A Cucina Povera & Haron — Riffittelyä (snippet 4)

A Cucina Povera & Haron — Riffittelyä (snippet 3)

A Cucina Povera & Haron — Riffittelyä (snippet 2)

A Cucina Povera & Haron — Riffittelyä (snippet 1)

Ą̸̢̛͍̻̣̺̻̯̙͎̥͓̟̮̞̲̥̬̥͖͖̤̣̀̽̉͌̅̀͋͜l̶̻̞͎̖͎̖͈̠̬͖̲̬̣̖̰̈́̅͊̑͒̈́͌̌̉̕͘͜͝l̴̛͚͙̩̪͚̣̟̲̱͋̾͑̓̇͂̏́͂͑̌̑̇̎̇͘e̵̢̻͉̖̊̍̀̐͋͘͠y̶̧̧̢̨̛̝̺̤̜͇̤̠̤͗̇́̽̽̉́́͊̀̎̀̈́̿̋̂̆̓͘͝͝͠͝͠ ̴̨̛͍̺͖͚̱͓̟̹͈͓̰͚̰̩̗̫̥̄͑̉͊̂̓͗́̑̉̄̓̒̅͒̀͜͝ͅò̵͔̬͕̰̼̬̻͎̒͜f̴̨̛̻̰͙̼̟̦̣͇͍̻͖̠͑̀̏̉̏̈́̊́̏͛͛̀̓͑̾͆͐ͅ ̵̛̳̣͔͙̲̮̼̙̱̽̓̓͆̀̓̎͌͜͜͝͠͠ͅͅM̴̢̛̰͔̟͙̠̹̖͔̪̲̿̀͐̒̋̐̍͒̇̂̒̈́̎͋̄̚̕͘̕͜͠͝͠ì̵̳̭͎͈̤̻̀̅ŗ̴͓̭̳̰̣̣͎̮̇͗̂͑̈́̆͐̊̇́́̃̌͊̋̈́̓̇́̈̽͌̌̕̚͜͜ṙ̷̨͚̣̹̫͎̲͉͍̙͉̪͊̎̃̿̕͠͝ợ̵̧͍͔̪̲̙̆̐͒̈́̇̀̓̐̀̐͌̌̉̒̉͘̕͠r̴͇̦͕̻͖͚̪̭̟̪̳̱͎̮̖̖͒̓̇̽͐̎̐͆̎͗̓̇̀̈͆̏̎̈́͜͝͝͠͝ͅs̵̨̧̨͚͙͈̘̳̪̲͍͔̹̐̂̍͗̀̏̽̊̒͐͐͊̊̒̕͜͜

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

Image Language

Becoming a stone

FELICIA ATKINSON 'Becoming a Stone' (SP140)

Bobby Would - STYX
Messing around with Greek gods can be dangerous. It might cause curses far beyond the physics. Bobby Would choose “STYX” as the title of his latest album. It links to a swampy zone in Greek mythology, where STYX is a heavenliness, and a river, that forms the boundary between Earth and the Underworld. Bobby Would says, “Time is only currency”. STYX is the place, where no currency exists. It absorbs all living, while creating new. Bobby Would, whose emotive Low Company releases distributed unfussy, magnetic, yet melodic serenades, that injected lo-fi guitar pop new drama orbs, created two 13-minute-long tape sides under the “STYX” guidance, that work against time while creating some. Like a lullaby, that loops in your dreams forever, each side features short, yet endless songs, stranded in a zone, where light and darkness form a bizarre union, that glooms eternally. Driven by guitar melodies of delicate beauty, that drift fluently from silky weeping pop to otherworldly psychedelics, he croons monotone poetry, that floats river-like into the unconscious of its receiver, just to create a muddy zone for new utopias. A short new vital sign full of miraculous powers by the Vienna based artist, that welcomes all into a twilight zone of drone punk, garage wave, velvet surf-riffs, and all that dusty rock ‘n’ roll fuzz. Ferryman netherworld music, made for those need the curse of a new mythological sign.

Bobby Would - WORKING AGAINST TIME

To Whoever Shall Inherit the Earth

Reflections on the visit of an old friend.

