Colour Fields

Pascal Savy - No Ends On The Sides

EnCOUTnTErs - The Avian Speculative at Cafe Oto, July 25, 2018.
Also performing: Lee Patterson and Sharon Gal. 
Pic by Sonia Levy/SoundFjord
Recording: Hear and Now, BBC Radio 3.
July 25, 2018.

Set - EnCOUnTErs - Cafe Oto, July 25, 2018 - recording thanks to BBC Hear and Now Radio 3

Sonata Per Eterna ( by Marta Zapparoli 2018-19 )
This is an extract from “Sonata Per Eterna”.
 It is a text-piece in which the meaning of some combinations of words are connected to selected radio waves and natural radios phenomena which I recorded in different countries over the world in the past recent years. This piece is inspired by my personal romantic idea feed it also by scientific notions about the journey of the soul after death to perpetual motion in the universe......." 
The release will be out in 2020

"Sonata Per Eterna" Extract From Release2020 ( to my father Giuseppe aka GiZap))

First Terrace Records have the honour to present an album of new work by influential and idiosyncratic artist K. Leimer. 

His second outing for First Terrace, following his part on FTS001, the album finds the composer working in a solemn & focused mode, rendering deep sonic landscapes that shimmer, sink into themselves and play host to a slowly emerging carousel of auditory apparitions - dynamics delivered through his mastery of textural manipulation. 

Emerging in opposition to the sunless days & countless distresses of current US politics, each track is imbued with a refreshing sense of equanimity - in Kerry’s own words, he “does not profess that music - especially an experimental, lyric-free music - can change or influence such circumstances. But this is the context in which we now live, and this has shaped the music of Irrational Overcast — a coping mechanism for living under clouds of baseless beliefs and simplistic ideologies that disfigure and stifle what is an admittedly difficult though really quite lovely world.” 

The album is released worldwide on July 5th, on LP & digital formats, with artwork featuring images from Richard Misrach’s series of photographs documenting American petrochemical landscapes. 

Kerry includes this transcript to accompany "Irrational Overcast": 

"Authoritarian ideas that have persisted somewhere in the depths of human nature for millennia have resurfaced at a crucial moment for the environments we all inhabit — natural, cultural, intellectual and economic. The power and influence of this ideology will again prove catastrophic, as it already has for many people in many parts of the world. Authoritarianism, along with the refutation of our shared responsibility to one another and to objective knowledge in favor of personal gain & gratification consistently lead to disaster. Yet, somehow, a significant number of people seem to feel that this time will be different. To some extent they are right. It will be infinitely worse. 

Irrational Overcast is preoccupied with the perpetual failings of human tribalization, of assuming dominance over nature, of choosing belief and ideology over objective reality. The impetus was brought into immediate focus by the destructive impulses and actions of such excrescences as the Trump Administration and his republicans, as well as the blatant dishonesty and bigotry of thousands more retrograde, ill-informed nihilists operating in and outside the pubic sphere. 

I do not profess that music — especially an experimental, lyric-free music — can change or influence such circumstances. But this is the context in which we now live, and this has shaped the music of Irrational Overcast — a coping mechanism for living under clouds of baseless beliefs and simplistic ideologies that disfigure and stifle what is an admittedly difficult though really quite lovely world. Music, to my mind, can not clearly express anything so literal, or metaphoric, or allegoric — but Irrational Overcast makes the effort to articulate the problems created by some enduring and banal aspects of human behaviour. Which is the reason it is built of lo-fi, deformed emergent or regressing or fragmented phrases, subsumed by distortion, noise, wow and flutter… and played with the understanding that there can be no more bedtime stories." 

K. Leimer has been recording and releasing experimental and electronic music since 1979. Irrational Overcast is his first full length record for First Terrace Records, and his 20th solo album. His work can also be found on the Palace of Lights, RVNG, Origin Peoples, Invisible Inc., and Les Giants labels as well as through The British Library.

Irrational Overcast

K. Leimer  'Weather On The Fen'

View is a solo piece written for cellist Emile Girard-Charest and can be realized either on cello with a "bach-bow" covering three or four strings, or with a bowed fretless guitar with the two top strings removed.

