De bonnes idées, de belles sensations, une très belle réalisation.

Beatriz Ferreyra

“The seaside encourages and capitalises on transgression,” says Brighton-based cultural commentator Andy Medhurst. “Seaside culture is somewhere [where] the everyday rules of behaviour are put on hold. Compared to the average working week, where most people have to do set things at set times for set rewards, the seaside is a zone where all bets are off. It gives us the opportunity to write our own rules; in some cases, that can mean the usual codes of respectability cease to hold much sway.
“Seaside towns are literally and metaphorically on the edge. They give a very particular perspective. When you look back inland, nothing seems as settled as it once did – and those instabilities can be culturally productive.”

Motto of the Wheel

Teresa Winter - Motto of the Wheel [RAVE031]

Polish artist Martyna Basta presents Making Eye Contact With Solitude, a suite of intimate, diaristic ambient pieces assembled over the past several months. Created using almost exclusively field recordings and her voice (alongside violin, zither and harpsichord), this collection meditates on domesticity, loneliness, repetitiveness, stubborn patterns of isolated minds and the sonic mysteries all around us. There’s a real gentleness to these spontaneous and confessional improvisations, despite that fact that making them was a way of “making peace with myself and the reality around me” for the Kraków-based artist. The artwork created by costume designer, sculptor and illustrator Julita Goździk and track titles also allude to an interest in rituality, repetitiveness and the cyclical nature of our existence.

Constant listening, instinct and intuition are key to Martyna Basta’s practice. Having studied classical guitar for many years as a child, Basta now focuses her energies on more abstract forms of art as a photographer, musician, member of the PROGREFONIK collective and Radio Kapitał resident. Making Eye Contact With Solitude follows a string of shorter self-releases and is her label debut, and a wonderful introduction to her back-catalogue for many. Slotting in somewhere between the vocal mantras of Cucina Povera, the emotional immediacy of Claire Rousay’s recordings and the carefully crafted sonic environs of Félicia Atkinson, Martyna Basta is carving out a unique corner of the ambient world for herself. 

Pre-order: https://martynabasta.bandcamp.com/album/making-eye-contact-with-solitude

Making Eye Contact With Solitude

Martyna Basta – Awakening

extr : 8’35’’ -  1978 – CD: Cultures électroniques 14-27° concours international de musique et d’art sonore électroacoustique -
                                                  série Imeb / UNESCO / CIME 2000 - voix : Mercedes Cornu

Echos - extr : 8’35’’ - 1978

extr : 3’32’’ – 2002 – APREM – CD : Motus M 30 2004- Voix : Simone Riste et Roger Cochini

Cantos De Antes - extr : 3’32’’ – 2002

 5’10’’ - 2001 – CD Computer Music Journal,  Sound  Anthology , vol 25, 2001 – CD: Instrumentos solos 09 - CCDBA

Jazz For Miles - 5’10’’ - 2001

extr : 4’14’’- 2001– CD 1 - IMEB –Compendium International – LDC 278 11 22/23 - chien : Timothé

La baballe du chienchien à la mémère - extr : 4’14’’ - 2001

Demeures Aquatiques -  extr : 1’21’’ - 1967

Un Fil Invisible - extr : 3’17’’ – 2009

WEATHER Z

CD PURCHA$E

PLIB020 - YEONG DIE - SEVERE CASES

"Cour D'amour" from amazing DOGTAPE VOL.10 by Tabula Nul
Cassette & digital available here :https://lostdogsentertainment.bandcamp.com/album/dogtape-vol-10-subtabula

Tabula Nul : Cour D'amour

https://disquesdelaspirale.bandcamp.com/album/parasite-jazz

Parasite Jazz - π Dub

TELEGRAMME

Full stream of @mariawhorn's haunting "Ave," a cut from her new album on @portals-editions.

More info: https://www.xlr8r.com/news/premiere-hear-a-haunting-ambient-track-from-maria-w-horn

Kontrapoetik

More info

Premiere: Maria W Horn - Ave

Tape loops are a closed path, a cyclic river, a ring around a far planet. They’re similar to our memory, continuously reenacting an artefact that belongs to a precise point in time, brought back in a process of recall where that artifact slightly and slowly becomes imprecise and shifted. An unrested repetition carved into an old pavement, in a city where every generation leaves a new mark, a new incision and maintains an endless process of birth and deterioration. Sonus Ruinae’s synthesizers sounds are gently laid on that closed path, put in a locked repetition and engaged into that eternal dance.
While growing up with computer music influences, ranging from glitch to the new century Roman electronic scene, Marta De Pascalis developed her musician skills under the spell of the Italian sound labs sphere, from Gruppo di Improvvisazione to Battiato and other masters that influenced the global movement of sound designers. Her earliest Live performances already showed a special character of improvisation and structure, reduced slowly to become essence, made of synthesis and magnetic tape. Her album Sonus Ruinae is a canvas of harmonics and a sublime place where things are whole, where your first listen is engraved just like that ancient city’s pavement, and Marta endlessly writes beauty on top of it, layer after layer.

All music by Marta De Pascalis
Recorded at WORM Sound Studios in Rotterdam, artist's studio and Big Snuff Studio in Berlin, between 2019 and 2020. Mastered by Giuseppe Ielasi. Artwork by Lorenzo Mazon Studio.
All rights reserved to the respective owners.
doser039LP 
© + ℗ Morphine Records 2020.

Marta De Pascalis - Sonus Ruinae Part 1

Mental

Taken from the album Caterina Barbieri - Fantas Variations released as 2LP and Digital

Echos - extr : 8’35’’ - 1978

BEATRIZ FERREYRA

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