"Oh, to have control of the trade winds!" (for Threnoscope and Strega)

HELM — Olympic Mess (PAN 63) 2xLP/CD/DL
Release Date: 15th June 2015
http://p-a-n.org

HELM - Olympic Mess (PAN 63)

A1 from 'Envelope' released on Ekster 2018
BUY: https://eksterlabel.bandcamp.com/album/envelope

Slope

Plafond 6 — Cucina Povera & Haron (LP)

Vinyl/digital: bakk.bandcamp.com/album/plafond-6
Vinyl/distribution (Clone): https://clone.nl/item59834.html

A	Cucina Povera & Haron — Riffittelyä (21:43)
B1	Haron — Maandag, Spiegeldag (6:47)
B2	Cucina Povera — Ajatus (9:26)

Plafond enters its second decade with Cucina Povera and Haron fusing the folkloric and futurist. Maria Rossi and Haron Aumaj (real names) honour musical cinematism on ‘Riffittelyä’, which slowly unfolds during a twenty-two minute trail of exploration, angst and redemption. Meddling voices pinch through an aural mist, Kubrickesque strings impend and cathedral organs relevate. Most striking is the compatibility of Rossi’s tangibility and Aumaj’s computerisation, seamlessly forming a renewed dynamic, as granular as it is loose in texture.

During this unique first collaboration it can be quickly forgotten both artists have highly distinctive styles. We are reminded of these singularities on the other half of the record, featuring two solo works, both rich yet contrasting in their colour and emotion. On ‘Maandag, Spiegeldag’, Aumaj sketches in orange chromatics, a featherweight composition that feels far away from the greyscale fragility that Rossi portrays on ‘Ajatus’. Showcasing two minimalist artists catapulted by their stunning debut albums, this sixth Plafond keeps the listener in constant awe, pointing us to the endless potential of spontaneity.

Comes in Pantone printed outer sleeve with deep red and yellow topped with a silk screened black and a soft pink inner sleeve, wrapped in a dreamy blue Obi-strip printed with white and black, by the BAKK Fuzz Factory.

Music: Maria Rossi @cucinapovera / Haron Aumaj @wivah
Mastering: Wouter Brandenburg
Design: Mike Kokken and Ruben Verkuylen
Words: Luke Cohlen @lukecohlen

BAKKPlafond6 | Cucina Povera & Haron (LP)

Taken from the album 'Ingrid' released as one sided LP and digital

Klara Lewis 'Ingrid (excerpt)' (EMEGO 270)

From the upcoming album "Pavel Milyakov & Bendik Giske" out March 26th on Smalltown Supersound / Le Jazz Non .

Pavel Milyakov & Bendik Giske - Untitled 2

Get this + the original here https://carmenvillain.bandcamp.com/

So High You're Mine (2020 Rework)

Artist: Nikolaienko
Album: Rings
Label#: faitiche23
Format: LP/DL
Release: April 16th 2021

Fortunately for us, Dmytro Nikolaienko agreed to open up the jewellery boxes of his tape-loop archive for his debut album on Faitiche. What came to light was a collection of dreamy glittering gems, masterfully presented using the compositional possibilities of analogue tape machines. Some may consider a tape machine to be limited as a musical instrument, but Rings makes a convincing case with its sure-handed use of the available parameters – moving tape over the tape head mechanically and manually, cutting loops, manipulating timbre and creating noise by means of saturation. The results are eleven blurred, repetitive, rhythmic patterns that can be understood as an intervention against digital precision, as mechanical irregularities and background noise become musical events.

For those familiar with Nikolaienko’s work, his nostalgic approach here will come as no surprise: born in Ukraine and now based in Estonia, he has chosen a historical medium (that has been enjoying a renaissance for some years now) to record historical-sounding sequences. The way he manages his own back catalogue is similarly archival, documenting the chronology of his tape loops in such a way as to leave no doubt as to their advanced age. And then there are his two wonderful labels Muscut and Shukai, the latter being an archival project releasing electroacoustic obscurities from the Soviet past. Which brings us back full circle …

BAKKPlafond6 | Cucina Povera & Haron (LP)

BAKK •

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