Emile Girard-Charest - Cello

Recorded live at UdK, Berlin on 10th of July 2019

View (for cello)

COLOR SQUAD RECORDS 090/ALB026

https://colorsquadrecords.bandcamp.com/album/void-folder

CSR090 - S̸t̀҉͞r̴̢a̵̡͡n͜͠g̀͘e M̡ea̸t̷ - Void Folder -  Sovum - Hlit

From poking stove elements with pencils, to recording the ambience of a teapot, and playing balcony railings, mnk is an album which restlessly re-imagines everyday sounds. FenGi is the moniker of the Turkish sound artist Altuğ Kaptan, and mnk represents his extended examination of the vibratory and the resonant. It is an album which blurs the boundary between object and instrument, at one point Altuğ performs by simply opening and closing doors, at another he reworks recordings of the violin. Altuğ describes himself as someone who ceaselessly records sounds, seeking spontaneous moments amid the everyday. In his debut solo album mnk we discover an artist both courageous and frenetic, who sitting amid the boiling stove pots, and the sliding doors of his home finds music.

Mastered by Nima Aghiani
Art is the work Rug by Tuba Kaptan

dng - FenGi from the album mnk out July 3

ASTRO - A_3 (Natural Systems II)

One of the three bonus tracks that comes on both the digital and CD versions of this release.

The Agnostic

IHVH, The Agnostic...Moondog Devotional

Wednesday night, playing with loops, one seven beats long, the other eight, then layering occasional accent notes. Fade in and out just turning the knob on the amp once the loops were left to their looping. Recorded to phone put in front of the amp. Not sure why the eight-beat loop is more prominent than the seven-beat one, except perhaps that it's in 4/4 so the brain registers it more easily. Also not sure about that one hiccup at :46 seconds. Something suddenly went out of alignment and then came just as suddenly back into alignment. The bit at the very end isn't a tape cassette stopping. It just sounds like that.

Wednesday Loops

What a strange, odd, mixed-up year it has been.  The yellow spanner of Covid-19 really wrecked a lot of plans. I was all booked to travel to Estonia to record, but it had to be cancelled.   Very noticeable was the sunlight, perhaps it was because there was few jet trails, but when the day was cloudless the sunlight could be absolutely dazzling, it had the strange effect of making it feel like we were living in paradise.     Because of the restrictions I am so glad the woods is only within a moderate cycle distance from my home.  I am very fortunate that I have two fairly good places to record relatively close by.  I even found a wild sand dune area not even five kilometers away,  I hope to record more there in the future.   Disc 1 track 2 is from a much longer recording, it is probably one of the best recordings made during the 2020 season, I had made a few recordings, near the stream, then a bit less close, then a bit further away and another even further away, as I wanted a sound where the stream was a suggestion rather than really dominating the sound picture.  The Blue Tits nested in a cavity block in the wall of my home, there is an vent on the inside of the block, so I only needed to place the microphone up to that to get a fantastic close perspective recording.  
I include two recordings of the Blue tits as they sounded so different when I recorded them a week later.  Sometimes I would get great results by leaving the old Marantz recorder hidden in a bushy place while I go not too far away to record with the new recorder, I love how I had no idea of what it has captured for me, only later when the track loaded on the computer did I get to see if it captured anything worthwhile.  This was the case with Blackbird - alarm calls (Track 3 on disc 2).  I think the peaks came in at about minus six db.  This year was my first time to use Contact microphones and a Hydrophone.    
At the beginning of April my dad Desmond died, he was 89, a great age.  Apart from Covid, we could see he wasn’t going to live much longer, he had been deteriorating noticeably for months up to that.  Why then are the covers for the two discs so strange ?  
A birdsong production should have birds on it !   My dad was big into sun power and indeed wind power even long before it became popular.  Over by my workshop he had placed a few sun power panels on the wall, these were wired into a small room to a panel on the wall with six switches.  I thought it a good way to remember him by including a picture of part of his panel for disc one front cover.  I was going to include the six switches in the picture, but my heart of hearts said no, it didn’t look good, too much scruffy brown, but I include it in the zipped folder (If you are buying it on Bandcamp)so you can see what I am talking about.  I had almost chosen it, as it occurred to me one morning that the six switches are like the levels of lockdown (I hate that term, but I have to use it here) thankfully we didn’t have a level six, maybe that is like in a movie I saw where the authorities came and boarded up a house with the people still inside.  In the end I used the part of the photo with the meter.   
The butterflies . . . Dessie we call him, was always interested in butterflies, that is where I got my interest in nature, as a child he used to bring us for walks up along the canal to see the wild flowers and butterflies.  The picture comes from one drawer of his small collection of Irish butterflies he put together maybe around the late 1940’s or 1950’s ??  Very few of them are even in one piece now, this drawer just looked the part, it was all mixed up and spoiled like the year had been, the summer we never really had, at least not the way we wanted or had planned it.

A Strange Year - Disc One - (Album Sample)

Audio. Visuals. Atmosphere.

A haven for experimental sound and art development. CA. 2015

Pascal Savy - No Ends On The Sides

AUDIO VISUALS ATMOSPHERE

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