for fun. In this case, came into view 'Handpan' and its debut Itapeti Souls EP.

Besides being part of the title, 'Serra do Itapeti' is also the background for their childhood, the uneven terrain of the Brazilian relief called 'Mares de Morros', which extends for thousand hectares of the State of Sao Paulo, including their hometown Atibaia. And since the way producers do music has evolved significantly in the past two decades, curiously the duo leisurely cooked this 5-track EP over two years, mainly due to an unmatched free-time schedule.

After all mentioned before is quietly easy to understand the work's name; 28 minutes long and includes two original tracks — 'Connecting Souls' and 'Itapeti', one rework from Nada's track Passana, and the two tracks remixing 'Itapeti' — one by the psychedelic wizard Yabiru and other as a tribal version. And as the duo's name indicates, this project is purely based on the handpans, instruments that possess a great resonance and through their round, convex shape, their sounds emanate in all directions, filling the minds with vibration and resonance. Throughout its holding the EP shares tranquil, joyful, meditative and mysterious off-limits atmospheres while being driving-mood and here and there adds haunting nuances.  

Hard to define, though easy-listening. Somehow it unfolds delicately outward in sparkling layers of warm construction, solid percussion and unpredictable vocals; there's an underlined hoovering consciousness all over the pieces, putting it under the lens of what's bubbling in their sonic micro universe. 
—
—
Credits\

Music\ by Handpan — Alexandre Lora & Arthur Moraes (AVM)
soundcloud.com/a-v-m
www.instagram.com/__avm__/
avmarthur@hotmail.com

Artwork\ Mrs. Räbbit

Master\ Yabiru
soundcloud.com/yabiru
www.instagram.com/yabiru.sonhador/
yabiru777@gmail.com

_free_download

Handpan — Itapeti

A walk

Taken from the Poordream album 'Ninetynine' released December 2nd, 2014 on Tympanik Audio - www.tympanikaudio.com/releases/ta087

Composed & produced by John Valasis
Mastered by Angelos Liaros

www.johnvalasis.com

Ninetynine

Buy link: https://bfan.link/melody-18

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Melody

Release info.

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Childhood

Piano Love Songs Mastered - 22

James Place "Still Waves to a Whisper"
LP & Digital © 2019 Umor Rex Records
www.umor-rex.org

James Place returns with a new EP Still Waves To A Whisper (fourth release on Umor Rex). Flitting between the dreamworld of hauntological synth music and hypnotic techno functionality, Still Waves To Whisper showcases James Place's continuing development of dramatic (and varied) sound worlds.

Musically, Still Waves To A Whisper contains both some of the most immediately danceable and straight up beautiful tracks of James Place's career. Utilising voice samples from the same source as his last album, Voices Bloom, opener 'Known Cry' is a heavenly coda of sunlight bursting through clouds, warm synths drifting across restrained pulses. 'Timing and Lighting' went through countless live iterations before the current version was tracked for this album, a tunneling exploration of rhythm with a dose of sardonic humor. 'Move In Blue (Homeward Mix)' is James Places' rework of a track from 2017's Voices Bloom, obsessively remixed and revisited, here littered with additional melodies and populated by newly sampled voices. Closing track 'Names' is perhaps the most outright beautiful James Place recording to date. A stripped back rework of a live version of Living On Superstition’s 'Another Mourning In America', the tune is based on a melodic line written after the studio recorded version. Interwoven with a sampled vocal, and rinsed of all of the original song, 'Names' is left behind a stark and compelling descendant. The digital release includes a remix of 'Move In Blue' by Persuasion aka Devon Hansen. 

The title, Still Waves To A Whisper, stems from a conversation between Place and another artist on methods to ease anxieties and the benefits of a focused practice. The hope's for this music to continue that conversation on a larger scale. 

All songs written, produced and recorded by Phil Tortoroli between 2015—2018 in Brooklyn, NY. Vocals by Sam Sally and an unknown guest.

Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos & Design by Daniel Castrejón.

Still Waves To A Whisper

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James Place — Timing and Lighting

DES-1

Mats Erlandsson – Minnesmärke - LP
Release date - Nov 6th 2020
Catalogue nr. - HG2008
Format - Vinyl / digital

hallowground.bandcamp.com

Tracklist:
1. Vilja 	(19:08)
2. Slakt	(22.03)

Credits:
Hilary Jeffery - Trombone, Tuba
Gaianeh Pilossian - Violin
Yair Elazar Glotman - Double Bass
Mats Erlandsson - Everything Else
Mastering by Andreas Lupo Lubich
Artwork by Marijn Degenaar

///
Mats Erlandsson makes his debut on the Swiss label Hallow Ground with »Minnesmärke,« at once a nuanced sonic exploration of the industrial and political history of his native Sweden and a deeply personal album. One of the key figures of the Stockholm drone scene, the prolific composer worked with The Kilimanjaro Darkjazz Ensemble’s Hillary Jeffery, violinist and long-time friend Gaianeh Pilossian as well as sound artist and frequent collaborator Yair Elazar Glotman for a two-part composition built around tuned sustained tones performed by electronic and acoustic instruments that were combined with field recordings in order to evoke a psychedelic state of reflection, a dream-like elegy for the acoustic properties of the former iron ore mine Ställbergs Gruva where the music has been conceived and recorded. Following up on releases on labels such as Hallow Ground label mates Kali Malone and Maria W Horn’s XKatedral imprint, »Minnesmärke« is Erlandsson's most accomplished work yet. 
Originally a commissioned work by the Non Existent Center for a month-long artist residency in Ställbergs Gruva last Summer, »Minnesmärke« conceptually picks up on the socio-political and economic history of the Bergslagen region where the mine is situated. After mining operations had been on-going for decades prior, in the Industrial Age iron became one of the country’s largest exports, making the mining industry an integral part of the country’s progression towards a socialdemocratic welfare state in the years after World War II. With the rise of neoliberalism and the simultaneous erosion of the welfare state however, the mines around the region started closing, which resulted in the surrounding community losing its relative prosperity. Erlandsson’s interest in this story though does not exclusively stem from the historical significance of the mine, that has been re-opened in 2012 as a centre for cultural activities and critical thought. In fact, his grandfather was born and raised in the vicinity of it and thus his life - and, by extension, his grandson’s - was inextricably linked to its fate and the ebbs and flows of the industrial development in the area. 
It’s no surprise then that the two parts of »Minnesmärke,« which translates to »memorial« or »monument,« is marked by a sense of dislocation and dissociation. »Working in Ställberg was a somewhat surreal experience from the point of view of a musician some one hundred years later,« says the artist. »Being in that environment makes you view time from the side - since the place remains the same it accentuates the deep chasm that separates my perspective from those of my relatives, while at the same time providing a form of intimacy with them.« This naturally shaped the recording process, which saw Erlandsson create an interaction between the acoustic and the electronic, the human and the machinic as well as the natural environment and the technology that has shaped it as much as it has been shaped by it. A combination of synthetic and recorded sound sources was processed by reamping it in various rooms of the vast mining complex. The resulting hybrid field recordings were transferred to tape and have then been treated extensively. An arrangement for Pilossian’s violin, Jeffery’s tuba and trombone playing as well as Glotman’s parts on double bass were recorded separately and similarly manipulated to create an expanded chamber ensemble with a wider range and an ability to transcend the usual temporal bounds of the instruments.

A walk

Aparde

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